any idea what caused this unusual pattern on the 1961 roll? this same thing happened to me on an ancient roll of hp5+ and I had never seen that before, despite me shooting more expired than fresh film...
Try developing XP2 in diafine for low light! You automatically get it pushed to 1600 with little effect on grain or contrast!! And you get rapid turn around. David @Photo Manical
Hello. I'm looking to get a similar setup as this. I was wondering how the focusing/magnification works with a bellows and enlarger lens. How do you make sure the negative fills the frame at 1:1 magnification and is in focus at the same time? It seems to me you would need to adjust the bellows in and out and the whole thing closer or further from the negative at the same time. Any help would be appreciated! thank you!
You are correct you adjust the crop and focus with bellows and copystand. There is focus peaking on sony cameras that allow to focus on the grain. Once I found focus and distance for specific format I mark on the bellows and copystand for further use, so I don’t need to repeat the whole focusing process all over again next time I scan.
@@AnalogueDiaries Thank you! How do you decide how far to extend the bellows? It seems like you could either have them extended further and then have to move the copy stand up, or extend the bellows shorter and move the copy stand lower? And once you decide how far out the bellows should be to fill the frame, won't moving the copy stand then change the framing of the negative? I feel like I'm missing something lol Does moving the copy stand up and down not change the framing?
@@nothankyou90 there will be always a mid spot how long the bellows stretched and how low or high copystand is, you decide yourself. I just try to fill out the frame with a negative. Check 5:05 you can see marks on the copystand (there are too many of them but you get the idea) and I put same marks on the bellow rail (they're not visible on the video, but they are there). I move this copy stand all the time and use it for darkroom printing and no it doesn't affect my further scanning. Those marks are starting points for different formats and I adjust focus every time I scan, it doesn't take much time really.
I just found your channel. I have 35mm film and digital cameras, Nikon. I also have a nice Wista SP45 camera with lenses. I liked your video when you used the expired film. You are an inspiration to go out and use my stuff. Thanks!
Interesting video, well done you are very persistent with your experimentation. I used to do colour printing from slides using the Cibachrome process and a Durst colour enlarger. The approach to filtration was that if you ended up using all three filter colours together that was effectively adding neutral density and extending your exposure. So if you find you are at 100Y, 150M and want to add 50C you can deduct 50 from each leaving 50Y and 100M which gives the same result without the longer exposure. Not sure if the Intrepid enlarger with LEDs works that way though but, if it does, you could shorten your long exposures.
@@billebdon4338 nope, Intrepid doesn’t work that way. The number you can set each color to has a different rage, the numbers are not equal on CMY. This is something to do with the way LED works as guys from Intrepid explained me.
Portra is actually based on Vision 3 technology. The RemJet layer is necessary to protect the film while in motion within the motion picture camera and it also carries the highly effective antihalation layer. I have shot 250d and I love the colours it produces.
That's some ballsy printing. Kudos for you trying to tackle it. You are a much more patient and forgiving person than I am. I couldn't even justify shooting that film, yet alone printing it. Big ups. You earned a lot of dark room karma points. I hope your prints made you happy.
TBH, I hadn't enjoyed watching any video recently as much as I did yours. Kudos to you for trying to print from this crazy film. This Lomo Purple is a poor copy of the Kodak Aerochrome, which in essence was an aerial surivailance film of the cold war period. In order to disgunish between natural foliage and man made synthetic camouflage, the dyes were sensitised to react differently to the Chlorophyll present in natural plants, leaves etc, and it showed as purple. Whomever has made this film for Lomo, must have further tweaked the dyes to come up with this crazy colours. I should image the red shows up as red, as this colour cuts through the atmospheric haze and gives detail, a bit like using a red filter in landscape photogarphy to bring out detail in distant hills etc, but thats only a guess on my part. Good job young lady. BTW, I wish that the original Cibachrome printing paper still existed. I did print a lot of that magnificent paper in the 1980s . The Cibachrome colours were to die for.
Thanks for sharing this, always great learning about history of film and what it used to be. I wish I had a chance to try any other color paper. I got lots of expired BW one from Kodak and it’s incredible, modern Ilford is no way near it. I bet it’s the same with Cibachrome.
@@AnalogueDiaries I used to print on Kodak Elite paper in the late 80s. It was the most beautiful B&W paper that I ever used, thick, heavy, lucsious with tonality to match. It was so expensive to produce that Kodak stopped making it. I hope Kodak gave you some of that paper.
Great pritning video as usual! Love your channel dude, and its comforting to see that other people are kinda making up their own rules with the intrepid enlarger lol
Those final prints turned out pretty good. It's a pity you have you have yo go through so much paper to get to the results you like. But, that's what you have to do, sometimes!!
Looks good! Might have to try and print some of that film. Im not familiar with the intrepid enlarger but can you not set Cyan to 0? That would take your times way down and allow you to stop the lens down more for sharpness.
well done for printing and showing poeple how to print and for promoting printing , more please, more people need to be printing their work ... ps very nice shots and results ... the second one of the final set is the pick of bunch the final 5 shown are all great ...
If it’s outdoors and no background (for example a field) I’d just read the light meter or use in camera light meter. When I can reach the background (wall in a studio) point toward the camera and see what it says.
P33 is a great film! I loved it in 510-Pyro and Kodak D-76, but I haven't used it in HC-110/Ilfotec HC, but that's for next year and the full review. Loved your self-portraits and prints!
You have done very well, nice photos. With a new film I would have bracketed teh shots by hlaf a stop increments over a two stops span to see what worked best, an dkeot a record of the exposure. And you are correct Rodinal is not the best match for P33. If you did decide to go for HC110, I'd have a look at the Euro HC by Bellini. It is the same formulation, dilution and development times but you don't have to buy a litre of it as it is quite costly. I buy it in 250ml bottles, but I think you can even buy a 100ml of it. It is a pretty good combination with Pan F Plus @ iso 32, and Delta 100 @ iso 80.
Already got Kodak HC110 that was available at my local camera store. Yeah, I'm definitely not someone who ever brackets photos, especially when doing self portraits. That alone is enough of a challenge and I just have fun with film photography in general 😅
The grain might come from excessive agitation. I’ve heard Ferrania P30 and P33 particularly sensitive to that and might show more grain if agitated incorrectly. I’ll try HC110 next time and see whether it works.
great review, I shoot one to, but a few more tips, a con, if there is one, is that the camera has a Baffle in the back, this protects the film with no darkslide when lens changing, but operates at 1/15th of a sec. any shutter speed below this needs you to HOLD the shutter button until the click, so the baffle doesn't cut the time short; Also to better use filters, and the pro shade (a compendium hood, extendable), you need the CF lenses, with a constant B60 size (bayonet of 60mm dia.), the C's have various diameters from 45 mm on up, the CF series is a consistent size throughout the focal length range (excluding the 300 & 500 mm lenses, which have a larger front barrel).
