dave_whitehead1

Don't know anything about consumer law in the USA, but here in the UK when you buy something, your contract is with the seller or retailer NOT the manufacturer. Its up to the guy you bought it off to sort it out. This means you don't have to run round like an idiot trying to get a massive worldwide corporation to take any notice of you. As I say, things may be different in the USA...............

I normally use Pyro PMK with this film, but you need to expose it at ISO64. I have found Ilford LC29 @ 1+19 for 6 mins 68F works very well. Grain is visible but so is a full range of tones. I have also found that this developer allows "full" film speed. ie - I can set my meter to ISO125.

You lucky person! We have nothing quite like those locations here in the U.K. Anyway, let me agree with the chap above and advise you to steer clear of Pan F. Slower films are naturally more contrasty and, although its a beautiful film, Pan F will bite those who have not learned how to tame it. As regards exposure - be careful! Never forget that the meter is telling you what to set, to render whatever you're pointing it at, as a zone V tone on film. (Phew!) Snow, of course, is white. That's why people are suggesting you open up a stop or two from the metered reading. You could use the grey card method of exposure, although this too may take a little practice. As you're not setting off until the end of November, Why not check out a copy of "The Negative" by Ansel Adams. Read the section on exposure. Enjoy your trip!

Hi Jay. I offer the following thoughts: If the problem lay with your agitation, I don't think you would describe the effect as "fogged". I might be wrong of course and I can just make out some surge marks through the sprocket holes. If your problem was a light leak in the camera, the effect would look different than this. If it was a light leak during spiral loading, the effect would also look different, with fogging across the entire frame. Here is a problem I often encounter with my students' - inadequate fixing. The bit of the film that is up in the spiral groove gets to clear last in the fixer. You don't mention any details about your fixing above. In my experience, most people seem to just take the fixing stage for granted. (With prints as well). The "fogging" you are seeing, MAY just be sections of un-cleared film. One way to find out - pop it back in the fixer. You can do this - it's no problem it won't ruin the film any further. Let us know how you get on. Good luck.

 

Dave.

Get into training. Do some weights, pump some iron! The big Patterson tank takes 8 rolls of 35mm or 5 rolls of 120. Last weekend I had 5 rolls of 120 from a nude portrait session. I used my large tank. I dev in Pyro PMK. This requires 2 inversions every 15 seconds for 8 minutes! A full tank takes 2.5 litres of dev and boy, it 'aint for the weak of limb! The results..... perfect. Just as if I had developed each roll individually in a small tank. So, apart from a bigger set of biceps, you don't need to change your technique. Good luck.

Keep using Ilford and support them. However, if the worst happens, try products from Forte. It comes from Hungary. Everyone thinks it's cheap, nasty Hungarian crap. Its not. Their Polywarmtone FB paper is nothing less than beautiful. Slow, (about 1 stop slower than Ilford) but beautiful. Their films are like Ilford films were in 1980. I use both Ilford & Forte products. Keep buying Ilford. I don't know about Forte availability in the U.S. Here in the U.K. you can get it from Silverprint. (www.silverprint.co.uk) You can also get Ilford products from Silverprint...........

Hi Missy. Andrew's point is a good one. Again, no disrespect intended, but many people cannot tell the difference between overexposure, and overdevelopment (and vice-versa). Don't forget, the exposure index and times are start points only. I use FP4 plus as my "main" film. I think it's the best film on the market. I set my meter to 64ASA and develop it for 8 minutes in Pyro PMK. One of the things that people constantly fail to grasp about Black & White photography, is that just because this works very well for me - doesn't mean it will work for you! How about trying some testing? It's boring and you get no useful pictures out of it, but you do get lots of very useful information. Try Ansel Adams' method described in "The Negative", or search this forum for an exposure/development test. I have a very good one. If you get in touch with me, I can e-mail it to you as a Word document: david.whitehead@ntlworld.com FP4 is a quality film and you will be very pleased when you get the best out of it.

Hi Paul, I just found your question. I'll double check in my copy of Ctein's book, but once you pull the print from the neg, it IS processed. All you have to do is clear it in a sodium sulphite solution, wash it and dry it. The information on how to do this can be found on the Polaroid web site. I use Type 665 P/N and Type 55 P/N pretty often - but not for making contrast masks! While I check out the Post Exposure book, you check out www.polaroid.com and I'll get back to you.

