Lava Cliffs Triptych, Rocky Mountain National Park, Colorado. Photographed with the venerable Nikkor 180mm ƒ2.8 AI-S prime lens.
Not long ago I decided to spend some focused time shooting Ilford’s PanF 50 Plus. In an effort to minimize variables the decision was made to focus on 35mm using the trusted and favored F6. The F6’s venerable meter virtually eliminates exposure error, and I really wanted to dial in +/-EV, development time, agitation, grain, scanning, wet-printing, etc. The decision was also made to use exclusively Ilford’s DDX developer. What follows are the results. The executive summary: I have ordered lots more Ilford PanF50 Plus film for an upcoming trip to Santa Fe where I’ll look forward to continuing this ‘experiment,’ though I now feel quite comfortable that PanF is all I could hope for in a 35mm film.
frame 22: Laval Cliffs, RMNP, Colorado. 180mm f2.8 Ai-S, PanF50+, DDX 1:4 by the book: 68° for 8 minutes.
I’m not really a numbers guy. I mean – I am – but don’t perseverate over them. I like to use numbers as a starting point; get things figured out, then use that knowledge to extrapolate as I shoot. I’m not one of these people that tweaks and tracks every variable just to reconstruct later. Ilford made recommendations on their film based on good authority. I’m not one to second guess. My interest in numbers is really searching for a baseline – then (rather unscientifically) adjusting exposure based on the scene. If in doubt, bracket (but I hate wasting film). If I think it’s going to be an especially worthwhile shot I’ll bracket – but usually trust in the flexibility of film and the F6’s infallible meter.
Mammatus Cumulus Clouds, Fort Collins, Colorado. June 18, 2018. Ilford PanF50 shot at ISO50, 50mm ƒ1.4D @ƒ5.6, 1/125 sec. Nikkor Y48 Yellow Filter. Development: DDX 1:4 by the book; 68° for 8 minutes.
Something I have been doing a lot lately is working with filters. Yellow, orange and a couple different reds. Being a Nikkor devotee (and making no apologies for it) – I have a nice assortment of vintage 52mm Nikkor filters I use use regularly – especially when shooting my old pre Ai, Ai and Ai-S lenses. More and more I’m prone to favoring these smaller, lighter primes over hauling around the big-barreled, gold-ringed f2.8 zooms with 77mm filter threads I was infatuated with with in my ‘earlier years.’ I also have a nice set of 58mm B+W F-Pro’s for the Mamiya 645 rig I’ll use with a step-up ring if needed. Usually one of the 52mm Nikkor filters does the trick though.
Where I was experiencing some interesting results was using the deep red B+W F-Pro filter. It’s super dark – darker than the Nikkor R60 Red. Here’s what Schneider says about it on their site: “Compared to the lighter 090 red filter, this one even darkens the reds near the yellow tones in the spectrum, as its transparency only begins in the orange-red region. It produces dramatic effects and extreme tonal separation for graphic effects. That accounts for the large filter factor of appr. 8.” It’s so dark, focusing is sometimes made difficult. And when you shoot a ISO50 film you’re really needing a tripod to get an aperture that’ll provide adequate Depth Of Field. But the real ‘problem’ (if you want to call it that) is, it darkens any greenish vegetation to the near black range. This isn’t something I’m typically after. Enter the Nikkor Y48 Yellow. Especially when working off the hand, I find it just right to deepen tones in the sky and increase separation, but leave other elements largely as is. A bump to deepen midtones, minimal light loss and a relatively unchanged TTL experience.
Lava Cliffs, no.5, Rocky Mountain National Park, Colorado. 180mm f2.8Ai-S, Ilford Pan F50, DDX 1:4 by the book; 68° for 8 minutes.
