Hmmm i've never had any drag issues with stand 1:100 in Rodinal.
Originally Posted by Chris Livsey
I agitate for a full minute in the beginning, then a single gentle inversion after 5 minutes, and then every 20 minutes thereafter again a gentle single inversion.
The only time I have or had any sprocket issues, I discovered it was the camera exposing the sprocket and getting light piping but not the actual developing itself.
Hope that helps.
It does, I don't know why I'm shy of agitating in the "stand" mode I have no problems with the "usual suspects". It wasn't bad but noticeable, time for another shot, thanks for the pointer.
Originally Posted by StoneNYC
No worries, hope it works out for you, if it doesn't please of course also post that and maybe start a thread about it and we can all figure it out!
Originally Posted by Chris Livsey
and back OT shot some more TMY-2 sheets today from inside the house.... Rain rain go away...
Was up till 5 a.m. on the internet (places like APUG), & woke today @ 4:30 p.m. So much for using the 126 outside today. Got a couple pictures of the dog with the 126 camera (Kodak SO-16 Gen 2). Our last dog (died nearly 2 years ago) was deathly afraid of cameras. This one isn't, but gets all excited when she sees one and will not stay still - she sits nicely but keeps moving her head around, quickly, as if she knows it will blur.
I've never shot D3200 at anything but 3200.
I know people say that you're supposed to push an extra stop for some reason than the listed times, that would be pushing it to 12800 which seems like a lot to me, I hope it's not too much and the suggestions of pushing an extra stop are correct...
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From what I've read, that extra stop "push" is to get better contrast, as Delta 3200 is allegedly made to be low contrast specifically so it can be pushed. Again, I've only read this - no detailed experience on my part.
That said, I've only used Delta 3200 @ 1600 and developed for 3200. It worked okay for me, but I've not tested and compared different variables.
Delta 3200 is an ISO 1000 film designed to have a very shallow and gentle slope - meaning low contrast, and no clearly obvious demarcation between shadows and near-shadows.
So when you under expose it by metering at 1600, 3200 or more, the shadows don't fall out entirely. And when you develop it longer than a strict ISO 1000 time, the contrast builds to a level that is more aesthetically pleasing.
The choice of what contrast level is aesthetically pleasing is a very subjective one - naturally, some will find more contrast pleasing, while others will prefer less.
“Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”
Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2
I've run some Portra 400 in 120 recently and was pleased at the colors. More natural than the over saturated Ektar and Portra160.
Today I fired off 1 roll of Ektar, 1 roll of Provia 100F, and one roll of Kodak Tmax 400. All 120 format.
What's loaded currently:
Nikon F, F2A, F2AS: Ektar 100
F3P: Ilford SFX200
F4: Portra 400
FT2: CHS 25 (Adox).
Most recently finished off a roll of CHS 100, which I need to get processed.
APUG: F3P, F2AS, Nikomat FT2
Nikkors: 18-70/3.5-4.5G AF-S DX (f/D2x), 20/3.5 UD, 24/2 AI, 35/2 O, 50/2 H, 50/1.4 S, 85/1.8 K, 105/4 Micro AIS, 180/2.8 PC
'tax gear: Spot II, 55/1.8 Super-Multi-Coated Takumar
- My flickr stream