Show us yer film shots then!

RB67 @50mm
Delta 100 in 510 pyro

I observed the girl for five or ten minutes, carefully proceed along the ridge below the rock overhang to position herself behind the curtain of water, think she was trying for photos through it.

Waterfall

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RB 67@ 127mm
27 yr old pan f at box in 510 pyro


Some late evening sunset shots


There were not enough sheep in the field so re-positioned and carried out a double exposure

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Goose sheds, I waited and waited for the geese to come into the streak of light at the front of the field but they went the other way.


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Shadows the length of the field My first B&W sunset that I think works

Around Sunset-4.JPG
 
I wanted to make an album/scrapbook which included some of my fim images. I was going to put in individual photos and then write a little piece about each one. Decided to use a sample of snaps from one roll of film and print them onto one sheet of A4 photopaper.
Pleased with my decision.
 

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A Green engine, Victoria Bridge. Wista 45DX, 150mm Sironar N, Tmax100, Rodinal.

I travelled on the foot-plate of The Great Marquess as a teenager, it was hauling a special set of "Gilt Edge Carpets" livery carriages, from Birmingham Snow Hill to Kidderminster, just before the official name change from Carpet Trades. One carriage was a showroom, the other a cinema and meeting room. Both are now in use at the SVR station in Bewdley.

Ian
 
A few images from testing my old stored cameras. All foma 100 or 200 in 110/hydrofen/bellini monobath.

I think the Rollei is now fixed. The mamiyaflex was a nightmare, it wasn't stopping after advancing so spacing and overlapping was an issue. I never realised until I'd put 2 rolls through it. I can just use the counter now I know there's an issue. I'm not taking it apart to try and fix it after doing the Rollei! I missed lots of shots at the mill because of this and a lovely old bedford truck. I'll head there again with another camera and no dog in tow.

Perkeo 1 is also working, so I must've mixed the fixer/developer up last time. I was being pestered at the time.

The mamiya and perkeo both flare at the hint of bright light. I do have hoods for them somewhere. It's been bright but the sun has been behind grey cloud when I took all of these (apart from the waterwheel, the sun popped out as I pressed the shutter) so can't see why they did.

Anyway, they've been tested so I know what to expect. Still a couple to test yet.








 
bumper said:
A few images from testing my old stored cameras. All foma 100 or 200 in 110/hydrofen/bellini monobath.

I think the Rollei is now fixed. The mamiyaflex was a nightmare, it wasn't stopping after advancing so spacing and overlapping was an issue. I never realised until I'd put 2 rolls through it. I can just use the counter now I know there's an issue. I'm not taking it apart to try and fix it after doing the Rollei! I missed lots of shots at the mill because of this and a lovely old bedford truck. I'll head there again with another camera and no dog in tow.

Perkeo 1 is also working, so I must've mixed the fixer/developer up last time. I was being pestered at the time.

The mamiya and perkeo both flare at the hint of bright light. I do have hoods for them somewhere. It's been bright but the sun has been behind grey cloud when I took all of these (apart from the waterwheel, the sun popped out as I pressed the shutter) so can't see why they did.

Anyway, they've been tested so I know what to expect. Still a couple to test yet.








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Looks like you had great day out there Dave, nice pictures of good subjects. (y)
 
Barney said:
Looks like you had great day out there Dave, nice pictures of good subjects. (y)
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Thanks Wayne. It was good to test them out but wouldn’t trust them :ROFLMAO:

Still got a couple to test out, the ricohflex went in the bin. The mamiyaflex shutter sounded slow but soon got up to speed after a few uses.

The sheep were the millers ‘pets’ lol! They wouldn’t move so I basically gave up trying to get a shot. Anyone who knows about sheep will tell you that they are the dumbest animals on four legs:ROFLMAO:
 
Lets step back in time, what qualities should we expect from film, and particularly 35mm.

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A 55mm f18 SMS Takumar wide open, FP4, ID-11 replenished

1782326815383.jpeg

This is maybe 4 years later, Adoox KB14, ;ater sold as Adox 35 ISO.

My point film even 35mm can be on a par with digital. No excuses . . . . . . . . . .

Ian
 
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Ian Grant said:
Lets step back in time, what qualities should we expect from film, and particularly 35mm.

View attachment 485893

A 55mm f18 SMS Takumar wide open, FP4, ID-11 replenished

View attachment 485892

This is maybe 4 years later, Adoox KB14, ;ater sold as Adox 35 ISO.

My point film even 35mm can be on a par with digital. No excuses . . . . . . . . . .

Ian
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Well I never did large B/W prints in the darkroom as too many spot etc..but for 35mm colour film I took a shot with Canon 28mm and superior 200 and my son had a pro lab enlarge it to about 16 X 24???? and what ever tricks the pro did it was fantastic erm well it should be.......framed and cost £100 about 18 years ago.
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Calumet cc400 4x5 with 150 symmar and yellow filter
Fomapan 100 @50 in RO9


img073.jpg


Horse fly bitten shot, not quite happy with sharpness at the front but amazed by detail.
At the left of the leftmost burnt tree that breaks the skyline there is a road (didn't know it was there) with three cars on it.


