No, not an Alanis Morissette reference but rather a comment upon the irony of choosing to shoot film as an aesthetic choice and as an alternative to digital only to need to digitise the images to share them to a wider audience. Even creating a book of photographs to be printed requires digitising these days.
So, to compound the irony, here’s a small selection of recent Sprocket Rocket images that ram home the irony by including the sprocket holes of the 35mm film within the frame! All are scans of the negatives; I use an Epson V550 with Silverfast and NLP software..
Yes, we’ve moved! Not the family you understand but me and my enlarger. Having had to close my previous darkroom so one of the older grandsons could have a bedroom I then set up a darkroom in the corner of the cellar last year and whilst I had some good sessions down there it was never a place I was keen to go. The last time I used it was February and that had been the maiden session for 2020. Once I received the instruction to isolate I thought that I might at least get some darkroom time but eleven weeks in and I’ve not been down there once.
The drawback is the need to set up and then pack everything away; the cellar is in daily use and just recently there have been more things to store as we have been doing one large shop every fortnight rather than smaller shops three or four times a week. It’s amazing how much extra space is needed for two weeks worth of groceries rather than the usual two or three days! It’s also uncomfortable. I’m over six foot tall and the ceiling is barely half an inch from my head. The floor joists are level with my forehead and the light fitting attacks my nose if I forget to duck. I’ve lost count of the number of times I’ve nearly knocked myself out!
Add to the physical constraints the difficulty of keeping developer at twenty degrees when the ambient temperature is a constant fourteen and the picture hopefully becomes clearer. Washing prints means a walk up some old, steep stone steps to the kitchen or if that is in use up to the first floor to use the bathroom. I’ve also lost count of the number of times someone has opened the cellar door forgetting I’m down there – fortunately only two prints have been spoilt this way.
So, after eleven weeks of endless opportunities and not having once been down those stone steps with a bucket of water (for holding prints until washing) it was time to take some action. One option would be to mothball the darkroom equipment again but given the number of rolls of film I’ve developed this year so far (over fifty B&W and 25 colour) that wasn’t very appealing. I have nothing against scanning, the so-called hybrid approach, but much prefer darkroom printing largely because of the sense of satisfaction it gives me. Selling the gear was not even an option but where was I going to put a darkroom in a house with very little spare space?
My study has two desks and computers (his and his – mine and another of my Grandson’s) so no space there.
A surprisingly quick negotiation with Senior Management and I had permission to move his desk and computer into the spare bedroom. He’s been doing his schoolwork there, ironically on my original darkroom table, so it made sense to put his computer and all his bits and pieces together with his “school” books. I’d moved everything within three hours of completing negotiations.
The next job was to create a black-out. Usually a simple job – visit to the DIY store, pick up what I need and home to sort the job out. But I’m “shielded” so that wasn’t going to happen even if I wanted to queue for hours to get into a DIY store. Wickes home delivery to the rescue and amazingly I managed to get delivery within 48 hours too. The materials arrived at two pm and by four-thirty I was testing how successful the job had been. Our house is over one hundred and fifty years old and there is not a right angle in the place. Windows are almost rectangular, door frames are rhomboid, you get the picture. I’ve still got a few niggly bits to sort out but to all intents and purposes I have a functioning space.
So, I now have my darkroom in the corner of my study (see picture above) and I’m now sat in the living room feeling very smug because less than a week after first starting the train of thought I have prints hanging to dry and I’ve just resolved a couple of teething problems with my new set-up so am ready for a “proper” session tomorrow.
The one big compromise I’ve had to make is in the way I process the prints. Since I first started printing I’ve always used open trays. Watching the image appear in the developer was what hooked me back in the 1970s and even now it’s not lost any of its impact. But, there is simply not enough space in my study for a proper wet-side. So, I’ve had to use the slot processor I impulse bought last year but have never used for various reasons. It was this that caused teething problems but they were quickly resolved and I’m now looking forward to being able to print a negative without having to schedule it up front and then spending forty-five minutes getting everything set-up and put away afterwards.
