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Howdy guys, quick question. I am pushing Tri-x 400 to ISO1000 (highest my camera goes to). When pushing, do I use the development times for iso800 push, or do I try to bump up the time to account for the discrepancy? If so, how much time?
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Nov 4, 2009 19:48
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spritely posted:What soup are you using? HC-110 Solution B
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Nov 5, 2009 06:36
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DRP Solved! posted:I bought it in-store at a camera shop down here. Is... is that high? Dont know about Canada, but in the good old US of A you get at least 5 rolls of Tri-X for 18 USD. Now I have a query of my own. I seem to have gotten some nasty water stains on my negatives. I have did quick scans of them and put them into sleeves for now. I assume that when it comes to rescanning, I can just wash/rinse them with water again and dry to get rid of them, with no detriment to the negative?
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Feb 28, 2010 01:01
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So I have been playing around with color negative film, and I am having trouble getting my raw files color corrected for the orange film mask. I use vuescan, and can calibrate for the mask, but the color correction gets only saved to my jpegs, while DNG files keep coming out blue. Any suggestions or tips?
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Apr 30, 2010 04:09
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8th-samurai posted:Nope, EDU Ultra is Foma. Arista premium 400 is Tri-X. Thats what I always heard, and the results are comparable, but whenever I use original Tri-X I get plenty of green cast in my pre-wash, while Arista film anti-halation layer doesnt come off, or at least doesnt color the water.
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Mar 17, 2013 08:27
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8th-samurai posted:Uh, Tri-X (maybe all Kodak films) have a purple/blue antihalation layer. Foma is green though. Yeah unwashed film looks purple, but it washes off as green when you soak it in water. At least the 120mm version does (I haven't shot anything but Arista in 35mm in ages). I could always be wrong, and might be seeing this due to other factors. Just wondering.
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Mar 20, 2013 06:07
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Ok people, I need help with the new ektar emulsion. Everything is blue in the ektar world. I was initially thinking that it might have been bad exposures on my part, but through multiple rolls I have tried I get same result. After digitizing I get horrible blue/cyan casts that are very difficult to get rid of. Pro400H, portra... no problems. Ektar... pure poo poo. And I know that this film can produce some amazing results. So does anyone know of some tips that could help me out? Getting levels right, and selecting white point on the leader get me only so far - and I usually have to resort to the HSL panel to get things looking vaguely normal.
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Jun 14, 2013 07:00
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Two things about Nikon F3: 1) It has an unusual 80/20 metering scheme, which makes it quite center-weighted compared to other models. I personally prefer it. 2) It doesnt have a regular hot shoe. You need to get special adapters to mount one. And if you want to use a modern flash with TTL, you gotta hunt down an obscenely expensive one. It is a fantastic machine and my favorite 35mm camera.
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Jul 16, 2013 06:06
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I've been trying to organize and catalogue last few years of negatives I shot, and its a nightmare. So far I have segregated all my sleeves by format in several binders. Shot contact sheets with my DSLR, and put them in my lightroom library. The folder structure is Book number containing contact sheet folder and then folders for each page in the book containing individual scans. How do you guys keep your negatives organized?
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Jul 18, 2013 10:04
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I have a exactly same setup minus the strip holder, and camera. I have noticed that it works pretty well with a crop body, which unfortunately for me is a d50 which limits resolution greatly. Things get fun when you try to use a full frame camera like a d800 with it. To get the 1:1 magnification you have to use extension tubes, which really messes with corner sharpness on a 55mm 2.8 ais. Not to mention headaches involving keeping the rig absolutely level and at appropriate focus and magnification level. I am seriously thinking about getting a 60mm 2.8 macro. Now to keep things flat I use a pane of glass which is not optimal for a lot of reasons. Would you mind letting us know how could one obtain such a 3d printed model?
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Sep 25, 2013 07:38
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Just developed a bunch of rolls. Its always a gamble. You are either overjoyed at the surprising results or hit depths of depression at the poo poo you made and spent time and money on. Untitled by Stingray of Doom, on Flickr
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Oct 26, 2013 06:24
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I think this question has been answered before, but I can't find it. I found an exposed mystery roll in a 70 year old eastern european camera. Whats the best way of seeing if I can salvage anything? 1:100 Rodinal stand development for 60 mins?
