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Thread: Double-X 5222

  1. #21

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    Almost Tri-X grain.....

    rms granularity, per Kodak is 14. LPM is 32/100 It is, indeed, a film of old technology.

    For comparison, the granularity is the same as Foma 200 and APX 400.

    The Eastman 5231 Plus X is 10, just like the regular version, Tri-X is 17.

    The human eye can detect a difference in granularity of 16% (Haist quoting some Kodak researchers. Just happened to read that last night!) If that is the case, 17/14 gives 21%. Noticable, but close insofar as the human eye and brain.

    I realize that grain isn't the only consideration. I would presume that XX has an old fashioned long toe that was needed before coated lenses. At least, that's how I understand such things, open to correction.

  2. #22
    bowzart's Avatar
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    Quote Originally Posted by k_jupiter View Post
    Say you have 200 windings for 400 feet. (I am an engineer and could come up with a closer number but my brane hurts today) Say 200 windings... Get the chain saw out, get in the darkroom and cut that spool in half. You now have 400 short pieces of film, much easier to work with. And those ragged jagged edges are pretty "Arty".

    tim in san jose
    There was an old aerial photographer in my past who cut rolls of wide color paper in half with a chopsaw in the dark. I'll take risks, but that seems a little bit on the extreme side.

  3. #23
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    I've been shooting 5222 for about six months now. I've been using ADOX Borax MQ Developer, which is a D-76 type. I add the ADOX Replenisher after each film run. I've run about sixty rolls so far myself, you can get about seventy rolls of 36exposure from a 400' roll. I hand load it, right off the film core, that's the easiest way, no problem at all. According to the Darkroom Cookbook, D-76 was developed for the motion picture industry, so it makes good sense to me to use it with the XX. I certainly like the midtone values I'm getting, this film seems particularly good at seperating those.

  4. #24

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    Quote Originally Posted by df cardwell View Post
    Are there any pressure plate scratch problems with 5222 ?
    Not unless you already have a scratch problem. The base material is designed to run through a cine camera at high speed. Running it through a 35mm still camera would not be subjecting it to nearly as much stress. If you have a scratch problem, it's probably not the film. Check your camera and handling first.
    Frank Schifano

  5. #25
    PhotoJim's Avatar
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    The recommended developer for 5222 is Kodak D-96. The formula for this developer is published (I've seen it in the Film Development Cookbook by Anchell & Troop, and presumably it's elsewhere too). I may experiment with it in due course, but I want to try developers I'm used to using first.
    Jim MacKenzie - Regina, Saskatchewan, Canada

    A bunch of Nikons; Feds, Zorkis and a Kiev; Pentax 67-II (inherited from my deceased father-in-law); Bronica SQ-A; and a nice Shen Hao 4x5 field camera with 3 decent lenses that needs to be taken outside more. Oh, and as of mid-2012, one of those bodies we don't talk about here.

    Favourite film: do I need to pick only one?

  6. #26
    David A. Goldfarb's Avatar
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    The recommended developer and developing time for 5222 is probably designed to give lower contrast results than you would want for normal prints, since it would typically be printed to a higher contrast print film for projection. Cine neg films are generally lower in contrast than still films.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
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    Academic (Slavic and Comparative Literature)--http://www.davidagoldfarb.com

  7. #27
    PhotoJim's Avatar
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    Good point. Thanks for mentioning it.

    In any event, I have 400' of it to play with so that's lots of opportunities to try different developers, etc. Given its old-technology roots, I am hoping it develops really nicely in PMK.
    Jim MacKenzie - Regina, Saskatchewan, Canada

    A bunch of Nikons; Feds, Zorkis and a Kiev; Pentax 67-II (inherited from my deceased father-in-law); Bronica SQ-A; and a nice Shen Hao 4x5 field camera with 3 decent lenses that needs to be taken outside more. Oh, and as of mid-2012, one of those bodies we don't talk about here.

    Favourite film: do I need to pick only one?

  8. #28

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    Quote Originally Posted by Tim Gray View Post
    Thinking of picking up some 5222 from Film Emporium. I'll check to see if they short ends, but if not, I have some questions about ordering 400' of the stuff.

    I've heard you can get them to respool it to 100' rolls. That sounds good to me. Will those 100' rolls go right into my Watson bulk loader? Is there anything I should be aware of?

    Alternately, is there some kind of daylight loader that I could use for 400' or even 200' rolls? I ask because I live in a small apartment and its pretty hard to find blackout conditions - loading up the bulk roll once in the dark is going to be a pain enough in my changing bag. For those of you who shoot movie stock, how do you generally proceed with the 400' rolls?

    Lastly, any other tips with 5222, movie stocks, or bulk rolling? I'll be using Xtol for developing. I've read here that its 250D, but for still use, meter at 400...

    Thanks!
    See: http://www.kodak.com/US/plugins/acro.../bw/h15222.pdf

    KODAK D-76, KODAK D-96, d-96A and XTOL DEVELOPERS all work well with KODAK 5222 X X 35mm Cine B&W negative Film.
    Tom Hoskinson
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    Everything is analog - even digital :D

  9. #29
    bowzart's Avatar
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    I'm testing this now, and am coming in pretty close on it. Just to be sure that I don't make it too easy for anyone, I'm using Germain to develop it. I don't think I've ever seen such extraordinary negatives. If you want to give it a shot, try 10 minutes at 68°F, which is great for overcast conditions, and it is looking like ISO 125 or so is where it is going to shake out.

    I've been wanting to try Germain for awhile, because it can be replenished with its own stock solution and lasts, according to Mo himself, virtually forever. I like that! Since I will be working in my truck camper, it makes things easier. The acutance is astonishing; the cleanliness of the shadow areas no less so. Haven't made prints yet, but the highlights appear richly detailed and well defined.

  10. #30

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    D-96 is also a D-76 derivative, although it is pretty far derived. Note that Kodak used to recommend D-76 as the motion picture negative developer. D-96 is:

    Water (50C) 750 ml
    Metol 2 g
    Sodium sulfite (anh) 75 g
    Hydroquinone 1.5 g
    Postassium bromide 400 mg
    or
    Sodium bromide 350 mg
    Borax (decahydrate) 4.5 g
    WTM 1 l
    pH at 27C =8.6
    Specific gravity at 27C = 1.068

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