In my previous post I ended by saying I was off to put some 35mm colour film into a Mamiya RB67. Well, I wasn’t joking so here are the first three scans just to show I’m a man of my word. Once I’ve finished the scanning I will post a full update. A small spoiler though: my first attempt with the RB67 produced 10 negatives, but I managed 13 on the first roll of colour and 14 on the second.
So, having scratched the itch, I also successfully tried the 35mm-in-120 project with the 6×6 Bronica SQ-A which gave a negative 1.5cm longer than the ETRS. I was still forgetting on occasion though that horizontal and vertical are reversed because of the way the film is loaded onto the Bronica back, resulting in some odd compositions. Then I had another thought (awful habit, must stop doing this thinking malarkey) the film back of the Mamiya RB67 runs in the conventional 35mm manner, lengthways, and the film back itself can be rotated to shoot the 6×7 frames in vertical format. The itch flared up again!
So, despite saying that this was to be a project that I picked up very occasionally, I found myself loading 35mm film into the somewhat larger film back of my Mamiya RB67. One thing to note however. The RB67 film back did not detect the presence of a film and so the first time I tried this I ended up winding the entire 35mm roll onto the 120 spool without shooting a frame. So, out with the changing bag and I removed the now unwound film from the back and rewound it into the original cassette. The solution was the multi-exposure mode of the RB67. In normal use this enables the shutter to be cocked without winding on the film thus allowing multiple exposures on a single frame but I found that by leaving the camera in multi-exposure mode I could still wind the film through without a problem. The longer throw of the 6×7 mechanism means a bigger gap between frames and potentially more waste but I still managed ten shots by attaching the leader of the 35mm film to an eleven inch strip of 120 backing paper to reduce wastage at the start of the film.
The film still needs to be removed in a changing bag (I transfer it straight onto a reel and store it in the developing tank) but that is still only a minor issue especially when shooting at home! I cannot envisage this being something I would spend a whole day doing but if I did for any reason the changing bag is light enough to tuck into a corner of my rucksack.
No one needs to read an account of loading the film, shooting the images (the rotating back on the RB67 and the horizontal orientation of the film were a huge help) or processing the negatives. The first thing I noticed however when removing the processed film from the tank was the bigger spacing, but then the length of each negative struck me. It’s only 1cm longer, but that is an increase of 1/6, almost 17% longer than the 6×6 negatives and over 50% longer than those from the 6×4.5 film back in the Bronica ETRS.
The negatives were scanned using my old Epson V550 flatbed scanner and the Vuescan software. Rather than lay the negatives flat on the glass as before I used a Lomography Digitaliza 35mm scanning mask to hold the negatives. The Digitaliza holds the negatives by the very edges leaving the sprocket holes revealed. I had read mixed reviews but thus far its proven to be effective and relatively fiddle-free. The loaded mask needs to be handled carefully as it is very easy to nudge the negative out of its magnetic grip – especially with a blast from a can of compressed air! I also varied my technique for converting the negatives into positives but that’s for another day.
Here’s to the next itch – I’m off to load a roll of colour 35mm into a RB67 film back!
Back in January when I was stocking up with film for the Spring/Summer months I picked up a few single films of different stocks to my usual to try out as the opportunity arose. I think that in the back of my mind was that these would be used for something “special” or a specific project that took into account each film stocks particular properties or quirks. As an enthusiastic (digital) infrared photographer, I have an IR-converted Fuji X-T1, and so I picked up a couple of rolls of 120 Rollei Infrared 400 intending to use it whilst in Devon for a family wedding. Well, I’m consigned to barracks and in any event the wedding is postponed until 2021. So, the first roll, which I bought to test before using the second in “anger”, has now been exposed within the confines of my back yard.
Now before any one shouts I realise that Rollei INFRARED 400 is not a ‘true’ infrared film, but one with near-infrared sensitivity to about 820nm. I’m not going to quibble though and in any case this was about experimentation.
