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11-15-2011, 04:08 AM   #151
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Itching to go...


Yashica GSN, TriX at box in D76 for 10.5

'83 R100RS.

11-15-2011, 04:12 AM   #152
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DELFT's New Church



The Hague parlamentary palace (Het Binnenhof)


P30t with a SMC 17/4 Fisheye
Fomapan 400 developed in Rodinal 1+50
11-15-2011, 06:54 AM   #153
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QuoteOriginally posted by tuco Quote
Impressionistic. Did you develop special to get that grain from 200 film?
Under exposure + scan compensation.





Neopan 400, D-76, SRT-201, Rokkor MD 45/2
11-15-2011, 04:05 PM   #154
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Picture from car show during Downtown Rolla, MO SummerFest 2011.
(Pentax MX, Pentax-M 40mm f2.8 pancake lens, Kodak Tri-X 400, Rodinal 1+100 stand 1 hour, scanned with Epson V500)

-Joe-

(EDIT: Got ANR glass for my Epson V500 & re-scanned this negative.)


Last edited by k0og; 11-22-2011 at 03:42 PM. Reason: Got ANR glass for my Epson V500 & re-scanned this negative.
11-16-2011, 08:54 AM   #155
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Joe, that's an excellent car pic. I haven't tried stand developing, I suppose I'm a pretty conservative guy when it comes to development... D-76, and for excitement, I try xtol




Fomapan 200, Yashica T4
11-16-2011, 10:27 AM   #156
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Jussi,

Thanks for the encouragement!

I think I will abandon stand development. I have had some instances of uneven development, but not always. So I tried semi-stand (agitate halfway through, and cut the time in half), and regular agitation, both using Rodinal 1+100, and get more even results with both. What I like about stand for an hour is that I'm lazy and it gets tedious agitating every minute or two using regular formulas. I think I'll compromise with a semi-stand method to pamper my laziness, yet get better results.

You blew up your face so I can't see you in your picture Jussi!

-Joe-

QuoteOriginally posted by Nesster Quote
Joe, that's an excellent car pic. I haven't tried stand developing, I suppose I'm a pretty conservative guy when it comes to development... D-76, and for excitement, I try xtol


Fomapan 200, Yashica T4
11-16-2011, 10:42 AM   #157
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QuoteOriginally posted by k0og Quote
Jussi,

I think I will abandon stand development. I have had some instances of uneven development, but not always.

-Joe-
Same here. More so the larger the negative is. I also found a semi-stand results in more consistent results. I also tried a stand development that has more initial agitation and I also agitated at the 1/2 and 3/4 hour as a test. It resulted in much better results too but a little over cooked so I bumped up the rated EI and that helped.

But the gem of stand development for me is when I'm lazy and want to develop different film at the same time. And for my regularly used developer, PMK Pyro, I take lazy to it too. On a trip where I may shoot 400TMY and 100TMX on that day, I'll shoot 400TMY at N-2 and can then develop it with the 100TMX using the same dev time.
11-16-2011, 11:26 AM   #158
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Pentax MZ-S with M50 1.4 lens

11-16-2011, 03:47 PM   #159
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Ricoh xr-p, Vivitar 24mm f/2.8, film purposely left out
Home scanned at 1200dpi with Canon 8800F flatbed

These pictures are posted in How to improve scanning with flatbed in film processing forum. If you have suggestions to improve flatbed scanning, please visit the link to Film Processing forum thread.

Cheers,
Hin
11-17-2011, 04:12 AM   #160
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Fuji Acros 100 in Fomadon Excel (Xtol) - Zeiss Ikon Ikomat 520 7cm Tessar, uncoated
11-17-2011, 11:08 AM   #161
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QuoteOriginally posted by Nesster Quote


Fuji Acros 100 in Fomadon Excel (Xtol) - Zeiss Ikon Ikomat 520 7cm Tessar, uncoated
Hi Nester, I never ask what scanner you use for your home scan. Please share with us.

Cheers,
Hin
11-17-2011, 11:59 AM   #162
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Hin, I use an Epson 4490 with the Epson software. Unfortunately, I can't locate it currently after we moved house It's gotta be in some box somewhere.
11-17-2011, 12:46 PM   #163
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Pentax ME, M20/4, Ilford HP5+
11-18-2011, 11:29 AM   #164
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shot with the fantastic MZ-S and the sigma 28-105 2.8-4.5
11-18-2011, 02:37 PM   #165
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QuoteOriginally posted by Macario Quote
shot with the fantastic MZ-S and the sigma 28-105 2.8-4.5
Interesting picture. I like the deep contrast and composition.
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