james_noel1

I always carry a couple of holders loaded with Ilford Ortho+. It is extremely useful in those scenes which include not only bright sunlit areas, but also heavy shade areas. Since ortho films are sensitive only to blue light, and shadows are blue, the film opens up those shadows.

 

It is also useful for portraits of men whom you want to record as having a "rustic" complexion.

 

Hvve fun with it, I do.

The problem with Golden Dagors is that all it takes is some patience in removing the paint around the rim which reveals the brass and can easily be mistaken for a "Golden". Sadly I have seen this done to increase the price.

Ilford Universal is not the same as Ilfosol. Universal is designed to be used with film and paper at various dilutions.

Since I don't use it for its designed purpose, I can not give you suggested times. Look on the Ilford web site for suggested development times. I believe they give intermittent agitation times. If so, you will need to reduce the time 15-25% for use in rotary devlopment with constant development.

The pin was originally for those lenses mounted on press cameras which were usually fired with a solenoid. The pin kept the shutter from rotating when fired with the solenoid.

 

There is really no reason for them today unless you are using them in the manner first intended.

If your Zone I is not .08-.11 above your fb+f, you need more exposure. In other words a lower EI. When my students do their EI and development tests I ALWAYS advise them to let me see the first few exposures to confirm the test results. It is not unusual for them to be different although all are made in camera.

 

As to development time with 510, your development time is short. After adjusting your EI, Make a series of about 3 exposures on Zone VIII. Develop two of these for 7 minutes and 10.5 minutes. Check the densities, and adjust the development time of the third sheet accordingly. If the VIII density is low, increase the development, if too high,adjust downward. It may be necessary to expose another sheet to finalize this time. I believe your development time is going to be around 12 minutes.

 

THEN - use the new EI and development on some typical exposures, print them by your favorite means and adjust if needed.

 

Good luck

A good guide to learn and remember is the "Sunny 16 Rule".

 

On a normally sunlit day set the aperture at f 16, and the shutter speed at the reciprocal of the film speed.

 

In other words, a film with a rating of 125(do test to get your personal film speed)would get an exposure of 1/125 @ f16. Any equivalent exposures may be used.

 

Heavy clouds and the shade of buildings or trees usually require 1 1/2 - 2 stops more light.

 

Hope this helps get you going. And I agree that being without a meter is a good way to learn exposure. Keep notes.

There is no such thing as film latitude. There is one and only one correct exposure if one is to get full information on the film so it may be fully interpreted in the print.

All the articles about latitude fail to state that over or under exposure eliminates and/or compacts the information on one end of the scale or the other.

That is a Fred Picker viewer made with a Wratten 90 filter. It does not work because the filter is not dark enough.

Peak now carries a good viewing filter which is basically a new manufacture of the Spectra. It works extremely well.

Since there are no frame numbers, the films has not been developed for any one of the reasons already mentioned. The slightest amount of development will bring out the frame numbers.

Just to clarify a perhaps minor point: Kodachrome 64 was a post war product. During WWII Kodachrome had two different emulsions. Daylight Kodachrome had a Weston speed of 8, and Indoor Kodachrome had a Weston speed of 12. I used hundreds of rolls of this beautiful original Kodachrome while in high school during the war. The surviving slides are still beautiful.

Yes, that is the cable release socket.

Stay with what you are used to. There is no need for a faster film. The Reala will give you marvelous images of the many intense shades of green in Alaska.

Throw it away. My experience is that Kodak still has not solved the problem of XTOL going bad in the package.After having two packages which had lost all ability to develop film, the latest just a few months ago, I got rid of my supply and went to other more dependable developers.

I have two f6.8, 120 Angulons. One stays in the 4x5 pack and the second in the 5x7 pack.

 

Obviously I like them. There is more than enough coverage for 4x5 and adequate, especially on the 5" side, for 5x7.

ENjoy it whileyo can.

I suspect when you have the shutter cleaned and adjusted your EI will be lower. In other words, I believe your shutter speeds are slow. This is no problem so long as they are consistent.

Yes it is.

Try plain old Listerine.

There has been a discussion on APUG about pyrocatechin from Photographers Formulary.

Apparently you are not the only one who has experienced problems with this product.

I don't understand the short shelf life of Pyrocat HD from PF. I mix my own from some pyrocatechin I have had for years. I have no problem with shelf life either of the powder, or the Part "A" of HD.

 

Perhaps it is time to invest in some pyrocatechin from another source, B&S or Artchem.

I have followed this forum for several months and although I have not posted

results, have enjoyed doing some of the projects. I noticew there has not been a

new project for several months. I hope this does not mean the end of these projects.

If you loaded the HP5 for your Dad, and you rated it "at 200 because it was a bright day and he did not need 400", the film is over-exposed by one full stop. Unlike Tri-X, HP5+ can usually be exposed at EI400.

 

All the other answers may also be correct, but this is an underlying problem for the "Dark" film.

Just for the record - Albumen prints do not require a FEW HOURS IN THE SUN.

 

The process is slow, but not that slow. I make albumen prints utilizing information from hand written notes by the ancestor of a friend who was making these fine prints in the late 1890's.

 

When I received these I was asked not to share them, so I keep them to myself. There is very little difference in the methods of that time, and those of today.

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Pete gave you a good answer.

 

W2D2 will not give enough contrast range for albumen.

 

I use FP4+ at EI 125 and develop in pyrocat HD either in a Jobo, at the slowest possible rotation, or a tray depending on size. I have tried many other developers and found none to compare with this combination for albumen.

Fuji Acros does not require exposure adjustment for reciprocity departure for at leaast 2000 secinds. Some say 2000 seconds.

 

This characteristic makes it the fastest film available in low light situations. It works well in most developers.

"The strip on the side where it would say ILFORD HP5 isnt clear at all"

 

Here is the major clue.

The film must be fogged, or not cleared sufficiently in the fixer. Neither exposure nor development will darken this area of the film. My first inclination is to suspect fogging as the culprit.

 

Also remember, if you are photographing a white object, the barn, and placing it on ZOne VII - VIII that area of the film will be dense so that it will print as white not as white produced by under-exposure and/or under-development of the print.

Your problemis under-exposure.

 

Each semester my students run film speed and dev. time tests.

FP4+ in D-76 usually tests out at an EI of 64-80. Never is it 125.