jc_mcguire

<p>I have a roll of Ektar 100 and the Unicolor C-41 Kit. Would I get results if I were to shoot and develop night photos and day photos on the same roll since the time and temperature is the same for C-41 across the board? Or did I just imagine reading that somewhere? Is it better to shoot night on one roll and day on a separate one?</p>

<p>Thanks for the response, Craig. I've seen some examples of people scanning Super 8 on flatbeds and they have gotten good results. I realize the amount of time it will take, but that is not really an issue for me because there is no deadlines I have to meet since I am doing it for myself, and I want to do it. There's software that can extract the individual frames, and if I'm scanning bits at a time, I can keep track of them.<br>

I'll probably go with something like D76 rather than Caffenol, although I may do a test. When I went to develop my first roll of 35mm in Caffenol, I was worried because I read a lot of other people's experiments and many people said they did not get a good negative, but I ended up getting results I was happy with. I'm not too worried about it having dust and dirt and looking girtty and unprofessional. In fact, I am aiming for a look reminiscent of a home movie that's been projected a hundred times over the years and stored in hot attics, thrown around, scratched, etc. <br>

I like experimentation and I understand where you are coming from, having had much experience working with Super 8, but at the end of the day if it doesn't work out, I will either keep trying or move on, but I would regret not attempting it. </p>

<p>Thanks! Yes, I do plan on scanning it. Found a site that explains how Super 8 film can be scanned using a basic flatbed photo scanner. So that's what I'll be doing and then editing it in a non-linear system.<br>

(Now it seems obvious, since I scan 35mm negatives and the pictures show up postively on the computer LOL) </p>

<p>Not sure if I should be posting a question about Super 8 film processing on a photography forum, or if I should post it to a filmmaking forum, but...<br>

<br />I've been developing Tri-X 35mm still film in the Caffenol C-H recipe, and am fairly comfortable with the results I've been getting. I am thinking about shooting some Super 8 film (Tri-X Reversal), but the cost of sending it out to have it processed is out of my price range. so I figure, why can't I develop it at home like I do with 35mm film? <br>

Since the Super 8 Tri-X is a REVERSAL film, would developing it in Caffenol C-H make it a NEGATIVE? Would I need to convert the negative to a positive in an editing program like Final Cut Pro? Or would the whole process be different (like extra steps, etc.)? <br>

My process for 35mm is pre-wash, develop, stop, fix, rinse, wash. Could that same process pertain to the Tri-X reversal? <br>

Would it be easier to shoot Color Negative Super 8 Film then cross-process it in the Caffenol C-H? Whichever way I do this, the footage will be converted to digital files so that I can edit it in a non-linear editing system. <br>

Any advice/help/guidance is greatly appreciated. I apologize if this question is irrelevant to this website. If so, what is a good forum for Super 8 film developing advice? </p>

<p><em>"I have no idea what the times and temps would be for this, which is why my negs were dense I suppose, as I just went w/ a good guess."</em><br>

<em>@</em>Steve..how much time did you develop the Kodak Gold for in the Caffenol C? For my Tri-X, I develop using the Caffenol C-H recipe, and generally develop 12 initial turns, then 2 cycles at the top of every minute for anywhere between 13 1/2 to 17 minutes. I get dense negs too, but i like them that way. I'd assume the times would be much different for a C-41 film. </p>

<p>I like experimentation, but if I can get some input from others prior to me spending money, time, etc. then that would be great. I have a Fujifilm disposable camera that is loaded with Superia X-Tra 400 35mm film. I am guessing that the process for this would be C-41, however I wanted to see if I could develop this at home, cross-processing it as black and white.<br>

<br />I've been developing Tri-X 400 film in Caffenol C-H and getting good results. If I were to do the same with the Superia X-Tra, would my negatives come out as b&w? Would they come out at all? </p>

<p>This may seem stupid, but is it possible to shoot a roll of 16mm movie film as if it were still film? Maybe load it onto a normal 35mm reel from like a tri-x film canister, then load it into the camera and shoot? If so, what's a good way to load it? and how would you develop it?</p>

<p>Thanks for the replies. Looks like I'm going to have to try some out, make comparisons.<br>

@Craig..not sure about D76 as I've never used it, but it seems to be a standard, reliable developer for a lot of people, though dilution is typically 1:1, I believe, whereas F76+ is usually 1:9. I'm not too up to speed about differences between developers & dilutions and how each one can affect the film, but that is something I will want to explore. </p>

<p>I know it's a question that's been asked time and time again, HP5 or Tri-X. I use F76+ developer because that is what is available at my school. I've found it to yield good results when working with Tri-X and also TMAX films.<br>

Recently, I've been looking into HP5 and from the examples I've seen, I love the look. It seems to be more grainy and contrasty which I prefer. However, i've searched forums and most seem to be dated 3-8 years ago, and I'm sure both Ilford and Kodak have updated their films in some way. Also, I haven't seen any forums in which the photographers have developed their film in F76+.<br>

<br />So I was wondering, a) key differences between Tri-X and HP5+, and b) how well HP5+ works in Clayton F76+ developer?</p>

<p>I have exposed a roll of Tri-X 400 at ISO 200 by accident (careless mistake). anyway, I looked up the developing chart on digitaltruth, and it only shows times for 400, 1600. I have F76+ developer 1:9 dilution. If it is 6 minutes at 20'C for 400, how much time should i trim off development for a one stop pull?<br>

