vibin247

<p>Thanks for the responses. I'll do snip tests, but I'm curious about dilution H. According to Andy's linked article, the dilution ratios that are listed are from the syrup concentrate. Could I dilute my stock solution of HC-110 dil. B with a 1:15 ratio for my working solution? I do have some concentrate to work with as well, but I was wondering if my idea would work too. </p>

<p>Yes folks, I goofed. I accidentally exposed the film at ISO 100. I've got HC-100, dil. B and wanted to know if it's possible to develop and get something out of it. I haven't found a relative post in this forum either. Thanks ahead for any replies.</p>

<p>I currently use an Up-Strap Kevlar SLR strap for my 40D, which I recommend if you're mostly going to carry it on the shoulder. For the neck, Op-Tech, but I find that they wear out pretty fast. One downside for the Up-Strap is that it's not very compact, and if you're going to sling it around your neck, it's not so comfortable if you're not wearing a collared shirt or jacket. Haven't tried the Domke or Think Tank straps, though I probably will in the future when I get a new Canon body. </p>

<p>I got an e-mailed response from LSI and the film can be developed as "Shanghai" film, which can be found the Massive Dev. Chart. I was told by one of their representatives that 6.5 to 7.5 min. @ 20 deg. C is best when using HC-110, dilution B. Thanks for the replies, guys.</p>

<p>I've got a roll of this film, but according to the LSI website, it's supposed to be developed with D-76 or D-23. I usually use HC-110, dilution B, and was wondering if it's possible to use this developer instead.</p>

Going digital is a smarter investment, since most publications will require digital material and not having to scan the film means you can get it out faster. Start with a budget that's affordable, and buying used will save you money. Also consider getting insurance for your equipment, since everything happens in the field and your bound to break something at one time or another.

Thanks for the link. I just hope the situation won't escalate into a toe-to-toe match with nukes involved.

I use a 24 f/1.4L all the time when I'm out w/ my 40D (which is a little bit longer than a 35 with the crop

factor). It's not that heavy, at least IMO, and it gets the photos I want. Approaching someone with a zoom is a

bit more difficult, but it's not impossible. Gilden's style isn't for everybody, but it does produce interesting,

albeit disarming results. I would also go with renting a few lenses to try them out and make a decision after

that. Shooting from the hip is really fun, and experimenting can make those long walks much more pleasant.

A friend of mine found a roll of Panchromatic film in her grandfather's Brownie and wanted me to develop it since

she doesn't have any darkroom equipment. I've searched the forum and haven't found a definitive answer as to what

time is sufficient in order to develop. I typically use HC-110, dilution of 1:7 at 20 deg.C. I'm not positive on

the age of the film either. Any suggestions are welcome, except for not developing and telling her it's a fool's

errand =)

Has anyone had good results from push processing Delta 3200? Specifically

pushing 1 stop (ISO 6400)? I'm using HC-110, with a dilution of 1:7 for

developing, and 3 inversions per minute. I was told once to develop at 78 deg. F

for 25 min., and I've tried that, but the neg's still seem a bit underdeveloped.

Thanks ahead for the replies.

 

JR

I have the same issue with my 20" Cinema Display. Although it isn't too much of a burden,

but the need for a new desk is pecking away at my brain. No more IKEA desks for this guy...

You're probably talking about the Fujicolor Crystal Archive Professional Super Type PD paper.

At the lab where I work, we switched to this new type, from the previous Crystal Archive,

mostly because the majority of our business comes from wedding and portrait

photographers. It is a little bit thicker, especially between the 6" and 10" rolls that we use,

and the color saturation isn't as strong as the previous type, which is more beneficial for skin

tones and fine gradations of light and shadow. What you're experiencing with the difference

in thickness and weight is probably just normal variation from different processors. Are both

labs using different models of the Fuji Frontier system?

I use Static-B-Gone Film Cleaner by Accessory Research. Cleans off finger smudges,

adhesives, tar, and pretty much any surface dirt that hasn't fully adhered to the base or

emulsion.

I'm partial to Fuji's line of films (mostly because I work with the Fuji Frontier system),

particularly the 160S and 400H for all kinds of purposes. I do like Kodak's 160VC & 400VC for

it's saturation.

Most of the wedding photographers that still shoot film and process it at the photo lab I

work at use Fuji Pro 400H and 800Z. We do get some of the consumer stuff like Superia 400

and Gold 200/400, but skin tones aren't that faithful in comparison to the professional

portrait films.

Stick to native resolution, as said above, and when you calibrate your monitor, make sure you

set the monitor profile setting to default (on the Mac, it's under Display Preferences, Color

tab, "Cinema" profile). When I calibrated my 20" ACD, I found that the white point went

warmer and the blacks a bit deeper. For calibration, I use an X-Rite i1Display LT. Gamma

settings are always 2.2 with the white point at 6500K. I usually set my Brightness to about

50% to achieve a more consistent result, every two weeks that I calibrate.

I used a ColorVision SpyderPRO and currently have an X-Rite Eye-One Display LT. Both are

great products, but I do prefer the latter, since calibration times are faster.

A second display is quite nice for toolbars, palettes and just finding files. It can be

bothersome, however, if they're different monitors that display different colors. I have a 20"

Apple Cinema Display and an older 15" Studio Display, in which the latter can't be calibrated

close enough to the other. In fact, the backlight is dim and whites are quite yellow. I will be

replacing it later with another Cinema Display, but for now, it's still useful. However, a larger

display like the 30" Apple Cinema Display or the EIZO ColorEdge CG301W should be enough

workspace for working with multiple windows.