michael_peregrine

<p>Thanks for the responses. Will let you know how it turns out. This was the first time using a circular filter on a TLR for me and it was tricky business.</p>

<p>This weekend I shot a Mamiya C330 with circular polarizer on the taking lens for the first time. I put the polarizer on the viewing lens first and then noted the positions at various points in relation to the sun, then transferred the filter to the taking lens to take most of the shots in the sun. I think I made a mistake on this filter, though, and compensated two full stops when metering. I'm wondering what to expect here and whether it's enough to even tell my lab (now that I look it up again today, this filter loses about a stop and a half). I was using Ektar, which has latitude anyway, so I'm thinking I'll just go ahead and develop at box speed and see what I come up with. Any thoughts? Thanks.</p>

<p>Just as an update - developed the test roll tonight. Used same formulas, same procedure, everything - and it came out perfect this time. I must have done something stupid last time, but can't figure out what it was. Anyway, I feel a little more comfortable that it probably isn't the camera now (hope not, that thing takes amazing photos). Thanks for all the guidance and suggestions in here. This is a really helpful group of folks in this forum.</p>

<p>Thanks all. Yeah, film was loaded correctly and the back was tight and screwed properly. I honestly have no idea what could have happened. I talked to the prior owner of the camera and he never had the issue. I really think this was a fluke, but I guess I will find out after the fresh roll in the camera now. I am going to have to re-shoot that little chapel. The exposure with black and white is beautiful to me, and I NEED to get the compositions I had on the lost roll. I worked hard on several of those shots for balance (the shot that came out was the first composition, which I don't care for), and ended up really liking the look of that pulled Ilford!</p>

<p>Yes, it does. It is currently set to the locked position. Feels like it's moving when I turn the lock button. Do you think it might be engaging itself mid-roll?</p>

<p>Here's the <a href=" surviving negative</a>, slightly worse for the wear. :)<br> I just tested the shutter - it's opening and closing just fine (beautifully even). I'm left to believe there was some sort of problem with the way the film was loaded, or a problem with that roll of film itself. I'm going to finish a fresh roll and see how this one does. Appreciate all the responses.</p>

<p>Alan Marcus, I think you might be onto something. The edge printing is OK and developed fine with the first image. The film went right onto the reel with ease (which surprised me), so I really think it was spooled correctly. I guess I'm going to have to look closer at the camera. Thanks for helping me narrow it down.</p>

<p>Thanks, Lex. This is a Mamiya C330, so everything is manual. I can feel the film advancing (there is tension on the roll as I wind), and it seemed to catch each frame correctly and knew when the roll was finished. I'm kind of stumped.</p>

<p>Thanks Andrew ... hmm, now I'm wondering. I would think at least something would have shown up in the other frames even if my dilution ratio was off. The camera worked great the first roll I shot with it. I metered incorrectly (shot 400 speed film at 100), but realized what I had done after five shots, so I continued metering the rest of the roll that way and then pulled the film. Shutter seems fine. Opening and snapping shut perfectly.</p>

<p>EDIT - I think I've already figured this out on my own. It would really help if I was a little stronger with basic MATH.<br> =====================<br> I posted a question a few weeks back about pulling 120 film. I had the film in the camera for quite a while before I finished the roll, so I finished it this week and developed tonight (I use the word "developed" lightly).<br /> I also bought a new batch of Rodinal to start working with. When I finished developing/fixing, only the first frame on the roll was exposed - the rest is just blank film. Trying to figure out where I went wrong in the process, as I'm assuming it's operator error. I'm pretty new at this, obviously.<br /> I mixed a 1:50 batch of Rodinal and pulled two stops (because I accidentally exposed 400 speed film at 100 settings). I used 20 oz of water, and .5 oz of developer (sorry, I have to use ounces for now because I need L/ml measuring tubes).<br /> Am I calculating ratios incorrectly? Is it possible this Rodinal is a bad batch? All the above? Scratching my head. I can't figure out why a single frame would develop correctly but nothing else. Saw a similar thread below, which was helpful, but wondered if you could point out what I'm screwing up. Thanks in advance for any help from those more experienced at this.<br /> ======================<br /><br /></p>

<p>Thanks for all the responses. I actually did a two stop push development on a roll last night that came out decent, but looking a bit underexposed. This is a trial-and-error process for me at this point, until I get a feel for the developer and the process. I just ordered some fresh Rodinal for this project, and I'm planning to do the next pushed roll by stand developing. I'm anxious to see how it comes out.<br> <br /> I still haven't worked on the pulled roll, as I have two shots left and it's medium format, so I'm being picky about what I use the film on. And I definitely want to use the Rodinal on it.<br> <br /> By the way - - I found a terrific darkroom app for my phone that automatically adjusts developer times depending on the circumstances. I love this thing. Works great.</p>