Burnt Edge.JPG
 
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The joys of large format.
Which summar is this the earlier convertible one or the later fixed one.
What aperture did you use for the shot. As the depth is not quite what I might have expected.
The summar was an excellent lens, I had the first version, but I mostly used it well stopped down.
The angulon of the period had to be very well stopped down while the super angulon was usable wide open for some subject matter but certainly improved a couple of stops down. For architecture, landscape and commercial work these lenses were usually used stopped down. Often to f22 or f32
 
Terrywoodenpic said:
The joys of large format.
Which summar is this the earlier convertible one or the later fixed one.
What aperture did you use for the shot. As the depth is not quite what I might have expected.
The summar was an excellent lens, I had the first version, but I mostly used it well stopped down.
The angulon of the period had to be very well stopped down while the super angulon was usable wide open for some subject matter but certainly improved a couple of stops down. For architecture, landscape and commercial work these lenses were usually used stopped down. Often to f22 or f32
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This is the earlier version which is convertible, I was vacillating on the aperture whether to use a 15th at f22 but the wind was such that I anticipated movement in the foliage of the shot so opted for 125th at f8 which I have just realized on the shutter I put the lens in equates to f5.6.

I did consider not taking the shot at all, but I wanted a tester with the filter and I had shed blood, literally.
 
Barney said:
This is the earlier version which is convertible, I was vacillating on the aperture whether to use a 15th at f22 but the wind was such that I anticipated movement in the foliage of the shot so opted for 125th at f8 which I have just realized on the shutter I put the lens in equates to f5.6.

I did consider not taking the shot at all, but I wanted a tester with the filter and I had shed blood, literally.
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The filter has lightened the grass and put more tone in the sky,usually a yellow green is more effective. For general shots like this.

No doubt you will collect more filters as time goes on.
 
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Terrywoodenpic said:
The filter has lightened the grass and put more tone in the sky,usually a yellow green is more effective. For general shots like this.

No doubt you will collect more filters as time goes on.
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There was a thin haze constantly due to a fire on the moors at Glossop which the yellow cut through quite well, A bit Ironic as I was photographing the contrast between the trees that had previously been burnt in a fire and the survivors, so much so that the side of the hill had been renamed to "Burnt Edge" !
 
Barney said:
There was a thin haze constantly due to a fire on the moors at Glossop which the yellow cut through quite well, A bit Ironic as I was photographing the contrast between the trees that had previously been burnt in a fire and the survivors, so much so that the side of the hill had been renamed to "Burnt Edge" !
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Not that far from me I live in Greenfield.
 
Dynax 7, Lucky shd 50 film

Shot at 25 iso i cannot reveal any detail in the darks with this film never mind the shadows, last weekend I had a day testing this film and to reveal detail in the darks ended up at EI 3 sadly the lights remained at EI 400 ( :) ) with everything blown out I ended up at N-2 and N-3 muddy messes.

This is part of the bulk roll that I bought for about 35 quid, and to be honest that is all its worth. I need to figure out the kind of scenes where this very high contrast film might be usable. I think I learned a fair bit about reducing the EI and reducing development, so the 30 odd quid was not entirely wasted.

BMW R100

R100.JPG
 
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One from Manchester on the way back to the car park.

ETRSi @75mm, spot meter, Hand Held
XP2 @400 in 510 pyro

I spotted the chimney pots mimicking the skyline

Architectural contrast


Contrasts-2.JPG


Edit: Sorry not Delta, corrected.
 
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Barney said:
One from Manchester on the way back to the car park.

ETRSi @75mm, spot meter, Hand Held
XP2 @400 in 510 pyro

I spotted the chimney pots mimicking the skyline

Architectural contrast


View attachment 486164


Edit: Sorry not Delta, corrected.
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Excellent tonal ranges and detail. That is an interesting modern pyro formulation. Better for digitisation than wet printing.
 
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Terrywoodenpic said:
Excellent tonal ranges and detail.
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Thank you for the kind words !

I like the edge contrast and definition of the sky scrapers and the edges of the clouds, about time I had a bit of luck.
 
Barney said:
Thank you for the kind words !

I like the edge contrast and definition of the sky scrapers and the edges of the clouds, about time I had a bit of luck.
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Back in the fifties we got even greater actuance and compensation using Adox R14 or R17 single coated film with tetenal neofin blue. (The modern version of this has been reformulated and gives as slight film speed enhancement)But like the original has a shelf life, once mixed in minutes rather than days or years like pyro.

I was able to shoot and print 3 meter square, enlargements, from that combination, for store window backgrounds, from Rollei negatives,, that looked little different, from the pavement, to those I took on a 5x7 monorail

A compensating developer in this situation closes the gap between the shadows and extreme highlight. The shadows continue to develop long after the developer is exhausted in the highlights. This only works with dilute but active developers of the beutler type. The same mechanism accounts for the strong actuance in the edges.
 
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