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Self-processing 4×5 and 617 E6
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jb7 wrote:
Well done Darragh, that looks good-
well, I’m assuming that you added some colour, or that you let velvia do its thing-Just let the velvia do its thing, the scene maybe would have been better with the less contrasty velvia 100F rather than the velvia 50 I used but I exposed this roll just to do a first run in E-6.
jb7 wrote:But the shadows look dense-
I reckon this is from the 1st developer, I probably should have let the film sit in the first developer for 6.30mins instead of 6mins to open up the shadows properly. Kodak recommends increase the 1st developer by 15sec increments with slow speed transparencies until the results are satisfactory
jb7 wrote:Did you do any colour tests on the roll?
Colour tests, eh, no …… what colour tests should I be doing?
jb7 wrote:Again, very good, and the pump sounds like a good idea-
Yeah, when I got the unit I tested it out with 2 thermometers at either end of bath and watch the temperature and I noticed that if I agitated the water I was getting more consistent readings between the 2 thermometers and the thermostat.
I have a few aquariums and I had recently stripped one down, so had a spare pump and I set it into bath and noticed the temperatures were keep consistent and uniform.
The pump is aJuwel Pump 280 if anybody is interested, costs about €25 newDarragh
Film manufacturers will supply control strips to determine that the process is within tolerance.
These are pieces of film exposed to standardized colours and step wedges,
and tested using densitometry.The picture you posted looks like it might have been taken within 2 hours of sunrise or sunset,
so the colour temperature won’t match the temperature the film was designed for.If you expose a frame in cloudy bright (overcast) conditions,
using coloured objects- kiddies plastic toys, for example, a portrait, white objects-
you should be able to determine how neutral the process is-Well, maybe not for Velvia 50, but you could include a strip of Astia or Provia…
joseph
I did any other roll of Velvia 50 at the weekend, I increased the first developer time to 6mins 30secs.
This is a shot from the roll
.The only issue is that after drying, the film wants to bow across it’s width which is making scanning it difficult
I haven’t experienced this with B+W film, how can I ensure the processed film keeps flat?Thanks
Darraghdarragh wrote:
I did any other roll of Velvia 50 at the weekend, I increased the first developer time to 6mins 30secs.
This is a shot from the roll
.The only issue is that after drying, the film wants to bow across it’s width which is making scanning it difficult
I haven’t experienced this with B+W film, how can I ensure the processed film keeps flat?Thanks
DarraghI’m not sure but you could try reducing the drying temperature. How do you dry the film?
thedarkroom wrote:
darragh wrote:
The only issue is that after drying, the film wants to bow across it’s width which is making scanning it difficult
I haven’t experienced this with B+W film, how can I ensure the processed film keeps flat?Thanks
DarraghI’m not sure but you could try reducing the drying temperature. How do you dry the film?
Hang it up with a weight attached in the wardrobe over night.
I suppose the other issue maybe that the final rinse step is recommend to be done in ambient temperature but I have been using the water from the tempering bath at about 35 degreesDarragh
I wonder if you try reducing the temperature slowly in the final wash until you get it to the ambient room temperature and then hang it up would it make a difference? I know it’s not a good idea to have sudden temperature changes when processing as you can end up with a problem with reticulation and I would suspect that if your film is at approx 35 degrees when you hang it up to dry, then it is possible that the sudden change while drying might cause the film surfaces to dry faster and at different rates between the glossy surface and the emulsion surface. Could this cause a curl? I know when we do black and white here, if the drying temperature is too high, the films can come out of the drying cabinet looking like one of Shirley Temple’s locks.
I’ll try cooling down the tempering bath after the final wash so that the final rinse is done at room temperature when I do it next time
Thanks
DarraghSome films are curlier than others…
What scanner are you using?
Wet mounting, apart from producing perhaps the sharpest results, will also keep the film flat,
as the film is sandwiched between layers of material and fluid-I am using a Epson v500, so wet mounting is probably not possible.
If I can get the processed film as flat as possible, I can get pretty decent prints up to 16×12 with doing multiple scans.
If I really want to print larger than this, I’d probably be better off sending them to Repro35 to be drum scannedDarragh
Is there an option to scan on the glass?
I use a V750, which is a larger V500-I’ve got a piece of non-reflective picture framing glass,
so I can lay a neg on the platen, and the NR glass goes over it and keeps it flat-
though I haven’t tried it with 35mm yet-There are workarounds too-
if the focus on your scanner is above the glass, then you can add another piece of glass to the thickness required.The NR glass acts like Anti Newton Ring glass,
but it’s a lot less expensive…Repro 35 uses an Imacon, so it’s a ‘virtual’ drum…
not at all cheap either-
but the resolution will be much higher than from a V series-
if all else goes well…‘Pretty decent’ is obviously a relative term…
joseph
Hi
I processed 6 rolls of Velvia 50 and 100F on Monday. I found that reducing the water temperature after the colour developer to 35oC for the pre-bleach, bleach and fixer baths, bring down the water temperature during the final wash along with using room temperature water for the final rinse ensured a much flatter developed film that was easier to scan.
Darragh
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