In general, for this developer, what's the best way to determine how much time to add or cut in development when exposing at different EI? I've read somewhere that it's 15 seconds per stop, elsewhere says 30 seconds and other forums say 1 minute. </p>

<p>Thank you! Always great to have background info.</p>

<p>Thanks! Yes, just did exactly that and saw that it closes down. Phew!</p>

<p>UPDATE: I found a Youtube video explaining how to "enable manual aperture adjustment" here:

<br />So I did exactly as shown, and my lens does exactly what his lens does. But when I put the lens back onto the camera, the aperture remains open even when rotating the aperture ring. Shouldn't my camera's viewfinder get darker as I rotate the ring (I have an AT-1)? Or does it stop down to whatever I set it as when pressing the shutter? </p>

<p>I have a Canon FD 28mm lens, not the kind with the silver ring. I know that the lens must be mounted to the camera in order for the aperture to work, however, when it is mounted the aperture remains wide open even though I am turning the ring all the way to 22. In the viewfinder, the frame does not get darker like with my 50mm lens with the silver ring.<br>

Oddly, when I go to mount the lens, while turning it into the locked position, I can see the aperture close down, then when locked it opens back up and remains that way. <br>

The camera's meter functions though, which seems odd since the aperture stays open. For example, the loop moves up and down the frame as I rotate the aperture ring or change the shutter speed, and then the needle lines up with it as need be. <br>

How do I fix this?</p>

 

<p>I've shot a roll of P3200 using my Diana Mini. Obviously with that camera, exposure options are limited, but I shot mostly at night. some pictures were done with Cloudy/Bulb settings, various times on the exposures. For developer, I have Clayton F76+ as that is what is available to me at school. How much time should I develop the film for at 70 degrees Fahrenheit? I was thinking maybe 9 minutes? too much, too little?</p>

<p>Thanks! I may be asking a stupid question here, but is it possible to fix the camera's light meter on the Canon AT-1?</p>

<p>I have a few rolls of TMAX P3200 film and plan on going out one night to take some pictures in available/low light. I plan on shooting it as 800 speed. Some with a tripod, some without.<br>

<br />Here's the thing: My Canon AT-1's meter is a little off. It gives good results when I underexpose the film by 1 and 1/2 stops (for example, rating 100 speed as 200, 400 as 800, etc. for daytime photography). <br>

So if I am shooting this TMAX P3200 as 800 at NIGHT, how should I go about metering? Should I take reading from an area that is close to middle gray then close the f-stop down a couple stops? (I don't mean for things like vast cityscapes. I mean for stuff like individual buildings, people, streetlife)<br>

Then how would I go about developing? Given my situation with my Canon's in-camera meter, should I develop for less time or more time than the suggested time?<br>

I'm reading what I've typed here, and it might make little to no sense. Sorry about that. If you need something clarified, let me know. I'm terrible at articulating things. </p>

 

<p>I have just recently made my own Redscale film canister and am ready to shoot. It is Kodak color negative film that's purchased from CVS. After shooting, can I bring this to CVS to develop it or does it need to be sent to a professional lab? What would I need to tell them when I drop it off?<br>

<br />I develop my own black and white films at home. Is it possible to develop this Redscaled film in black and white chemicals? Would the negatives be too dense/black? Contrasty/Flat? Or would it turn out no different than b&w film? </p>

<p>Thanks. Lowell, when shooting P3200 at EI 1600, should I develop it as if it is 3200 plus 1/2?<br>

Because, after shooting a test roll at night, I shot at EI 3200, developed it for 11 minutes at 68 degrees, and it showed that the shot that was overexposed by 1 1/2 stops came out best (f-1.8 1/60th) I'm guessing overdeveloping is the way to go for night photography at high speeds in my situation. <br>

I don't see any information for TMAX p3200 on the Clayton Developing Chart. </p>

<p>Hello, I am somewhat new to B&W darkroom. I'll try and put this as simply as possible, and any advice is much appreciated.<br>

I am shooting a roll of P3200 at EI 1600, for night/available light photography with my Canon AT-1. I use the darkroom at my school, and the only developer they have is Clayton F76 Plus (which has been working well for me when developing Tmax 100 and 400).<br>

I ran a test with my camera using a roll of TMAX 100, developed it and <strong>discovered that I need to underexpose the film by 1 and 1/2 stops</strong> (so I shoot TMAX 100 at EI 250--i believe), then i develop it normal time. Good results, that is for TMAX 100.<br>

Next, I ran a test of P3200. Shot it at 3200, developed it for 11 minutes (digitaltruth.com's dev chart shows that when shooting at EI3200, the time would be 10.75 min or 11.25 min at 68 degrees). Results showed that <strong> overexposing </strong><strong>the film by 1 and 1/2 stops</strong> is what will give me acceptable to good results. <br>

So, I guess my real question is, given my situation...when shooting P3200 at any EI, should I develop it as if it is one and half stops more? For example, when shooting at EI 1600, I should develop it as if it is EI 3200 plus one half stops? (not sure what the half stop would be between 3200 and 6400).<br>

Thanks for taking the time to read and again, any advice is appreciated. If you need me to clarify anything, please let me know and I will do my best. </p>