Not long ago I acquired the lovely, ancient 180mm f2,8 AI-s. I have long been a fan of shooting landscapes with telephoto lenses – but upon close inspection, anything shot with the 70-200VR has been somewhat disappointing. Not to mention its size and weight being a deterrent. The 180 f2.8 solves all those issues and then some. Mounted on the F6, this ancient lens benefits from the F6’s ability to dial in Non-CPU Lenses. Doing so while working with the lens allows the correct shooting information to be recorded in the shooting data for that frame. The 180 has no tripod socket because it doesn’t need one. The L-bracket on the camera is more than sufficient to hold its relatively light weight. The one negative is I’m not about to invest in a set of 72mm filters for it and have to carry them around too. So when I’m shooting the 180 I’m going so with the rectangular front-slide-in filters.
Unnamed trail above treeline, Old Fall River Road, Rocky Mountain National Park, Colorado. 50mm f1.4D, Ilford Pan F50, Nikkor Y48 yellow filter, DDX 1:4 by the book; 68° for 8 minutes
Snow, Old Fall River Road, Rocky Mountain National Park, Colorado. 50mm f1.4D, Ilford Pan F50, Nikkor Y48 yellow filter, DDX 1:4 by the book; 68° for 8 minutes
Alpine Ridge Trail, Trail Ridge Road, Rocky Mountain National Park, Colorado. 50mm f1.4D, Ilford Pan F50, Nikkor Y48 yellow filter, DDX 1:4 by the book; 68° for 8 minutes
and a few PanF50 Plus shots from the past to show a little more diversity:
San Luis, Colorado. Nikon F2, Nikkor 50mm 1.2 Ai-S. DDX 1:4 by the book: 68° for 8 minutes.
Bisti Wings, Bisti/De-Na-Zin Wilderness, New Mexico. Ilford Pan F50, 28-70 f2.8ED @70mm, f7.1@1/60 sec. (-0.2EV) DDX 1:4 by the book: 68° for 8 minutes.
Valley of the Gods National Monument, Utah. 28-70 f2.8ED @42mm, 1/1.6 sec @ f16 (+1.7EV). DDX by the book: 1:4, 68° for 8 minutes. Something else I routinely love about the F6 is the ability to go back and review shooting data. In the above shot, for example, I was amazed to realize the frame was made at +1.7EV.
The amount of detail and resolution PanF50 holds is remarkable. Without moving to my medium format system, PanF50 provides all I need when exposed, processed and scanned properly. Like other ‘high performance’ films, it’s not as flexible as say a TriX. But getting to know and understand it is well worth the time. I’ve ordered a bunch more for an upcoming trip to New Mexico in July.
One of the great joys of shooting and developing one’s own film is the ability to tweak and experiment. While it’s true one needs to be prepared to have experiments fail – it’s also true that when they succeed, it can introduce a new component to your shooting, furthering your unique creative vision.
Behind Bellvue, Colorado. Nikon F6, Nikkor 24mm 1:2.8 Ai-S, Nikkor Y48 yellow filter, Mirror-Up, cable release, 1/15 @ ƒ22. Stand developed in Rodinal for 2 hours.
Initially I thought of this last roll of my favored Delta 100 as a bit of a toss-away roll. Having spent the first half of the roll playing, around frame 25 I found subject matter that may actually make a nice photograph.
When it came time to develop I decided to try Stand developing with Rodinal again. I’d done so a few times before with medium format film and it turned out well. Images are extremely sharp and contrasty, and a bit on the grainy side. This was my first attempt with 35mm.
From what I’ve read and what little I’ve learned thus far from personal experimentation – it sounds like slight underexposure is the rule. Without getting technical about Stand developing (again, limited experience), you essentially dilute the developer (not all developers are suitable) more than usual, then let it “stand” for a longer period of time, like hour(s), not minutes – with very limited agitation. Temperature isn’t as important either.
The idea is the developer that’s in contact with the film tires, and because of this – works more slowly to bring up shadow detail than it otherwise would when agitating-which puts fresh developer in contact with the film every minute or so. This ‘tired’ developer works slowly to bring up the dark areas of the neg and because it’s so diluted, in theory – avoids blowing your highlights. If you’re a Stand development expert and I just totally butchered the description please forgive the radical condensing and feel free to correct me.