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Nov 23, 2013 07:07
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nm posted:Thought I'd made a post here last night, guess not? Its basically high speed velvia with more realistic saturation levels. Very low grain, but the DR doesn't approach negative film obviously. Daylight only.
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Dec 29, 2013 23:53
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I think I might switch to shooting T-rix at 1600 in the city. The texture of the grain really brings out the texture of the all encompassing concrete.  _DSC5877 by Stingray of Doom, on Flickr
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Feb 22, 2014 10:48
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Spedman posted:Pretty sure Tri-x 400 pushed to hell and back was Daido Moriyama's film of choice for Japanese street scape awesomeness, so much grain. I Think that the grain he is known for is from his printing process, not development of negatives. There is a documentary film called "Near Equal" where its touched upon. Now that he is shooting jpegs, I am curious what his work looks like.
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Feb 23, 2014 07:09
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 rig test 1.0 by Stingray of Doom, on Flickr I need to work on this one, me thinks.
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Feb 27, 2014 09:26
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My city stuff. wip by Stingray of Doom, on Flickr  wip by Stingray of Doom, on Flickr
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Mar 2, 2014 09:48
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Yeah, the only comments on flickr I get is people being snarky about me putting digital photos in film groups. I guess I should put something in comments instead of just using tags. I have pretty bad problems with film curl on my 35mm negatives, so using my scanner wasn't really an option, and I didn't want to mess with better scanning holders and an extra surface to keep clean. Taking photo of a photo seemed like a decent solution. I think I have finally finalized my "scanning" rig. Its not as fast as it could be, but I don't want to over engineer it since it delivers results I am pretty happy with.
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Mar 2, 2014 22:12
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I found that 1:1 macro lens, especially on a full frame, is your best bet if you do not want to lose resolution. I have tried using decent lenses (50mm 1.8g, 85mm 1.8g from the nikon stable) with stacks of extension rings, but the results in the corners were unacceptable. Rings just magnified the flaws of these lenses to ridiculous degree, and even stopping down didn't completely resolve the issue. Corners were like butter. Also shooting with rings, required absolute parallel planarity, much more so than with a macro lens, which can be a pain in the rear end to achieve. I have tried using my D50 with the 55mm 2.8 micro AIS I believe, but the resolution just wasn’t there. What do is I shoot on a tripod with an inverted column down onto a light table. I load the film strip into a negative carrier clamped shut with clips. The carrier keeps negatives flat and its little pegs/feet keep it above the light source, so that any blemishes on the light table don't show up. I use a leveling bubble to make sure that the camera sensor plane and the light table are parallel, and shoot with a 10s shutter delay setting and in live view mode (for focusing and to prevent mirror slap). I shoot at base iso, at f8 and 1/10 sec. mostly, adjusting for thinner or thicker negatives. The “rig”  DSC_4700 by Stingray of Doom, on Flickr Negative holder:  DSC_4702 by Stingray of Doom, on Flickr  DSC_4704 by Stingray of Doom, on Flickr  DSC_4708 by Stingray of Doom, on Flickr
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Mar 3, 2014 06:37
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The setup is actually surprisingly solid, and focus stays pretty accurate between shots unless I bump it. So focus re-acquisition and checking is very fast and not an issue for me. Having a monitor feed would be nice, but I dont have the appropriate mini-hdmi to dvi cable, and live feed through usb requires ridiculously overpriced Nikon software. Although I have seen some alternatives on the interweb. The biggest time killer in this whole process is moving the film strip / feeding the negatives into the carrier. Having some sort of a feeding channel would be perfect, although I would be kinda scared to scratch the negatives. Anyone knows of such a neg carrier? Currently it takes a little bit longer than a minute to do a negative. Not ideal, but it works for me pretty well.
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Mar 3, 2014 19:02
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I need to get out shooting. I am almost done going through and editing my old film stuff, so new rolls need to be shot. _DSC6072 by Stingray of Doom, on Flickr
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Mar 14, 2014 07:34
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Uh... I'm afraid I dont understand the question...
