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  1. #11
    eric's Avatar
    Join Date
    Sep 2002
    Southern California
    Multi Format
    I used to process B&W film for a living at a B&W lab in NYC. (no names for now). I processed film for Annie Leibowitz, Steven Meisel, Bruce Weber, Patrick Demarchelier and many others. I did them in 5 gallon tanks with baskets. I did 35mm, 120m, 4x5, 8x10's. I processed EVERY roll via inspection (until we got those newfangled things called Jobos for large format and tech pan). I had a foot switch attached to the green filter. I can go into a lot of detail but you can PM me if you want more information. Couple of key things -- go in the dark and do NOTHING for about 10 minutes so your eyes get acclimated. When inspecting roll film, take a a few inches from the roll, emulsion up, and click the light quick (hopefully with a foot switch so your hands are free). I figure, you know what it should look like if you are asking the question but the tricky part is getting the workflow going to do multiple rolls. PM me so I can explain the workflow I used to do.

  2. #12

    Join Date
    Nov 2003
    Quote Originally Posted by dr bob
    Thank YOU! Maybe I'll give it a try with my "new" efke 4x5. Gotta get a green light though - never had one.
    Dr. Bob -- depends on what you're souping in, but I've found that an OC light is just fine for pyrocat negs. It takes your eye a touch longer to adapt than the green light does, but it won't hurt the film.

    That's why I hold my film behind my back when I flip the switch -- the fraction of a second that it takes me to get the film forward gives my vision time to adapt.

    I have heard that some actually prefer OC for reading pyrocat negs. So if you're using pyrocat, go for it -- you'll be amazed!

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