I picked up a great e-book (Iridescent Light, TheArt of Stand Development by Michael Axel) a while back explaining Stand developing and was immediately intrigued. I thought this would be a good roll to have another go at it because I didn’t think there would be many (any) frames worthwhile.
Behind Bellvue, Colorado. Nikon F6, Nikkor 135mm 1:2.8 Pre-Ai, Nikkor Y48 yellow filter, Mirror-Up, cable release, 1/60 @ ƒ11. Stand developed in Rodinal for 2 hours.
From one point of view, Stand development is easy. It requires little intervention once the process has begun. After the diluted chemical is poured into the tank you agitate as normal. After 5-10 minutes, agitate again. After that, set the timer on your iPhone and go find something to do for a while. It’s the “for a while” part that’s the unknown, and where the book really helps explain the variables. I had a lawn to fertilize and wanted to watch the news so I set my timer for 2 hours.
When the timer went off I poured, stopped, rinsed as usual. This roll began the practice of PermaWashing after a water rinse, and also saw me switching over from Ilford Ilfotol wetting agent (couldn’t find it anymore) to Kodak PhotoFlow.
As I always do when I hang my films to dry, I hold a light up to the strip and visually inspect all the way down. What I saw was a healthy, thick neg down the line. Encouraged, I knew I’d have something to work with in scanning and ultimately wet printing.
Pick up some Rodinal and give Stand developing a try. I guaranty you’ll learn something. Viva la F6, Viva la film.
This is pretty exciting… (rather then re-hashing the same information, this post was lifted from DPReview)
Kodak first announced the rebirth of Ektachrome way back in January at CES. Along with Kodak Alaris—who will distribute the 35mm Kodak Professional Ektachrome film for stills shooters—the company said it would bring back Ektachrome by the end of 2017… and then promptly stopped talking about it.
But if you were worried that Kodak had given up on the idea, fear not: in a new episode of the Kodakery podcast, a few of Kodak’s higher ups (including Marketing and Product Manager Diane Carroll-Yacoby) updated the world on the progress of the Ektachrome reboot, how they’re making it, and what testing still stand between your hands and a fresh 36-shot roll of the stuff.
You can listen to the entire Kodakery podcast update below:
The first half of the podcast is mostly a photography and history lesson: discussing the origins of Ektachrome, its ‘characteristics’ (read: limitations), and how Kodak has managed to bring it back to life after discontinuing it in 2013. But if you want to get into the “how and when” of the matter, you’ll want to skip to the 22 minute mark.
That’s where we get to learn about how difficult it is to bring back a film like Ektachrome—which is made up of 80 ingredients, some of them no longer available to purchase—and how Kodak is making the economics of Ektachrome work by creating it in smaller, more sustainable batches.
You’ll want to listen to the discussion to really get the details of how the film is made, but here are a few of the most interesting tidbits about the revival process (for us anyway):
- Kodak has managed to either find or manufacture all 80 ingredients required to make Ektachrome.
- Much of the process so far has involved retooling the formula so it will work on the machines available to them, because they no longer have all of the equipment they had when Ektachrome was being developed previously.
- They’ve already produced some ‘pilot coatings’ that they are testing to ensure they’re ready to mass produce Ektachrome that’s up to snuff.
- When they’re ready to go, they will be making rolls using a coater that produces the film on sheets that are 4 feet wide and 6,000 feet long. The first of these ‘wide’ rolls will be produced before the end of 2017, and will be used for internal testing.
- Kodak will be making a single (4ft x 6,000ft) roll for the first production run, so they don’t have to hold on to too much inventory at one time.
- Kodak Ektachrome’s market release is planned for 2018.
Eastman Kodak itself will produce all of the film and plans to distribute the Super 8 cinema version of Ektachrome, while Kodak Alaris will distribute the 35mm slide film for stills shooters. For now, we still don’t know exactly when Ektachrome is coming back in 2018, but as soon as we do, we’ll let you know so you can mark your calendars.
Over Christmas we had the opportunity to visit Chicago again. Growing up in the suburbs I’d never had occasion to overnight in the city, with home being only 30 miles away. This trip we decided it was time we changed that.
