ciaran_mcmenemy

<p>either I got the speed wrong, or it needs a clean !! thanks all :D<br> So would a typical ISO back then be 25-50?<br> yeah, the shutter is a rolling disc! The spring that holds it is just a bit of wire. Look how far we've come!</p>

<p>thanks everyone! wow, flashes are fast indeed.<br> that was a great explanation of daylight flash, by the way.<br> 'painting' is actually a really good idea! </p>

<p>I'm gonna be using an Ensign 420. Autofocus? haha. thanks for all the responses!!<br> I have a nice red filter, but I can't find it, so I will have to leave the infrared for now. No point wasting it on ordinary B&W! <br> Nice photos Peter! I like how ethereal it can be. What about a lake, what would that look like? Or if you took a picture of a car/something hot?<br> I was wondering about the <12 ISO thing too. It adds up when you say 4-5 stops in speed are lost.<br> Any idea as to the focusing? Would it be towards underfocus (excuse my term)with for example, 3 meters being set to 2.5, or overfocus? </p>

<p>oh of course.. do you now how long the intense flash lasts for? is it 1/1000 or faster? </p>

<p>How can I take a picture of rain in bad weather (with film camera)? Do I just use a low shutter speed, and flash, or is there more to it? I always like it when it's night and you see the rain falling near a car's headlights (feel free to share photos ^_^).<br> I just remembered another question I had, related to flash: If flash must take place at 1/60 or slower, but 1/60 is the.. blur speed, couldn't flash in the daytime cause motion blur?</p>

<p>to anyone who's reading, the X300s shows the aperture setting in the finder, whereas the X300 does not. <br> It might just be the camera's individual characteristics, but I notice that the X300s <em>always</em> gives a smooth wind, while the X300 can get a little bit tougher as the roll gets finished</p>

<p>I have some SFX 200, but I'm not familiar with IR photography. Anyone used it before or has knowledge to share? Thanks!<br> If I can't find a red filter, would an ND filter work? Or a stack of orange filters?<br> Say I have the camera focused on a subject 3 meters away. How is the focus adjusted for IR, what's the rule? Does the ISO (filter reduction included) also correspond to the IR sensitivity? (meaning that, for example, with a 'normal BW' speed setting of 1/125, the IR will expose properly../)</p>

<p>I've used developer twice, by having a roll-on-the-reel ready. I started the first roll... poured the developer into a jug, washed the first film to stop the reaction, put in the second roll with the developer. Afterwards I fixed them together. Developers tend to oxidise quickly when they're diluted, I think... if you're quick, you can use them again.</p>

<p>For the shutter speed, I measured about 0.27sec, which is almost 1/4. So...<br> 1/4 sec, f/16<br> !!<br> now to use an SLR rated at 100 to see how it would perform in daylight./.</p>

<p>thanks for your response! I measured the lens diameter and lens-film distance, with approximate values 7mm and 11.7cm, which gives an aperture of about 16-17. Next for the shutter speed...<br> I had a feeling that would be the case. If you were to leave film exposed for a very, very long time, would an image become visible?</p>

<p>Hey all! I'm asking about the Coronet Box camera specifications.<br /> What is the shutter speed, or is there a way for me to find out?<br /> What is the aperture? I will try to calculate this at home later... as for now, using values based on my memory of the lens - film distance and the lens diameter, I estimated it to be about 12. <br /> It has an optional green filter (big whoop). How many stops would such a filter cut? I'm thinking it's around 1 1/2.</p> <p>--</p> <p>Later I will post (probably in the BW film processing forum) about pulling film. I'm interested to see if I could downrate the film to a really low ISO and use manually timed exposures on the order of seconds or even minutes. Just like the old days (you know, I always wonder about what film they used, the ISO, etc)</p> <p>Thanks to all!</p>

<p>as for the use of daylight filters, is it just down to choosing the exact complement colour to neutralise the tone?</p>

<p>Is it possible to buy dichroic camera filters then? I din't even such material existed!<br> The ortho film wasn't so sensitive to red light, is that right? Was that on purpose to make developing easier? <br> Thanks for all the replies! Alan hit the nail on the head (as the phrase goes); so the filtered light gets converted <em>heat</em>... how interesting. So the red frequency is 400-484 THZ, green is 526-606THZ, and blue 606-668THz. If you're using infra-red film (I have 120 rolsl of Ilford SFX, but no idea how to use it!) can you just use an ordinary red filter or do you have to buy one that is guaranteed to capture the lower frequencies?<br /> OK, next time I will try yellow with my b&w :D</p>

<p>I hope this doesn't sound stupid!<br /> filters are a common thing, but I was wondering about how they actually work.<br /><br />If I use a blue filter then the result will be a blue photograph. If the filter passes blue light then why does it look blue when I look at it from the lens? is it because it's imperfect causing some of the light coming in to bounce outwards?<br> Since it's blue then the red and green components of light get taken away. do the photons combine with the filter in some way? <br> As for using filters for landcapes and so on, what are the effects of a red filter, green filter, and blue filter on sky? I know the last will make the blue sky lighter relative to the rest of the image, so I guess clouds would be less visible in that instance? </p>

<p>The title has been amended to C-41 by the moderator..</p>

<p>oh wow, I forgot to mention that it was colour.<br> Very silly of me! I'll amend the title.</p>

