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  1. #11
    wogster's Avatar
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    Quote Originally Posted by scheimfluger_77 View Post
    Caution: Semi long post.

    I recently acquired a Jobo CPP2 system (along with some other goodies) for a reasonable price and am weighing the possibility of resale vs. getting into the mail order film processing business. To that end I’m curious about your view of your personal usage of E6 & C41 materials for the next 5 years.

    I am not new to color processing and process control as I have 8 year’s experience in C41 from late ‘80’s to early ‘90’s. Although those systems were continuous, replenished systems. The last half of that was in my own mini lab, so I’m pretty familiar with that end of the film business.

    My challenge will be getting up to speed on E6 and deciding how to approach chemistry management in both cases; 1-shot or replenished. I’ve been reading as many old threads as possible on APUG to get a feel for the particulars. It seems the balance between convenience and cost savings is more or less leveled out by the time involved. While I understand the difference between seasoned/replenished systems versus 1-shot w/starter in the mixes, I’m having trouble getting my head around the terminology manufacturers use to denote their various products and which is meant for a high-volume system and which for low volume production lines like I’m anticipating for myself.

    I’ll be able to handle anything up to 4x5 in the Jobo and will be looking to expand that. One wrinkle I see is slide mounting. At present I don’t have any set-up for that and don’t plan to add that capability—though I’m open to rethinking that if needed. I do have an Epson 3200 scanner and will probably include a ‘contact sheet’ scan. I will not be doing color printing on silver-based materials, and I haven’t given much thought to offering color printing from digital.

    My question to all of you is; do you feel inclined to respond if I create a short, 10-question poll on Survey Monkey asking about your film and service usage as it relates to you for the next 5-7 years? I thought that would be easier to deal with than creating a monster thread here. I also encourage further discussion here as well. Thanks.

    Steve Giesel
    Use them when I feel the need while we still have them, stop when we don't.....
    Paul Schmidt
    See my Blog at http://clickandspin.blogspot.com

    The greatest advance in photography in the last 100 years is not digital, it's odourless stop bath....

  2. #12
    MattKing's Avatar
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    Quote Originally Posted by BradleyK View Post
    E6? I was fortunate enough to be able to pick up several hundred rolls of Ektachrome E100G and VS (both in 35mm and 120 formats) over the course of the last several months (perhaps 700 rolls total?). At current rates, this stash should last me 18-14 months. Thereafter, I am not certain whether I will start shooting Provia/Velvia or just give up on colour work. To date, I have been sending my E6 to Dwayne's; I have a batch (60 rolls?) that I will have processed locally (ABC Color) to see how well the locals do.
    Bradley:

    ABC isn't currently doing E6. They are having Customcolour do it for them.

    They tell me though that if volumes warrant it they will consider re-instituting the service. Maybe your 60 rolls will tilt the balance.
    Matt

    “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

  3. #13

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    The plan: shoot all 17 boxes of Provia 4x5 film I have and hand-develop it in 3010 drum with two Fuji Hunt E-6 kits in my freezer. After that comes sticking them on an acrylic cylinder in a certain Danish-made electronic device, but that's perhaps a bit OT...

  4. #14
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    Quote Originally Posted by jnanian View Post
    but there is no one
    local who will process color bigger than 35mm and i really don't want
    to deal with shipping &c ... or using color chemistry here at home ...

    you know color chemistry is really easy... I've been doing E6 in a plastic dishtub with holes poked in it to keep the water level constant and controlling the temp with the sink

    I taco dev 4x5 c41 and e6 in my paterson tanks.

    And my quality control was much higher than the local "pro" lab, even after i intentionally threw the temps off 5 degrees to see what difference they made. Still came out beautiful.

    The most expensive part of my E6 processor was the Weston thermometer.
    www.EASmithV.com

    "The camera is an instrument that teaches people how to see without a camera."— Dorothea Lange
    http://www.flickr.com/easmithv/
    RIP Kodachrome

  5. #15
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    Quote Originally Posted by Wolfeye View Post
    I think the biggest challenge will be digitizing the processed film. I have the film, I have the chemicals, and I have enough cameras to last until I die, but if my Nikon Coolscan 5000 ever dies I will be one sad monkey.
    There always is an alternative:

    http://www.filmscanner.info/en/ReflectaProScan7200.html

    I read somewhere of some new scanners (real scanners) soon to enter production but my memory fails at the moment.