Harry Caray’s, Chicago, Illinois Part of the Chicago at Night Series from December, 2016. Images made hand-held pushing Ilford HP5+ to ISO1600. Developed in Ilford DDX.
One of the wonderful things about spending the night in the city is – the night! Chicago, as many other cities, is so active at night, with so much light that it’s easy to photograph hand held with the right setup.
The City at Night, Dearborn St. Bridge over Chicago River; River North District at Night, Chicago, Illinois
Chicago, Illinois Part of the Chicago at Night Series from December, 2016. Images made hand-held pushing Ilford HP5+ to ISO1600. Developed in Ilford DDX.
In anticipation of various low-light scenarios on this trip I stocked up on Ilford HP5+. In the past I’ve shot it at rated 400 with success. One goal for this trip was to simply drift about the city at night to see what I could see. Pushing HP5 was an excellent way to avoid a tripod and open the experience up to simple creative experimentation. This outing was shot with the Nikkor 17-35 f2.8 ED (remind me to tell the story of how I stumbled upon this incredible lens some time…) at ISO1600, off the hand, just having fun. Processed in Ilford DDX at 71° for 12 minutes.
353 North Clark, Chicago, Illinois Part of the Chicago at Night Series from December, 2016. Images made hand-held pushing Ilford HP5+ to ISO1600. Developed in Ilford DDX.
353 North Clark, Chicago, Illinois
The only thing really notable working with the F6 for these shots was taking advantage of the ENORMOUS viewfinder. To this day I’ve never seen anything like it.* It’s huge and bright, allowing easy composition in poorly lit situations. One of the other benefits of the F6 covered in another post is Custom Setting B5, Extended Shutter Speeds. Though shutter speeds were high enough for this roll to hand-hold, I always have Custom Setting B5 enabled on the F6.
House of Blues, Chicago, Illinois Part of the Chicago at Night Series from December, 2016. Images made hand-held pushing Ilford HP5+ to ISO1600. Developed in Ilford DDX.
The creative liberty of shooting film, then processing your own film to desired tastes, is what film photography is all about. With what seems to be a true resurgence interest in film, there’s no better time to dive in. With a camera like the F6 that is flexible, dependable and durable for the rest of your natural life – it’ll be a robust adventure attempting to exceed its creative capabilities.
*A big thank you to Chris, our Canadian F6 Project reader, for pointing out he felt the Olympus OM-2 and Pentax ME Super actually have larger, brighter viewfinders than the F6. What a great time to be a film photographer, with so many wonderful tools accessible to work with.
Those who’ve followed the F6 Project know I started developing my black and white film again in early 2016. I’d developed film many years ago but it had been a while. Fortunately it’s just like riding a bike and once I got around all the stuff again – with a little help from my friends – remembered what to do.
Yuma County Grain, Yuma, Colorado. Nikon F6 + Kodak Portra 400 developed in Cs41.
This year I decided it was time to develop my own color film. I’ve never developed color film before, instead choosing the convenience of sending it to a local lab. What I’ve re-realized developing black and white is that processing my own film has become a matter of creative liberation – and convenience. Working with the medium from start to finish without relying on external variables or influence contributes to the authentic artistic experience. Keeping it all in house. Less of a ‘control freak’ thing and more of a ‘control enthusiast’ thing.
Yuma County Grain, Yuma, Colorado. Nikon F6 + Portra 400 developed in Cs41.
Ive also grown impatient with even the most expeditious labs (I don’t know what it is exactly I resist when it comes to mailing my films…). And then of course there’s the cost savings. With shipping, this kit came in at about $40 and will do 20 rolls. That’s north of $200 at the lab. But perhaps the most compelling reason to develop one’s own film is, some of you may simply not have another option. What good is even the best film camera if you can’t process your film?
Iron Mountain Road, Wyoming. Nikon F2 + Kodak Portra 160 processed in Cinestill’s Cs41 Color Simplified processing kit.