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Mar 15, 2014 03:13
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Japan has such a great photo culture. People are just so enthusiastic and respectful of it there. And developing is like christmas. You get to see whats on all these rolls you shot, and since I don't keep track of that stuff, its always a surprise for me. For me its very exciting until I see how lovely my photos turned out.
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Mar 16, 2014 03:38
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It will be fine. You can always load it in clear ziplock bags and ask screeners to check it by hand instead of putting it through the x-ray.
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Mar 16, 2014 04:25
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Mr. Despair posted:I'm telling you, I'm very experienced with this happening! Yeah, some of my favorite photos I've ever taken have stress marks.
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Mar 27, 2014 18:21
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Apr 5, 2014 19:26
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  I was thinking about getting a pen camera as a pocket rocket, but they seemed quite bigger than a decent film point and shoot.
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Apr 9, 2014 06:52
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MrBlandAverage posted:Yes. Use the Massive Dev Chart as a starting point. Do Tri-X times in HC-110 ever get fixed? I remember that the chart was using old emulsion times for that developer. Anyhoo, BW development is pretty easy. I used pg1 guide as well when I started and it worked out pretty well. And now for a picture. 
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Apr 11, 2014 06:31
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 _DSC5857 by Stingray of Doom, on FlickrMrenda posted:
Did you do some dodging/burning on this one? you seem to have these weird halos around people in the photo.
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Apr 14, 2014 22:53
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If you have a decent digital cam and a macro lens, you can digitize them that way.
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May 8, 2014 09:06
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Yeah, that looks lovely. In other news I am trying rodinal semi-stand development, and I really dig it so far.  _DSC6687 by Stingray of Doom, on Flickr _DSC6686 by Stingray of Doom, on Flickr
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May 10, 2014 10:06
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Containers I use for freeze storage of film are not air tight as film usually comes packaged in air tight containers.
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Aug 12, 2014 00:15
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Primo Itch posted:This. Ten bucks. You won't need auto anything anyways... It will work, but the results won't be as good as your depth of field will be razor thin, and your negatives will have to be absolutely flat and parallel to the film plane. Also extension rings will make any lens imperfections more visible, so when I have tried this method all my corners were a blur, with only the center being sharp. Having a crop body will help with this as you won't need as much magnification.
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Aug 17, 2014 21:48
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 _DSC7793 by Stingray of Doom, on FlickrStress marks are sexy, right?
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Sep 13, 2014 08:44
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Dumb question. I have some random rolls of 100 ektar lying around, that haven't been refrigerated for the last... lets say 2 -3 years. That stuff still good to shoot at box speed?
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Sep 22, 2014 06:09
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 _DSC7729 by Stingray of Doom, on Flickr
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Oct 2, 2014 08:39
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ansel autisms posted:
Todd Hido the Sequel. So I am having an issue with my Nikon F3HP. Once in a while the shutter wont trigger, and meter wont work. Usually this can be rectified by triggering the shutter manually, but not always. The camera has fresh new batteries, so I dont think that it would be it. Any ideas? Anyways, my poo poo, crossposted from landscape thread:  California Dreaming by Stingray of Doom, on Flickr
Putrid Grin fucked around with this message at 10:45 on Dec 21, 2014 |
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Dec 21, 2014 06:56
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I just got a small changing bag, and it seems that I just cant use it for loading my 120 film into the dev tank. Since its a light proof contraption it seems to trap all the humidity and moisture in that micro environment as well, and my rolls become soft and flimsy if I dont do it quickly enough. drat my plastic reels and this drat contraption! It took me about 30 minutes to spool one last night and it still didnt come onto the reel correctly. Also one of the reels seem to kink my film for no appearent reason... sigh... Are metal reels much better?
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Jan 15, 2015 00:25
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I just developed a few rolls of Acros 100 I shot on my vacation, and I think I am in love... Always been a Kodak Tri-X man, but I think I might switch... unless I shoot in the dark.
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Jan 22, 2015 07:52
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| # ¿ May 16, 2024 14:15 |
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I used a shoelace for a Yashica once... Now it has big dent.
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Jan 22, 2015 21:38
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