nige_buddy

<p>Paterson reels have been used successfully for decades, so no need to buy new stuff straight away...<br> <br />There are few tips to make it easier, as mentioned they need to be dry. If you do dry them with a hair dryer, let them cool before attempting loading a film. Humidity is also problematic, especially if you are using a dark bag to load in. If using a dark bag, put a box in and stand it on it's side to keep the 'roof' of the bag up out of the way. If you do have trouble, try turning the film around and start from the other end after removing the backing paper and folding the tape that held it on over onto the film (gives it a little bit more strength).</p>

<p>I have the exhaust fan (light proof, Doran brand I think... pushing the memory a bit) in the roof above the back of wet area and a light proof vent in the door (down low). The theory is the fan sucks the air/fumes up the wall and away from the trays. Seems to work, standing at the sink I can't smell the fixer. I also have a portable A/C that is vented (the hot air exhaust) into the roof.</p>

<p>I'd interpret it that the fog cleared during the morning</p>

<p>if it keeps taking more pictures than the length of film should, more likely you haven't loaded the film correctly (hasn't caught in the take up spool) and you'll have no pictures at all. What camera, some give hints that there's film inside.</p>

<p>set meter to 1600 then exposure compensation to +2... develop normally :-)</p>

<p>generally I have a decent 'eye' for setting the easel but sometimes use a ruler and measure from horizon to easel edge. I've always just done it without any marks but Stephen raise an interesting technique that I hadn't considered and will employ, however I'll use the back of an old print in the easel to draw on.</p> <p>Also, you can open the lens up and/or remove filtration to be able to see what your doing better. Just remember to re-apply! </p>

<p>the temp changes the developers activity... higher temp more active, more contrast. Lower temp, lower contrast. Altering time based on temp compensates for the temp based activity change.<br> Overdeveloped film can have highlights (the dark areas on neg) with no detail. Under-developed, the tones may not have enough separation. If you over develop too the point that your highlights have no detail, there's nothing you can do to recover when printing. Different grade paper (or using VC paper and filters) allows you to 'rescue' the situation somewhat but the range is limited (grades 0-5, less if using a colour head). <br> Remember that shadow detail is controlled by exposure... highlights controlled by development...<br> So, Expose enough, and develop just enough...</p> <p> </p>

<p>I'll start by saying you've scanned at a resolution (4000dpi?) that is going to pick up every bit of grain of what is fundamentally a grainy film. I'm guessing that it also wasn't processed to suit (unsuitable developer??, for not long enough??). Not used much of the stuff, but it's really anISO1250 or thereabouts film that needs extra development to give enough contrast if exposed @ 3200. Shadow detail will be minimal.</p>

<p>I had something 'a little similar' occur when putting some 120 film thru a 620 Box Brownie. However without looking at the negs (at work at the moment) I can't remember if it was dark or light lines. The prints where the opposite :) When I do this I file down the edges of the 120 spool so it fits in the camera but on this occassion I didn't take enough off and it was hard to wind through the camera. Most frames had lins across the frames like these however they were not so close and numerous. The tension on the film going around the film path caused the film to be distressed which shows up. I'll have a look tonight to see if it was added density or not.</p>