Couch Potato. Nikon F6 + Kodak Ektar processed in Cinestill Cs41 Color Simplified Quart Kit.
There are a few key differences between developing color vs. black and white films at home – most notably – temperature control. Black and white film is much less sensitive to minor variations in temperatures. Temperature matters – but in the ball park is usually good enough. Color is different. Minor variations in development time and temperatures can dramatically swing an image’s color one way or another. This is what always held me up. And, wanting it to be simple, inexpensive and of course reliable. I’m all for experimentation and the whole lomo experience as a means of having fun and trying new things. But if I’m going through the time and expense of shooting color film I need to be able to depend on what comes out the other side. I care a lot about color and I want it to be right. Just on the other side of that though is, if you scan your color images (as I do), correcting minor color shifts in Photoshop or Lightroom isn’t a big deal.
Red Mountain, Silverton, Colorado. Nikon F6 + Kodak Ektar processed in Cinestill Cs41 Color Simplified kit.
I found the CineStill Cs41 video on line:
It looked pretty straight forward – and they even had the solution for heating water to the correct temperature. Unfortunately my experience with the footbath heating solution was unsuccessful. Water took too long to heat and when it did, the maximum temperature listed in the literature was 95° – not the 103° expected. So I have a new, in my opinion better option for heating chemicals. TRU makes a triple slow cooker, each bay with 2 quart capacity and individual three-level heat settings. The low setting seems to top out about 100° to 101°, so just under the recommended 102°. The medium and high settings exceed the recommended temperature, so working tap water and the dials on the crockpots to maintain temps isn’t difficult. Remember too that during development you need to keep the temp consistent at 102° for 3 and half minutes. That’s not a long time and you can put your tank in the tub between agitation to keep temps consistent. During the blix phase temp is less important and a few degrees either way isn’t going to matter. Again – you can put the tank in the 2-quart containers of water to keep the temp up between agitations. The TRU triple slow cooker ran about $40 at KOHL’s. And – we can use it at Thanksgiving to keep the stuffing warm.
One reader commented on a bit of misinformation in the video above: Stabilizer is not optional. “B&W film has silver in it that prevents fungal growth, but colour film doesn’t have enough silver. The stabilizer contains an anti-fungal as well as a wetting agent, and if you don’t want to find your negatives mouldy in a couple of years you must use it.” Thanks to Chris from Ca!
The Cs41 quart kit cost $24.95 and with shipping it’s more like $40 (you get free shipping with orders over $75, but one thing at a time… I want to make sure things actually turn out before spending more money). After the order processed the kit didn’t ship for 3 weeks, but it finally showed up and I was excited to dive in.
STANLEY Thermos Project – color. Nikon F6 + Kodak Ektar, processed with Cs41.
I opened the box and found instructions – printed in 5 point text, folded up on a 8.5″ x 11″ single piece of paper. I found my reading glasses and started to work through what it took to actually use the Cs41 kit. It’s called “Cs41 “Color Simplified” Quart Kit for Color Processing at Home.” There is also a short-cut card provided with all the times and temperatures you need.
Horse Creek Road – South, Wyoming. Nikon F2 + Kodak Portra 160 developed in Cs41 Color Simplified Kit from Cinestill.
Once the chemicals are mixed it’s pretty straight forward. If you use the recommended developer temperature of 102°, development time is short – only 3:30. The Blix and rinse cycles are longer, at 8 minutes and 5 minutes respectively. You can use the same tanks and reels you use for black and white.
I took a deep breath and did two rolls; a roll of Ektar with some mixed lighting situations and a roll of Portra 160 with all daylight exposures. The Cs41 kit handled both with ease. Color emerged natural and unbiased.
Chugwater, Wyoming. Nikon F2 +Kodak Portra 160 developed in Cs41 Color Simplified Kit from Cinestill.
I few things I learned on my first batch:
It takes a while to get the chemicals heated to the recommended 102° so start the heating well before you want to begin processing.