<p>Thanks for the help. I appreciate it.</p>

<p>I'll use Rodinal.</p>

<p>I request the lab to push film all the time, but today I screwed up and shot a roll of HP5 400 at 100 and I'm trying to get into processing at home. Anyone know of good recipes for pulling? It's weird how I can't seem to find any online, and mass dev chart only seems to cover pushing (?). If it's just a matter of cutting the processing time, how much would I cut for two stops? Thanks much.</p>

<p>Well, don't expect anything spectacular here. :) This was a test roll (didn't want to ruin anything good this time). They are a lot more contrasty than when I send film out for processing, which probably has something to do with the developer or time I'm developing them. But in all I'm pleased for the first honest attempt (after the disaster).<br> <br /> Next time I'll allow more drying time. These were scanned quickly with a cheap scanner, and I have a better flatbed to use next time too. Going to have to work on ways to keep dust off the negatives. If you can think of more tips, I'm all ears ... thanks.<br> <br /> http://imgur.com/a/ETLtZ</p>

<p>I shot a roll of Sensia a few months back and loved it. The colors are beautiful. I wouldn't really recommend it for portrait, but it's great for landscape or architecture. I love the way it made the sky look in my shots. It shows a bit more grain than Velvia, but had better latitude.</p>

<p>Just thought I would come back and update this thread. I finally shot another roll of B&W, and guess what. My negatives are drying now and they look great. Got them on the reel first time this time (I used the Patterson reels with the larger feeders, which worked much better). The whole process went smooth as silk this time. The roll I have in the camera right now is pushed two stops, so that will be a fun thing to do this next time around.<br> Thanks again for all the helpful suggestions in this thread. I applied them successfully this time. :)</p>

<p>Yeah, that's exactly what happened here. After a few minutes of working, my hands were sweating and the film was very sticky. This is really helpful for you to point out. The points about taking a break when the bag is hot are on the money.</p>

<p>Thanks for the good suggestions. I won't give up just yet. Have a feeling that once I get the hang of it, it won't be a problem. Just discouraging right now and needed to vent the frustration this morning.</p>

<p>I'm using a Paterson 4. There are actually two different reel types with this kit, and I tried one of each on the rolls of film this morning. I've pretty much lost every ounce of confidence. I had watched about five videos with different tips on YouTube before trying this, and along with all the practice, I'm just dumfounded as to what went wrong. It exhausted every bit of my patience and then some. Next time I'll just rip the roll right out of the back of the camera and save myself a couple of hours. What drives me totally nuts -- I'm ambidextrous and don't favor either hand over the other. Play piano with ease and type over 110 wpm. But this made me feel like I was trying to take my first steps after losing the feeling in both legs. Guess I'm just going to need more time and practice and more heartbreak over losing photos before I get it right.</p>

<p>I bought a processing kit. Shot two rolls that had some terrific shots and I was apprehensive about trying to use these my first time out for developing at home, but in my mind it is not going to matter because every roll I shoot is valuable to me, so I might as well start with these.<br /> <br />So first I got an old roll of worthless film I don't care about ever using and practiced multiple times getting the film onto the reel. The first time I watched as I did it, and then the next several times I practiced just by feel. Every time the roll went right onto the cartridge with no issues, so I thought "ok, it's time to do this."<br /> <br />First roll would NOT feed into the cartridge. Got bent to hell and misaligned. I literally tried for an entire hour to get the thing to work and when I finally realized the film had been destroyed in the process, I gave up. Ok, one ruined. I knew that was a possibility going into this, so I can deal with that. I'll try practicing a few more times and then give it another go with the other roll.<br /> <br />Nope, both destroyed - same exact issue with the next roll. Tore it to pieces inside the bag and cut my finger in the process. So frustrating. Anyone want to buy a developing kit?</p>

<p>The suggestion above about a polarizer would work best in these conditions, IMO (especially because your scenes are full of water and sky). It would drop you a couple of stops and help tone down hot photos. If I'm shooting outside anytime from mid morning to late afternoon, I have one on my camera. Comes off during golden hours.</p>

<p>I have returned to slide film after a decade of shooting digital. Part of it is the nostalgia, but the biggest part is the tangible look of film. To me it is still the most beautiful and produces the most saturated colors. I love Fuji Velvia 50 (and usually shoot it with an ISO of 40, which helps considerably on exposure). There are still several great mail-in processors in the US, though Kansas City still has at least one local processor for slide film as well.<br> I don't look for slide film to go away soon, if ever. It still has a lot of interest and a lot of people who shoot with it. As for expense, it's all relative. The honest look and resolution of film in a digital camera will set you back about $5g, imo. That's a ton of film and processing.</p>