greg_nixon2

<p>These negatives were stores in a page of sleeves, four frames per sleeve, folded up and then slipped back into the envelope that contained the prints.</p>

<p>This has been an informative post for me. I wasn't aware of the film speed shift, but now that its been mentioned, I have spent some time looking at the exposure guide on the back on some Tourists that I have and wondered why the sunny 16 rule didn't apply.There is other Kodak documentation where the same thing happened.<br> R100 is way overexposed, 50 would have bee about right, asa25 is quite usable down here, especially on sunny days. I had heard of chromatic aberration, but dismissed it for B&W film, but I have been corrected.<br> The shots were over exposed, out of focus and with a bad light leak. I will fix these problems and venture out at a future date.<br> Cheers</p>

<p>Thanks for your reply John. I think you've nailed it. The early photos were pretty c**p, I really am not much of a photographer, but there was the odd good, about one per film. I was intending to replace the photos missing from the albums, the ones that had been pilfered by family and outlaws etc.<br> That's not going to happen now, but I am continuing to scan, if only to make index cards, and tag them with somesoftware.<br> Cheers<br> Greg Nixon</p>

<p>I've been scanning my negatives that I have had since 1984. The emulsion on the film strips looks to have adhered to the sleeves, from the processor, in quite large random patches. There is not any emulsion missing but it looks to me like the grain of the sleeves has "embossed" the emulsion. Has anyone heard of this happening and can anything be done about it.<br />Regards<br />Greg Nixon</p>

<p>Thanks everyone for your replies. I think I'll go for R100, I have one roll in the fridge wanting to come out. Sunny 16 is not hard to achieve here, except for the today, where its raining and overcast.<br> I did have a look around for ortho film but its mainly asa 25. I'll venture out tomorrow and see what we can come up with.<br> Cheers</p>

<p>I was gifted this Camera a year or so, and now want to take some photos with it. The shutter speed and aperture are fixed, so can anyone suggest the film speed that was used back in the day.<br> I have Efke 127 R100 and Efke 120 R25 which I could slit to 127 width.</p> <p> </p><div></div>

<p>Thanks for your replies.<br> I shot and processed another film. This time is was Efke R25. Same result.<br> Trying to sort it out, I think, in the first case, that I got the developer and fix mixed up, clearing the film.<br> This time however, the colour of the dev was much more yellow than the fixer , and came out of the tank almost black.<br> Larry I think no.2 first time and no.1 second time.<br> John: I think that is the problem, The film didn't turn black as it should, dud developer.<br> Useful information from all. I'll phone up and get a fresh bottle of dev.<br> Cheers</p>

<p>Yesterday I was testing a new (to me) camera, I shot a roll of Shanghai GP3 100. I used the chemicals and timings that I have used before with success. The processed film was completely blank as in clear all over. Not a trace of any markings anywhere. The film was loaded onto a Patterson reel in a dark bag and taken out of the bag when in the tank. I processed a couple of films a few weeks ago and it worked fine, but that was using a different developer. Solutions and timings below.<br> Ilfosol 3, 1+14, 12 minutes<br> Ilfostop, 1+19, 10 seconds<br> Ilford Rapid Fixer, 1+9, 3 minutes<br> Ilfotol 1+199 in final rinse.<br> Placing a piece of exposed film in the fixer turns it clear after a few seconds or so.<br> Any thoughts? It seems to be a tossup between a bad batch of Shangai or dud dev. </p> <p> </p>

<p>It looks very much like the scanner is set to auto white balance and not setting it correctly. The way to get around this is to take a preview scan that only includes the area of the negative and no other areas. I think you will then get rid of the colour casts.<br> Using paper with a white backing seems counting intuitive. There are some film slitters around that will slit both the film and the backing paper together.</p>

<p>120 has 3 formats 6x9, 6x6 and 6x4.5cm. All 3 were is common use at on stage or other.<br /> 127 has 3 formats 4x6, 4x4 and 4x3.<br /> So you could say that both 120 and 127 had a 1/2 frame format, although they are not the ones that I would have first thought of.<br /> If you really want to go way back there are the English full plate, half plate and quarter plate.</p>

<p>Well, John, I did know that and if that takes me out of the "callow youth" category, then I'm not too upset. I was the 35mm projectionist at the local Civic Hall, and projected the flics whenever any community groups wanted to put on a show.<br> Do the Callow Youth also know that the 7,6,5,4 etc countdown on the film leader is feet of film and not seconds?<br> I have 2 half frame Olympus-Pen cameras. One is an early model with a 2.8cm 1:3.5 lens, all manual. It has only one strap lug on the side which is supposed to make it rare. The other is a later model with a selenium meter.</p>