I’m unclear what the shelf life of the mixed chemicals is, but understand it’s finite. To maximize chemical’s effectiveness a good strategy seems to be to mix a batch of chemicals once you have a large batch of film to process.
The instructions list a pre-rinse as optional. I elected to do so, and judging by the amount of gook that poured out of the tank afterwards I’d recommend the same to anyone. If you don’t pre-rinse, all that gook makes its way into your developer. Because you re-use the developer I can imagine the cumulative effect not helping maintain color as the roll count climbs.
The Cs41 kit ships with a small Push/Pull Processing & Variable Temperature Development Chart. This is hugely valuable because it concisely provides all the information on time and temps you need. Though 102° is listed as the target developer temperature, the chart provides optional times for lower temperatures – all longer than the 3:30 suggested at 102°. If you’re not in a hurry and want to experiment with lower temps you have the info needed.
The stabilizer left some pretty harsh residue on the film. Though I’m certain I mixed the dilution properly, after speaking with a colleague he recommended I dilute it even more. I’ll try this next round. I’m also going to try a squeegee to trim excess liquid from the roll rather than allow it to simply drip-dry for an hour. I’m not a big fan of water spots and residual nasties on the film once dried.
Something new to me – but not those who’ve developed C41 before: unlike black and white, you can mix different film speeds in the same tank. C41 development times remain the same regardless of ISO speed, unless you push or pull. So you can run a ISO800 film with your ISO100 film.
Pay attention to recommended agitation. It’s not a ‘more is better’ scenario. According to the instructions, “variation in agitation may result in slight color shifts. Insufficient agitation shifts words red/excessive agitation shifts towards cyan. In hind site, I probably leaned a little toward the excessive agitation on these first two rolls.
CineStill 800T developed in Cs41 seems to respond quite favorably. Nikon F6, Fort Collins, Colorado
As a friend of mine once said, “if you can bake a cake, you can develop your own film.” I’d expand that for the culinary challenged and suggest even if you can’t bake a cake, you can successfully develop your own black and white and color film. It just takes the right tools, a little time and the desire to learn something new. My bottom line is, I’ll be ordering more Cs41 from Cinestill soon.
Once the film is developed the frames are scanned into the computer where they’re color corrected. This frame was used to compare a real world view to what was on the computer screen. A few take aways: I was delighted to see how little color correction the developed/scanned pictures required. And – I realized I need to clean my desk! (Nikon F2 + Portra 160)
~ Desert Rat ~
(lyrics by Michael Martin Murphy)
She sits on the front porch
(Of) the old house that stands scorched
Under the sun stroke of a desert day that choked
Her old man who fell in the sun.
Utah Juniper, Valley of the Gods National Monument, Utah.
With rattle snakes and keep sakes
Old boxes of Corn Flakes
Grammar phones and gem stones
And three unclaimed door frames
And bleached bones and rocks by the ton.
Good by ol’ desert rat
Ya half crazy wild cat
You knew where it was at
What life’s all about.
Geronimo’s Cadillac, Valley of the Gods National Monument, Utah.
Ya saver of catalogs, king of the prairie dogs
Success is survival and you toughed it out,
You toughed it out.
Mexican Hat, Utah.
The old loud mouth rock hound
He kept the kids spellbound
Half crazy and sun baked
Ya eared your own grubstake
By breakin’ your back all day long
San Juan Trading Post, Mexican Hat, Utah.
With junk art and dunk carts
Old Model T parts, frustrated, outdated and uneducated
At eighty you still wrote good songs.
Montezuma Creek, Utah.
So goodbye of Ol’ Desert Rat
Ya half crazy wild cat
You knew where it was at
What life’s all about.
San Juan Trading Post, Mexican Hat, Utah.
All ya savers of “Whole Earth” catalogs
Kings of the prairie dogs
Success is survival
We’ll all tough it out
San Juan Trading Post, Mexican Hat, Utah.
Yes, we’ll all tough it out.
Old Bridge Bar and Grille, Mexican Hat, Utah. iPhone 6 panorama.
This map shows the route of our fall trip. The photographs on this page were made within the white circle. Google maps.