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You might try a wetting agent, a couple of drops of washing up liquid does it for me.
I thought the stabiliser had a wetting agent 'built in'? But maybe not. Is the Ilford stuff I use for B&W the same thing?
You might try a wetting agent, a couple of drops of washing up liquid does it for me.
I thought the stabiliser had a wetting agent 'built in'? But maybe not. Is the Ilford stuff I use for B&W the same thing?
CHP plant at Royston near Barnsley shot on a Bronica ETRsi, 75mm lens, using 3 Metz CT-60 flash heads onto Portra 400 film.
I really enjoy this series of industrial shots. It would be interesting to know the circumstances under which you make them, eg are they taken at your place of work and do you have any difficulty getting permission, or indeed are you commissioned ?
Hi Kevin,
Glad you like them!
I'm commissioned to do all the industrial pictures that have been shown, so there's never a problem gaining access to the sites.
Here's another one taken at Riccall Mine in the Selby, sadly now closed like a lot of British industry.
View attachment 15283
Couple of recent shots from a roll of Lucky 100
Tate Modern 2-2 Nikon F100, Lucky 100 by Raglansurf, on Flickr
Tate Modern 2 Nikon F100, Lucky 100 by Raglansurf, on Flickr
how did you get permission to use a camera and flash down there ? though they would be worried bout the risk of gasses being set off by a possible spark that close to the face
Yes, you're quite right. My brain didn't make the leap between colour images and colour processing, sorry tired! I would however try to avoid the squeegee, the wetting agent will work best if allowed to run naturally.
Scuse my ignorance but what's FLP?
Another couple from the test roll I took of Shanghai GP3, on a Yashica Mat.
View attachment 15291 View attachment 15292
Hi Dave,
I just rammed my fingers in my ears and closed my eyes...
All the flash guns are FLP and enclosed in a sealed steel casing with a thick glass front to let the light out. They are set to full power and have no cables to the camera and weigh about 50 pounds each. The camera is mechanical.
How are you finding the Shanghai? I was tempted to buy some (saw ten rolls on eBay for about £17.50) but then read a load of horror stories about numbers and dots on the negatives and it put me off.
I had no complaints at all about the roll I shot. I also read the stuff about the dots, and followed the advice on the Flickr GP3 group to pre-soak. (Well, pre-wash. The idea is to get rid of the anti-halation dye, not to soak the gelatin.) I washed it twice with a few inversions in 20 degree water. No dots/circles to be seen. It's possible the batch I bought has a different backing paper to the older stuff, too, but I'm going to keep washing anyway.
It also wasn't nearly as curly as I was expecting - it did curl more than Ilford, but it's not like it curled into a ring the second I let go or anything.
For £17.50 for 10, I'm very happy. Definitely going to buy more.
How are you finding the Shanghai? I was tempted to buy some (saw ten rolls on eBay for about £17.50) but then read a load of horror stories about numbers and dots on the negatives and it put me off.
Hi Kevin,
Glad you like them!
I'm commissioned to do all the industrial pictures that have been shown, so there's never a problem gaining access to the sites.
Here's another one taken at Riccall Mine in the Selby, sadly now closed like a lot of British industry.
Quality work Asha, I love both the mirror and the table shots, great tones and contrast.
Liking 3 and 5 there Asha!
When I had a linear smudge on my negs like that, it was caused by the light seals disintegrating and wrapping themselves around a film roller, which dragged the emulsion when I wound on.
Absolute disaster today. Firstly I managed to not screw in the light trap on the tank properly, and promptly exposed a roll of 120 to the light when the trap fell off mid-pour. Then I took the Kershaw folder out. I managed to a) wind past frame 1 b) massively underexpose three c) take three shots with the struts not fully locked so they were out of focus and vignetted and d) double expose. 8 potential shots, zero keepers. The double exposure was probably the best of the lot . . .
Ah, well, you live and learn.
View attachment 15490
This one I might have liked, but it was one of the underexposures. It's a credit to film's latitude, though - there was hardly anything at all on the negative that I could see, but Lightroom managed to pull this out.
View attachment 15491
I processed the first roll I've shot on the Rolleicord this weekend using a Tetenal C41 kit and a rotary processor. It was Portra 160 (assume NC as it wasn't marked?). I'm generally happy with the results, although I seem to be struggling with the focusing - still getting used to the waist level finder. The only niggle is a very light yellow streak that seems to run through most of the film. The attached file is the worst one, probably because of the colour 'behind' the streak. My first guess is a light leak, but I can't see any obvious issues with the 'cord, and I was really careful handling the film, keeping it tight etc. I've been using the camera without it's case, if that's worth mentioning.
Any suggestions?
View attachment 15484