rick_allen5

<p>You need to run a camera test for personal IE. Start by shooting the same subject under the same lighting at one full stop over exposed, then move to box speed by 1/3 stop increments, and end up one stop under exposed by 1/3 stop increments. Develope as you normally would. The frame that suits your expectations is the speed you need to shoot that film. Keep a record of that and shoot all your Acros at that speed.</p>

<p>Switch to Edwal LFN, use one(1) drop per 16oz of distilled water. It can be reused repeatedly until you see things growing in it, at that point dump and mix fresh. You can also mix one capful of 90%(or stronger)isopropyl alcohol to speed drying.<br>

I never have spotting or other problems using this method.</p>

<p>Pan F+ 120 in Rodinal 1+50 semi stand. I shoot it handheld in an Agfa Isolette, use yellow filter occasionally to make the clouds pop against the sky, also brings out some contrast with snow scenes.</p>

<p>I've been shooting Rollei and Adox Ortho 25 and Ilford Ortho+ for a while now. For shooting skies, a blue or light green filter will enhance the clouds, otherwise without filters the sky will show as white. Light blue filter will also help smooth out darker complexions. Ortho films are inherantly contrastier than panchromatic films, so shorter development times with D-76 stock (not 1+1)will give better results.</p>

<p>Ethol UFG will allow you to push Tri-X two or three stops while maintaining super fine grain. Development times are still short enough to use it for sheet film souped in trays as well.</p>

<p>Very nicely done. I've been a lab rat for nearly 45 years, keep at it. Stick with one or two films, one slow and one fast, and one developer until you completely understand their capabilities, then start experimenting with other combinations.</p>

<p>Why dont you shoot the C-41 film, then process in D-76 b&w chems? I've done a couple of dozen rolls of chromogenic as well as color(which renders b&w) with excellent results.</p>

<p>What type of tank are you using? It may be possible that if missing a portion of your plastic tank, you are getting light into the center of the tank, causing a reversal process.</p>

<p>You can increase contrast during printing by either using a higher contrast filter for polycontrast paper, or a higher numbered contrast grade paper. You can also increase contrast by over agitating film during development. Instead of five seconds every thirty seconds, agitate ten seconds every thirty.</p>

<p>When hiring ANY subcontractor, demand to see their portfolio, also ask for references,and CHECK their references. Have them show you the equiptment they will be using(and double chech that their portfolio was shot with that gear)so you can determine that they are proficient with that gear. Have a contract that specifies their responsibilities to you AND the client. After all this, keep one thing in mind, ULTIMATLY its your responsibility to the client, and YOUR reputation on the line, and the buck stops with you.</p>

<p>If anybody is interested, I have a model 210 Automatic that I've already done the battery conversion on. it takes all the 600 series film plus the 3000 B&W also the Fuji. It is in the original kit with case. I'll let it go for $35 including shipping any where in the continental USA. </p>

<p>With film, its all about lighting. Early morning or evening natural light gives that soft irredesence that cannot be duplicated with ANY computer program.</p>