Chris Autio

On 6/25/2023 at 3:49 AM, Niels - NHSN said:

If you follow the numerous reports on online forums for the 3 mentioned systems, you will find many opinions for and against for each. Both with regards to usability and evenness of development.

I firmly believe that they can all be adequate if you give yourself time learn the idiosyncrasies unique to a given system.

I am also sure that I would fail desperately if I were to do tray development of film - yet I know many are very successful doing that.

I bought the MOD54 as my first system because I already owned the required Patersson tank and after a little experimenting, I now get as evenly developed negatives as I could wish for and therefore see no reason to change.

I now use the same development method I also use for 35mm and 120  (although I develop 35mm and 120 in steel tanks) to make things simple:

1: Presoak ca. 2min - same temp as developer.

2: HC-110 1:50 20ºC (FP4+ 10min. HP5+ 8min.) "Figure of 8 inversion" 5 times at start and 3 every minute followed by a firm tap. - difficult to explain the exact movement, but that is what makes development methodology so hard to communicate.

3: Water stop - Filled and emptied twice.

4: Fix (ADOX Adofix according to bottle instructions 1:7)

5: Ilford Minimum Water Usage  wash method: https://www.ilfordphoto.com/wp/wp-content/uploads/2017/03/Reducing-Wash-Water.pdf

6: Dip in Reverse Osmosis water (demineralised water) with a drop of Fujifilm Driwel.

7: Dry

 

Even though my $88 Sybersync brand trigger is charged (the transmitter…), it will not fire when I most need it. It quits signaling when I enter into new locations for a shoot.  Sometimes it will start working if I pull out all connecting wires and turn off transmitter.  I say “how ridiculous” but there must be reason it fires and a similar reason it doesn’t fire. I certainly pat myself on the back for always having a dependable sync cord.

5 hours ago, rodeo_joe1 said:

Photoflo' in the presoak, or added to the developer, can actually provoke foaming. I'm not a fan of using such stuff until the final wash

One more afterthought, and this came from a colleague in the photo dept and student newspaper, was that remaining photo flo from previous photographers 1) overused Photoflo (all is needed is two - four drops per tank) and 2) did not wash tank thoroughly when done….leading to foamy developer next development.

I have always given film a water presoak. A professor suggested this after I encountered similar bubble marks. Don’t be surprised or worried by the purplish color that then comes from the soak. Another factor that may or may not allow for such foam markings to occur is how you spool your roll, whether the emulsion side of film is snug against your reel. After a knowledgeable post in this forum said to AVOID this also helped even out my development. 

Fantastic! Really like this idea of reutilizing a camera like this for a mural print. And having the wit to slip inside camera the filtering. 

AJG, very good to know. Eyeing a Rodenstock 150 lens because my shutter on my Caltar 135 quit working on 1/4,1/2 and 1 sec. My recessed board on my 75 mm lens makes it very difficult to change shutter etc. I believe I can cut up 4.25” square plates for camera from masonite. (Which I have done for a fabulous ebay purchase of a 150 lens for my Beseler)

Thank you. Here is what is listed for lensplate hole for #1,2,3 and 3s. 

Thank you. Here is what is listed for lensplate hole for #0, 1, 3 and 3s. 

 So it does seem to correlate with lensplate hole. For my Toyo, I can only use #0

What is copal? If it refers to diameter of lens plate hole, I have for my Toyo a 40mm as well as a wooden plate that gives it a 32 mm hole. 

I’ve included only a few of the 40 in exhibition. Q was correct in understanding the content/form post. Which is an age old question in art philosophy. Anyway, apart from the bantering that ensued, I think the body of work was successful ONLY in that each piece was successful and strong enough to hang. In making the work, I thought first of composition, then story, then value, then warmth or coolness when oil coloring. Often, I colored only 1/2 of work, allowing values within composition to reign.

After a few mornings out in the field, this particular lens’ shutter speeds all failed. I will have to send it in to get repaired. Meanwhile I have been shooting with 75mm. Processing HP5

Be sure to use distilled water when making the pyro. I really like pyro, and some enthusiasts use it exclusively. 

I have two loupes, 8x and 10x, neither of which focus on the light table or 4x5 screen.  I have to hold them out about an inch from the surface. What's the deal?