My weapon of choice for this experiment was a Bronica SQ-A, for no reason other than I like using it, plus the mirror lock-up would be useful. The film was rated at 400 ISO per the box and I shot a couple of frames without any filtration at this speed. I then attached a 720nm infrared filter and based on what I had been reading metered the scene at 12 ISO, an increase in exposure of five stops. Finally, I developed the film in Rodinal (1+25) at 20°C.
Contrary to some reports I’ve seen elsewhere on the web, the film went onto the reel very easily with no obvious curl to the acetate.
So, to the pictures. My first impression on hanging the roll of negatives to dry was how sharp and crisp they were. Some were clearly over-exposed but as I kept detailed notes that will enable me to learn from these. Popping the dry negatives on the light pad was an exciting moment as it was then I saw just how successful the experiment had been.
The first three frames (see above) had been taken with no filter, a polarising filter and lastly a 720nm infrared filter that I use with a full-spectrum Fuji X-T1. Just looking at the negatives I could see the dramatic differences between the first and third negative; even the negative has an ethereal feel. The third of these frames is shown, fully processed, below.
So, what did I make of this quirky film? Well, I have to admit that I was predisposed to the idea as I’ve shot a lot of infrared on my digital cameras as can be seen on my FLICKR account. What I wasn’t prepared for was how much I liked these simple front/back yard images. They add a whole new dimension to the portfolio of images I’m creating during the Lockdown. The day I chose was cloudy with sunny intervals and not the full-on sunny day with blue skies I had hoped for but I love the feel of these images nevertheless.
So, what special project will the other roll be saved for? It is simply being saved for the next sunny day here in my back yard. I want to see what effect blue skies will have and can’t wait until I finally get released from the house. Never fear though as I’ve ordered another five rolls to keep on hand for when I do get back out with the camera!
It’s not often I shoot 35mm film these days despite a drawer full of film and twenty-plus 35mm cameras to chose from. However, on a whim, I picked up the Nikon FM2n over the weekend and noticed it had a part exposed roll of film in. It was also fitted with a 24-70 zoom lens I had been sent aa while back but not yet tested so I decided to finish the roll.
Nothing formal however, the live-in grandsons were playing in the back yard, in and out of their paddling pool, so I took a few snaps of them first. When they saw what I was doing they both wanted a go too, so that used a few more frames. Harry then decided to pose; composing a fast-moving, naked subject so as to preserve everyone’s modesty was a challenge. That the lens was manual focus with a sloppy focus ring just added to the fun!
Reaching the end of the roll I decided that, as everyone was outside and the kitchen therefore empty , this would be a good time to develop the film and see what I had. The first surprise was that I had loaded Rollei Retro 100 in the camera. Why that had been so I couldn’t decide and having now seen what the first few frames were I still don’t know why I had a 100 speed film in the camera. I’ve been using Perceptol a lot recently, mainly because I’ve been shooting mainly Ilford PanF+ and FP4+ in my Bronica ETRS but reached for the Rodinal, mainly because I wouldn’t have to make up a new batch of Perceptol rather than any aesthetic choice on this occasion.
After consulting my notes I settled on 13 minutes at 20 degrees C in Rodinal diluted 1+50. The result was, as expected, good negatives with a reasonable amount of contrast. I left them hanging to dry in the bathroom and later in the day cut and sleeved them ready for a proper look on the light pad the following day.
As soon as I placed the first strip on the light pad I knew that all was not well. I had a good range of tones and the negatives were not overly contrasty so I was confident that they would print well in the darkroom. They also scanned well it turned out. Even from inspecting the negatives however, I could see immediately that the lens was, to say the least, a little “soft”. Excluding the frames ruined by camera shake (due to the low shutter speeds the 100 film required) and the erratic mobility of my subjects, very few of the images were the crisp, sharply focused negatives I had expected. That was disappointing especially as there appeared to be some nice images at the first glance of the still-wet negatives the afternoon before. But not the fault of the film.