<p>hello!<br> Today I took some photos, but all I had available was 200 speed. It's cloudy as usual here in the UK (a whole week of rain? well that's something new), so I set the camera to 400. <br> How can I compensate for this in terms of development time? Assume that I'm using a press kit with a 'normal' time of 3:15. maybe I need to make it 3:30? just a guess. <br> Sure, negatives can be scanned well for varying degrees of exposure, but I'd like to have the negative itself as the 'proper' image. <em><br /></em><br> Thanks for your time.</p>

<p>I'd say that relatively new 120 film is even easier to load than 35mm. It's <em>old </em>120 film that's the problem. <br />Think about it: when it's made, film is rolled out flat and then split up until it's rolled up onto a reel, whether it be a 120 reel or inside a 35mm can. Over time the film will become accustomed to how it's stored. On old 120, the film seems to bend inward, because the corners really don't like to fit into the ratchet!!</p> <p>(For right handed people; paterson tank) if you are having trouble ratcheting it:<br> -hold the end square with your left hand and carefully send it through the triangular thingies. hold the rest in your right hand and don't f-cking let go!<br />-if it doesn't go past the bearings, don't force it. PATIENCE. Any crinkles or whatever you call them will develop black (and scan white). This also applies to all film: if it's not smooth, start again. Crinkles = white streaks<br />- hold the left side of the reel with your left hand (obviously) and stick out that little finger. Make sure your nails aren't all horrible and jagged. The film goes over your finger, to keep it under control.<br />- wind the ratchet and keep your thumbs on the triangular tabs so the film can't slip over it at as you're near completion.</p> <p> </p>

<p>There's nothing wrong with GP3. Black and white films are all the same really. One thing is that it doesn't have frame markings, if I remember correctly. Keep the red window covered when you're not advancing the roll.<br /><br />Make sure you don't put the paper backing on the film ratchet, and give the tank a pre-wash. This is a good thing to do anyway, because it stabilises the temperature. If you've used the film at a higher ISO (100 is too slow anyway) then you can keep the development time relatively bearable by increasing the temperature. I noticed that 28'C water became something like 25.8'C after it was in the tank, so I use pre-washes now if the temperature is to be over 20'C. <br /><br /></p>

<p>is that the six bath E6 or simplified three bath? If it 's the six, did it involve exposing the film to light midway? I wonder if the Tetenal three bath is worse due to its simplification. <br />I typically put the jugs right next to their corresponding bottles of solution. When I pour out from the tank, I can't get it wrong. Except for today, maybe it's because I did it in the bathtub for once. I think I will use coloured tape to minimise the risk of accidental contamination.</p>

<p>thanks for the responses!<br> I was wondering if a C41 bleach could be used on bw. That depends on the way it interacts though. If C41 bleach removed all silver wouldn't there be no need for fix? I was thinking it either 1) rehalogenises the developed silver, leaving it to be fixed, or 2) reacts with it and takes it off the film, into the solution. Someone educate me!!<br> Tetenal C41 uses a combined bleach-fix, but since the chemical concentrates for bleach and fix are separate, could I mix the bleach with water, and the fixer with water, for two solutions? That would be more versatile, at least.<br> I was wondering what 'print out' meant. thanks Ron. I appreciate the chemical naming too! I tried a frame without fixing it, and it actually looks quite interesting. I will keep watch over it to see how it changes.</p>

<p>thanks for your speedy response. I had a look at what you're referring to (it's directed at labs, right?). I will take a picture or two tomorrow, snip it, and then see if processing turns out normally. If not, down the sink with £29 :O At least I've got 22 rolls from it. </p>

<p>Hi! I accidentally poured the colour developing solution into blix bottle. I had just poured the blix into my tank and there was a little bit of blix in the bottle after. Since it's now mixed with the CD (along with any blix coming off the sides of the bottle),<em> is the CD useless</em>? I still have rolls to do, what a stupid mistake... the only way I could tell was that the 'wrong' bottle gave off that sharp odour...<br /> Thanks!</p>

<p>Hi!<br> I'm in the mood to experiment when it comes to developing, since b&w and C41 are familiar to me. I tried bleach-skipping (C41), are there any other things to try? <br> Is b&w reversal bleach different to C41 bleach? I think it would be, since, from what I've read, it <em>removes</em> the developed silver, while C41 bleach <em>reduces</em> the developed silver back to halide.<br> I'm interested in making chemicals. Does anyone have any 'ingredients'? The obvious one is caffeine and vitamin C, I'm wondering if anyone has any of their own concoctions.<br> -------------<br> What does b&w fixer do, exactly? does it stabilise the developed silver and remove the halides? I'm wondering what you would see if you pulled the film out of the tank after the develop/wash step.<br> ------------<br> <br /> </p>

<p>As John said, film must be stabilised as a last step, to preserve the dyes. If the lab isn't helpful then get hold of some C41 stabiliser. go to your bathroom, run the shower/hot tap to steam it up and then wash the film under the taps or the shower (not too hot though). Film swells when it's wet, and it's at this point that dust etc is a problem. As the film dries it will go back to normal, and dust etc will be trapped. It's like it gets absorbed...<br> After washing it, leave it in a bowl (not a food bowl, though) of the stabiliser for minute, then let it dry. Stabiliser is basically water and formeldehyde gas, so don't go drinking it.</p>