Show us yer film shots then!

While you had carp weather last week in the UK, it was not less than 30c in the day and 25c at night in Ibiza:-

Sigma 24mm Reala Asda dev and scan
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Nikon 90X, 24mm Sigma, Fuji Superia 200Asa.

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I've not developed any 35mm yet, so took advantage of the bank holiday to give it a go. Bloody hell those rolls are long! The Super A also managed to get 38 frames from the roll, so had some fun fitting them in a single negative sleeve :)

Pentax Super A, 1.7 50mm, Neopan 400 in Rodinol

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Cuchulainn said:
I've not developed any 35mm yet, so took advantage of the bank holiday to give it a go. Bloody hell those rolls are long! The Super A also managed to get 38 frames from the roll, so had some fun fitting them in a single negative sleeve :)

Pentax Super A, 1.7 50mm, Neopan 400 in Rodinol

20110901110716_scan-110829-0020.jpg
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The grain looks good in the rodinal for a 400 iso film. Did you use 1:25 or 1:50 for it?
 
Cuchulainn said:
I've not developed any 35mm yet, so took advantage of the bank holiday to give it a go. Bloody hell those rolls are long! The Super A also managed to get 38 frames from the roll, so had some fun fitting them in a single negative sleeve :)
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One of my secret (if small) pleasures of film photography is those extra freebie exposures. I occasionally get 40 exposures. Now matter how bad the shots are, it makes that day a good one.

Maybe I should try half-frame cameras!
 
Cuchulainn said:
1:25 for about 6:30 at 20 degrees. Technically it's the newer R09 version of Rodinal.
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Thanks. From what I understand its much of a muchness with rodinal, at least as far as I have read. I got a little bottle to try out for some legacy pro 100 and am interested to see how it goes. I also have some Tmax 400 and HP5+ to do too but I think I may stick with ilfosol for at least the HP5+, I am worried about the grain getting a little big.
 
offline said:
One of my secret (if small) pleasures of film photography is those extra freebie exposures. I occasionally get 40 exposures. Now matter how bad the shots are, it makes that day a good one.

Maybe I should try half-frame cameras!
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I think there was a thread once about "show us your frame 0 (or 00)" shots...

Especially with a compact 35mm camera, you can often get a few extra shots - it's not something that happens on my EOS-3 though - 36 shots, all spot on the same place on the film every time (helps when you pull the film half way through to change to a different one, then re-load the original later though I suppose)
 
I now frequently get 38 or 39 frames out of my M6. The loading mechanism really seems to help get the most out of a film. I am claiming back the cost of the thing a few frames at a time!
 
yeah - but have you a filing cabinet with 2500 rolls of 35mm still to develop tucked away :LOL:
 
I'm finally getting around to scanning film shot over the summer..

Yashica D with Fujicolor Pro400H, Beelitz-Heilstätten near Berlin..




Ensign Selfix 420 with Kodak Ektar 100, Tierpark Berlin..

 
Alastair said:
I'm finally getting around to scanning film shot over the summer..

Yashica D with Fujicolor Pro400H, Beelitz-Heilstätten near Berlin..

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Love that first one! Fuji you say? if it wasn't for the greens out the window I'd have said Portra!
 
Portrait of my 13 year old cousin.
Taken with a Mamiya C33 with HP5+.

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This is a test shot of "minus-x" development using PMK Pyro. It is a pretty radical highlight compression method. Basically you place the low values of the scene, add 3 stops of exposure and cut the development time in half. I was looking for a scene with 15+ stops of light but didn't find one. I walked by this establishment and it looked dark inside so I asked if I could take a shot and they agreed.

This is T-Max 400 shot at f11 and 4 seconds to give you an idea how dark it was in parts of the inside. Normally it would be 1/2 sec for the selected exposure. Middle gray was placed at EV6 (zone 5). The girl's jeans measured EV4 (zone 3) and the bright concrete outside EV15 (zone 14). The negative seemed about a stop or so thin. I'm going to try adding more development time to this method. The grain was fine and seemed the same as a normally developed roll of 400TMY. I'm going to keep looking for a scene with even more light to try it out on.