Pyro PMK. ISO64 7.5 minutes @ 24'C small tank two inversions every 15 seconds.

Ron, I'm no computer freak but I had a few problems with Direct CD myself. I had no problem writing the images to the CD, but only the writer would read them. The read only drive would not. Here is what I do: After scanning, I work on the image in PS7. Then I name it, save it and close up. I then format a disc in Direct CD, and use Windows Explorer to "click & drag" the file(s) across. Then I eject the disc and am presented with several options. I choose to save so that ordinary CD-Roms can read the image. (Mine woudn't at this stage). Then I put the disc in again and write a copyright statement onto it. (A Word 2000 file). Upon eject, I then close the disc to further writing. (Phew!) But it works. My reader will read it and so will others on other computers. Like I say, I am no computer buff, and I am new to digital, but this works for me.

Robert, I take it you have acted upon the above answers by now - sorry, I've only just seen your question. You have already been given some very good advice. FP4 and PMK are my "standard" combination. This goes from 35mm to 5" X 4". I rate it at 64ASA and dev @ 24'C for 7.5 minutes. (This is my "N" time). Do try and get the Book of Pyro - it is an invaluable work on the subject.

 

Dave Whitehead. UK.

P.S. - Steer clear of acid stop baths, use plain water. Anything else I can help with - get in touch.

Anne, I develop 5" X 4" sheet films in trays, in the dark, and in Pyro PMK! Here in the UK, there are not many tanks to be had. I know one or two people who use a Jobo with constant motorised agitation, but I have never had any problems using a tray. Get yourself an audiable timer though! Enlarging lenses? I use a 150mm Rodenstock so this is the only one I can recommend. I have no experience with a 135mm.

As you are at an early stage, experiment a bit and find what suits you. For example, for the life of me - I cannot develop more than one sheet at a time in a tray. I always scratch them. But some people can do six at once! Stick with it and good luck. Let us see some of your 5" X 4" work in the gallery!

Mike, here is the method I use. It's a bit fiddly, but you will soon get a feel for it. Once you have done, you will probably be able to estimate the amount of extra exposure you will need to give for a given extension. (In terms of stops). Anyway, you need a tape measure and a pocket calculator. At infinity focus, you should find that the distance between the lens and film standards is the same as the focal length of the lens you are using - no compensation is required. As you focus closer, you have to rack the bellows out. Let's assume you are using a 150mm lens. Focus on your subject, then measure the distance between your lens and film standards. Again, let's assume this distance is 200mm. MULTIPLY this by the APERTURE indicated on your light meter. So, if the indicated aperture is f22, multiply 22 X 200. This gives a figure of 4400. DIVIDE this by the focal length in use - in our example 150. You now have a figure of 29. F29 is, in fact, f22 and one half. This is the exposure that is going to reach the film - as if you underexposed by one half stop. So you must compensate - by opening up the lens - by half a stop. So your bellows extension has taken half a stop of light off you. Your new aperture is now f16 and one half. Sometimes though, the new aperture is no good to you because of your depth of field requirements. If you can't achieve adequate d.o.f. using movements, don't overlook the fact that you can simply re-cock the shutter and fire it again on the same sheet of film, to achieve adequate exposure. This is something I do time and again for commercial studio photography. It is not uncommon for me to give 4 or 8 "hits" onto the same sheet of film.

Jason, I hope you take the plunge and get into 5" X 4". Don't overlook using Polaroid Type 55pn. The PN stands for positive/negative. It will give you a proof print AND a negative. I have found these negatives give beautiful results. (Do be aware though that the negative is about one half to one stop SLOWER than the print!). Get a Polaroid 545i back. The film comes in boxes of 20 single sheets. These are loaded individualy (as stated in your first answer). The "sleeve" acts as a darkslide. Don't worry about light leakage - I have never had a problem. If you want to use the camera out in the field, the 545i back will let you take the exposed film out without processing it. You can re-insert it back at home and "pull" it to develop it then. Full instructions are included with the film. Check out the Polaroid web site also.