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02-21-2010, 06:45 PM   #2311
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Pentax Spotmatic SP1000, Pentax Super Takumar 50mm f/1.4
Tri-X at 100, D76



Canonet QL17 GIII, 40mm f/1.7 at f/16
TMAX P3200 @ 3200, D76



Last edited by Fixcinater; 02-21-2010 at 07:15 PM. Reason: Correcting shot info
02-21-2010, 07:41 PM   #2312
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QuoteOriginally posted by Fixcinater Quote
[CENTER]
Pentax Spotmatic SP1000, Pentax Super Takumar 50mm f/1.4
Tri-X at 100, D76

Simply Fantastic!
02-21-2010, 10:30 PM   #2313
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Me and my $5.00 camera

Ok, these I made with my new to me Ricoh SLR with the sears 50F/2.0 and 99 cents film. PP done by Walgreen's and thus are crazy over saturated. Still, I rather like them.

My boy shooting a bird




Marina del ray lagoon


Fishing


02-22-2010, 07:12 AM   #2314
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Fomapan 400, Fomadon Excel (Xtol) undiluted, FA 43/1.9, ZX-L

02-22-2010, 08:10 AM   #2315
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Nice shot Jussi, I like it.
Here's a couple of shots from my first ever roll of Tri-X:



02-22-2010, 09:23 AM   #2316
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QuoteOriginally posted by MeFirstO Quote
@Tuco: ... i'm sure the medium format helps a bit with the sharpness and gives a bit room for getting the right tones, but you must have perfect kowledge of the craft (that is... the craft behind the art).
Why thanks. Far from perfect knowledge I can assure you of that. The larger negative helps with clarity but you can still can get excellent BW tones from a smaller negative too. There are many factors that go into the end results but two significant ones are adjusting the picture in the graphics editor and exposure assuming, of course, you have nailed down your development times to produce a good negative.

I use a one-degree spot meter for most of my work. That my be inconvenient for action shots but you get to decide just where the tones of a scene are placed. So when it's time to edit the picture, I know what zones I targeted and adjust the picture to be representative of those key values. I think that helps. But YMMV. For me, that is where the joy of photography is. When I shoot my automagic digital k-7, I feel little reward in the outcome of the picture because the camera did everything but the composition.

Last edited by tuco; 02-22-2010 at 09:33 AM.
02-22-2010, 12:21 PM   #2317
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QuoteOriginally posted by Nesster Quote


Fomapan 400, Fomadon Excel (Xtol) undiluted, FA 43/1.9, ZX-L
That's nice!
02-22-2010, 01:00 PM   #2318
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QuoteOriginally posted by Agnostic Quote
That's nice!
I agree it is excellent. I also thought he was channeling you with that shot!


02-22-2010, 02:36 PM   #2319
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Guhhhh, the apparent simplicity of BW development managed to kick my butt again. I was developing two rolls of Neopan 1600 in stock Xtol -- that should be 5:45. Around the 3 minute mark I realized I hadn't done anything to the developers temperature, quickly measured it (23c), consulted Ilford's temperature chart that I had, found my place (4 minutes) and had about 5 seconds to dump the developer. The rolls looked pretty OK actually, though I don't know what a higher temperature might do to them.

I also developed two 120 rolls of Foma 400 shot with my new Braun Gloria. Guesstimated exposure mostly. At least the second one was mostly a lost cause, but that's because I was trying to see if the camera's slowest exposure with the widest aperture was enough at all for our town center at night. It's not. The first roll seemed okayish, which is surprising actually since I shot the first four shots or so thinking I had 100ISO film in the camera...

I'll try to scan the Neopan tomorrow and see if there's any good shots there. I don't have a scanner for medium format, however.
02-22-2010, 03:29 PM   #2320
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02-22-2010, 03:33 PM   #2321
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QuoteOriginally posted by brkl Quote
...quickly measured it (23c), consulted Ilford's temperature chart that I had, found my place (4 minutes) and had about 5 seconds to dump the developer. The rolls looked pretty OK actually, though I don't know what a higher temperature might do to them.
That was a good save. I bet that was a bit of a fire drill. You should be in good shape. Fuji's Neopan data sheet shows that time as valid and in which case you really shouldn't notice the difference. Some film/developer combos need a minimum time for best results.
02-22-2010, 04:17 PM   #2322
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So is there any effect on graininess and such? I guess I'll find out. It would be a whole lot simpler to just adjust to the temperature of the room instead of getting the developer to 20c.

Oh yeah, is Foma 400 supposed to be blue?

tuco, what's your whole process like? Sounds like you follow the zone system at least. When I first heard of it it seemed a bit pointless and cumbersome, but it's starting to sound pretty good now for getting some stability in my results.
02-22-2010, 05:48 PM   #2323
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QuoteOriginally posted by brkl Quote
So is there any effect on graininess and such? I guess I'll find out. It would be a whole lot simpler to just adjust to the temperature of the room instead of getting the developer to 20c.

Oh yeah, is Foma 400 supposed to be blue?

tuco, what's your whole process like? Sounds like you follow the zone system at least. When I first heard of it it seemed a bit pointless and cumbersome, but it's starting to sound pretty good now for getting some stability in my results.
What little I know about increased development temperature is it is suppose to yield equivalent results with shorter time if you stay within the ranges posted. But there is usually a recommended temp. I've only increased the temp a couple of times because the water was warm and I didn't notice any difference. I know a guy online in a hot region that regularly develops at increased temp in the summer rather than try to cool down the water. His results look fine.

I know fomapan 100 base is blue from a few rolls I tried. So I suspect 400 would be the same.

My process? What do you want to know?
02-22-2010, 11:10 PM   #2324
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As promised, I shot a roll of Acros with my 67 and I finally got motivated to develop my first roll of film at home. I had developed 10+ rolls of film about 2 years ago in my sisters darkroom with a lot of help from her, so this was my first roll I've done myself.
I read a few interesting thing about Fuji Acros and Diafine, so I figured I would give it a whirl.

I made a few rookie mistakes and the negs came out really thin ( I exposed the whole roll at EI 50) and there was a long purple streak along the bottom of the entire roll, which I cropped out. I think this was from leaving the little sticky bit that hold the film to the backing on the film while developing.
There are also lots of dust specks o the neg( I think I need to rewash the film.

Pentax 67, SMC 45mm @f/16, Fuji Acros developed in Diafine.



Swift1
02-22-2010, 11:19 PM   #2325
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Hand-colored black and white. Taken on MZ-S with 28-105 zoom.
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Last edited by bkpix; 02-22-2010 at 11:22 PM. Reason: change photo resolution
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