    When and if my Nikon Coolscan 5000 dies (scratching...) I'll buy a second-hand Minolta Dimage "Pro" scanner, able to scan 120, which will in turn open a new round of GAS involving Rolleiflexes, Hasselblads and various folders. Hope it will be later rather than sooner
    Fabrizio Ruggeri fine art photography site: http://fabrizio-ruggeri.artistwebsites.com
    Stock images at Imagebroker: http://www.imagebroker.com/#/search/ib_fbr

  6. #16
    Diapositivo's Avatar
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    Scheimfluger (Scheimpfluger, I suppose?) I suggest going "one-shot" without hesitations.

    One-shot is not one-shot. You do two passes* on the same chemistry as far as the first three baths are concerned, and bleach and fix can easily do more than that. Final rinse / stabilizer even more than the latter.
    You never have to deal with exhausted chemistry, correcting acidity or whatever. Your chemistry is always fresh, always of constant quality, with reliable and repeatable results;
    The chemistry is much more easily preserved in its concentrated form (just use proper flasks and some propane/butane gas).

    It doesn't cost more than replenishing. My 50 Euros kit does 50 rolls. Rotative developing uses a small volume of diluted chemistry.

    It is easier as you only have the 6 canonical baths (plus the "final rinse / stabilizer) you don't have to fiddle with starter and replenisher and you don't have to worry about potency, freshness, doing tests etc.

    People not using rotative processing have to prepare higher volumes of chemistry and that maybe shifts the convenience to replenishing. Rotative processing lends itself very well to one-shot processing without any cost aggravation.

    * Two passes without letting the chemistry degrade, let's say within 24 hours, guarantee a level of quality which is at least on par with what you get from professional laboratories. Some people uses the same one-shot chemistry for three or more passes. That might cause some minimal decay in image quality. Two passes give you the very best quality your film can give.
    Fabrizio Ruggeri fine art photography site: http://fabrizio-ruggeri.artistwebsites.com
    Stock images at Imagebroker: http://www.imagebroker.com/#/search/ib_fbr

  7. #17
    Diapositivo's Avatar
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    My plans for the foreseeable future are as follows:

    I will certainly go on using slides;
    I am considering adding colour negatives. I still have to make the first developments (my kit is still sealed). I have some 10 or 15 colour negative rolls to develop and examine.
    I am attracted to negative film for the greater exposure latitude, and as a ready back-up in case slide film becomes too expensive.
    I am deterred from negative film by the filtering issues and the scanning issues (noise in the highlights).

    I plan making "film profiles" of each negative film before scanning. That requires shopping for a slide duplicator which I should do this winter. Until then my considerations regarding long-term use of negative films will be withheld.

    I suppose in any case that slide film will remain my preferred medium and that negative film will be confined mostly to high-brightness-range situations.
    Fabrizio Ruggeri fine art photography site: http://fabrizio-ruggeri.artistwebsites.com
    Stock images at Imagebroker: http://www.imagebroker.com/#/search/ib_fbr

  8. #18

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    Quote Originally Posted by Diapositivo View Post
    My plans for the foreseeable future are as follows:

    I will certainly go on using slides;
    I am considering adding colour negatives. I still have to make the first developments (my kit is still sealed). I have some 10 or 15 colour negative rolls to develop and examine.
    I am attracted to negative film for the greater exposure latitude, and as a ready back-up in case slide film becomes too expensive.
    I am deterred from negative film by the filtering issues and the scanning issues (noise in the highlights).

    I plan making "film profiles" of each negative film before scanning. That requires shopping for a slide duplicator which I should do this winter. Until then my considerations regarding long-term use of negative films will be withheld.

    I suppose in any case that slide film will remain my preferred medium and that negative film will be confined mostly to high-brightness-range situations.
    Fabrizio (and everyone else),

    Thank's for all the great feedback. I've decided to keep the Jobo and use it for my black and white work to begin with. If a low volume commercial opportunity presents itself I'll be ready. In the meantime the only dark I'll need is the 1/2 bath by the garage. Fabrizio you are correct about the "p" in Scheimpfluger. I misspelled it when setting up on the pinhole forum, oh well.

    Steve

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