So, frustrations with the now-discarded lens aside, what did I make of the out of date Rollei Retro 100 (also known as Agfa APX 100)?
Despite the film being out of date, I made no compensation in respect of exposure, mainly because I didn’t know what film was in the camera and the ISO dial was set to what I realised afterwards was box speed. I liked the “look” of the images from the film, although defining “look” is a futile exercise as it will vary from person to person. The grain is very apparent in these negatives but I don’t mind that at all; as someone who used to regularly shoot Kodak Tri-X at 6400 ISO in the 1970s I’m used to a bit of grain! Purely digital shooters with no history of working with film will probably be horrified at all the “noise” however.
It‘s a thumbs up therefore from me. I shoot mainly 120 film and my emulsions of choice are Ilford PanF+ and HP5 but I would not be averse to putting a roll or two through the Bronicas if the subject was right.
I wanted to see if the Bronica ETRS could be used as a P&S relying on the prism to set the shutter speed. This would make it easier when shooting family snaps such as these. Whilst I prefer the 6×6 format for most of my “serious” photography I am finding the 6×4.5 format of the ETRS works ideally for this type of “informal” photography.
Bronica ETRS with 250mm – a family snapper point and shoot?
Above: Frames 9 – 12 from a roll of HP5+ shot using a Bronica ETRS with a 250mm lens and relying on the AEII metered prism for correct exposure. I set the speed to 400 and aperture to f5.6 and left the prism to set the shutter speed.The film was processed in Rodinal (1+50).
Looking at the strip of negatives hanging up to dry I thought that and overall it had worked and this was confirmed when I scanned them on my Epson Perfection V550. To include the rebate I needed to lay the negative directly onto the scanner glass but I seem to have got away with no obvious moire patterns so it was probably my lucky day.
I enjoy the occasional foray with a pinhole camera, even building one myself not so long ago and so was annoyed with myself for missing World Pinhole Photography Day (WPPD) in 2019. I was determined not to miss it this year however and had even scouted out a couple of suitable locations on the River Calder ready for the big day. I was it seemed all-set and ready to go.
I missed WPD-2019 and had big plans for 2020
WPPD is held on the last Sunday in April – the 26th this year – and of course, I’m being shielded at home and not allowed out of my yard! Best laid plans and all that.
I was determined not to miss the fun though and so the night before I loaded a fresh roll of Acros II into my wooden Zero Image 612 pinhole camera and dug out a mini tripod. At 7.30am on WPPD morning I was out in my backyard with pinhole camera, mini tripod and light meter to capture my first WPPD submission.
When set to 12×6 my pinhole camera takes five frames (you can shoot six but the sixth is truncated) and as exposure can be hit and miss it is important to think before opening the shutter. I took three compositions, two of which I ended up scanning. The first two compositions were bracketed, two frames at different exposure times, and I used an App on my phone as a light meter having first checked with my handheld meter that it was reading sufficiently accurately. The benefit of the App is that it will display the exposure for an f-stop of 150 which my light meter does not.
After breakfast I processed the roll of film in Perceptol (1+1) and was chuffed to find some decent exposures; indeed, every frame could be darkroom printed if desired and the negatives scanned very nicely on my Epson scanner. My chosen image (above) was uploaded the following morning although I did upload it to my Flickr photo stream on the Sunday afternoon along with one of the other compositions. The third composition I chose not to use as it had not worked as well as I’d hoped but two out of three is not bad!
The image is awaiting moderation by the WPPD team but will eventually be viewable HERE I believe.
With all the differences between different colour negative film stocks, scanning can be a bit hit and miss. Here I briefly demonstrate the method I use, it is not perfect but produces acceptable results most of the time. I’m sure with a far more rigorous approach it could be done better but who wants to spend hours scanning and processing negatives – I’d much rather be in the darkroom!