400TMY, f11 @ 4 seconds

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AlanSmithee said:
This is a test shot of "minus-x" development using PMK Pyro. It is a pretty radical highlight compression method. Basically you place the low values of the scene, add 3 stops of exposure and cut the development time in half. I was looking for a scene with 15+ stops of light but didn't find one. I walked by this establishment and it looked dark inside so I asked if I could take a shot and they agreed.

This is T-Max 400 shot at f11 and 4 seconds to give you an idea how dark it was in parts of the inside. Normally it would be 1/2 sec for the selected exposure. Middle gray was placed at EV6 (zone 5). The girl's jeans measured EV4 (zone 3) and the bright concrete outside EV15 (zone 14). The negative seemed about a stop or so thin. I'm going to try adding more development time to this method. The grain was fine and seemed the same as a normally developed roll of 400TMY. I'm going to keep looking for a scene with even more light to try it out on.
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That's very cool. What developer is PMK Pyro? Never heard of it before. So you exposed as if the girl's jeans were in zone 6?
 
From my first ever self developed roll, aside from a few drying marks I'm pretty pleased with the results! Ilford Delta 100 in ID11 1+1 shot through the trusty Hexar AF:

Walking the tree:
ZBNvv.jpg


pDTbq.jpg


Dghsk.jpg

(Just testing out the bokeh on the lens)

KqXKO.jpg


jOTkf.jpg

My favourite shot on the roll, love how part of the London skyline has been reflected on the window.
 
Cistron said:
That's very cool. What developer is PMK Pyro? Never heard of it before. So you exposed as if the girl's jeans were in zone 6?
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PMK Pyro is in the staining/tanning class of developers. In the days of wet prints, these kind of developers were effectively used for printing where you could burn/dodge by using filters on the enlarger. For example a #0 filter could be used to burn in the highlights without affecting the shadows and the other way around with a #5 filter with a cold light enlarger. The resulting stain on the negative enabled that.

I set my spot meter to EI50 to meter the scene which took care of that adding 3 stops to your exposure part and metered the low values selecting zone 3 to be the gal's pants and behind here back in the dark area measured EV3 (zone 2) which on a larger size has detail and so does the concrete. So that made zone 5 EV6 which the exposure was based on.

You can imagine taking 400TMY out into the sun with an exposure of 4 seconds at f11 how over exposed things would be. But yet the outside the window is not too bad. I'm looking forward to trying it out on a more interesting scene.
 
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One from the archives recently scanned: Spain, November 1989, with a Canon AV-1 and 50mm f/1.8


Montefrio by cybertect, on Flickr

Edit: my brother has rightly pointed out this is Montefrio, not Montefiore.

20 year old scribbled note was wrong :)

Caption amended.
 
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Joenail: love that portrait. Nice work.
Fruitflakes: All your subjects are shot from behind. The impression this gives is a sense of reservation, perhaps fear of being seen. The last picture is the most intimate, and for me the most interesting. The rest leave me a bit cold.
 
Yeah I'm not too fond of the other shots. Your first shot seems to suffer from that same reservation though. ;)
 
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Its not an easy thing to be comfortable shooting strangers in the street and have them know you are doing it.
 
A few from recently, Nikon FE, Ilford XP2 - Nikkor 50mm 1.8 or Tamron 19-35mm

1 - Just love converging lines (Clifton Suspension Bridge)
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2 - A Moroccan friend in my local bar (not sure what happened to the negative - but this is as it came back from development)
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3 - The family mutt
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4 - A portrait of my mum
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5 - A hidden gorge near Bristol
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6 - The reverse view, showing the Folley
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@FruitFlakes - I really really like that lost shot as well. As for the comment on all being behind the subject, I do that a lot as well, it's extraordinarily difficult to do get in front of them sometimes, whether it's your own personal reservations, practicality or that gut feeling that you shouldn't.
 
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