evanbell

And so the experimentation begins. Thanks again folks I'll post again with my results.

Thanks so much everyone for the tips! The only thing in question for me now is exactly how long to develop and fix. I'd like to try and eliminate as much guesswork as possible. Massive dev chart doesn't have Kodachrome listed anymore, but I read another article from Lomography where the writer said he developed for 11 minutes and fixed for 10 minutes and the film came out. Does this sound accurate? I should also note that I shot the film at 32 ASA instead of 64 to make sure the exposures would (hopefully) come out.

Hey folks, I've recently come across a stash of old Kodachrome 64 and am trying to figure out how to develop it. I know it's virtually impossible to get the chemicals now for color positive developing, but I've heard there's ways to develop these as monochrome using black and white developer. I'd like to try and use Clayton F76 as a developer though I'm having trouble finding info on exactly how it should be done. Wondering if any of you have experimented with this before and would be able to point me in the right direction. Thanks!

Hello folks, hope everyone is well! I recently began working a position at a local film lab, and one of the perks of the job is that I get free developing and scanning of all my film. Not bad, right? Previously I couldn't afford high quality scans from the lab for the amount of film I was shooting, so I had invested in an Epson V600 to scan all my negatives. Now that I'm able to get those high quality scans for free, it seems like a no brainer to stick with that. However, I've noticed some very ugly purple/green color fringing in the lab scans that never appeared on my Epson scans. The scanner we use at the lab is a Noritsu S4, and while the sharpness and overall color rendition does seem superior to the results I got with the Epson, this color fringing is really really nasty and I don't know what to do about it. I attached some photos comparing negatives I scanned on the Epson vs the same ones scanned on the Noritsu. It's so strange that the Noritsu produces such noticeable color fringing--I would expect much more from a professional scanner, especially since I would normally be paying $10 per roll for these scans. I pointed out the issue to my supervisor at the lab, concerned of course not only about the quality of my own photos, but about our customers not receiving the quality they actually pay for. He told me that it was an issue with the film, not the scanner, because my shots were long exposures which he says produces the color fringing. I have no idea if this is really the case, but if it weren't a problem with the scanner, why does the fringing not show up on the Epson scans as well? I suspect our scanner is perhaps not calibrated correctly, or the software we use to scan and edit the negatives (which is pretty dated) could somehow be causing the issue. I would really appreciate any thoughts on this matter! Thank you in advance. Epson (left) vs Noritsu (right), zoomed 1:1 in LR:

gettin outta town-2.jpg

Hi all. I have been noticing light leaks of varying degrees of severity on the negatives coming out of my recently purchased Mamiya RB67. Not every frame has a visible light leak on it--some come out fine. However I developed two rolls of HP5 and the same negatives on each roll were affected. For example, the 9th exposure on each roll both had almost identical severe light leaks. The leaks always appear in the bottom left area of the frame (for landscape). What do you think could most likely be the cause of this? I contacted the sellers of the camera and they gave me some options on what to do. I could a) return the camera and get refunded, b) let them attempt to repair the camera, or c) exchange for a different back. If this is most likely just a problem with the camera back then I would want to go with the option of exchanging it. I'd appreciate any thoughts!

Shot on Mamiya RB67, Ilford HP5+

Thanks for the reply. What I ended up doing was essentially working the histograms from scratch and creating my own preset. Still, I would think there'd be an easier way to go about it, if there was only a proper Sony profile I could apply to the RAW image.

Hi all, earlier today I took some shots on my Sony a6500 with a Canon 24mm FD lens and a red filter. I shot in RAW, with the intention of converting the images to b&w in post-processing. I had the b&w creative setting on the camera turned on, so while shooting I was viewing and exposing the images for b&w. However, I'm noticing some discrepancies in the exposure between what I took in camera and what I'm getting out of LR after converting to b&w. Though I properly exposed in camera, the images are coming out overexposed after the conversion in LR. I've attached some images to illustrate this. As you can see, the histograms in camera and on LR don't match. I'm guessing that when shooting on a red filter, the b&w conversion is more complicated than simply pressing a button. I just can't seem to find a way to reproduce the images I shot. Any tips would be much appreciated!

On second thought, I suppose that in my haste it's possible that I could have loaded the film incorrectly--it does seem like the only explanation for the issue. I just hope that the light leaks would not show up with the film facing the right direction. Unfortunately it'll be an agonizing wait to shoot and develop another roll because photo stores here are closed for the next few weeks due to COVID-19 and I don't have my own chemicals. Thanks for all the input folks.

It does appear that the varying sizes of the light leaks would be because of the portrait/lanscape orientations. In terms of loading the film, I was sure that I did it correctly, with the dark side facing out and the arrow on the inside of the roll lining up with the point on the inside of the magazine when first winding it up. Besides, if the film was loaded backwards would those light leaks still be there?

I physically checked the shutter by looking through the back of the camera and firing it. I could visibly see the shutter in the lens open and close so I'm pretty positive it's working.

Hi all, I recently shot my first roll of 120 on a Mamiya RB67 I just got, and tragically the film came back blank. I'm baffled as to how this happened, as I made sure to remove the dark slide, advance the film, metered correctly, etc. I checked the camera's shutter which seems to be firing perfectly fine. What's more puzzling is that there are repeated light leaks on the upper corners of where the frames should be. I've attached photos of the film. Wondering if anybody has encountered something like this before and might be able to point me in the right direction? Right now I have no idea what may have caused this and am concerned about shooting my next roll.

Will do.

I tried this, and it actually seemed to cause an error with the Epson, despite trying to flatten the cardboard pieces as much as I could and reorienting them on the bottom of the tray.