Developing more film, la!

Here’s a miscellany of developing updates.

The 116 film actually worked! Holy crap! Granted, you could barely see anything on the negatives, and the film scanned in with some crazy color shifts and was fogged, but it’s all good.

Scenes from the Nightmare Carousel

I shot some Kodak black and white Portra that’s meant to be developed in C-41 chems, and actually wound up liking it quite a bit more than I had anticipated.

Grainy Lincoln

Developed the roll of expired E100G slide film that I shot in the Savoy in color chems, and fell in complete love with this picture:

Fuzzy ducklings

One of the things I developed but haven’t uploaded anything to Flickr was a roll of redscale 35mm that I shot in a pinhole camera. The scans of the negatives really seem grainy (not in a good way) and dusty, and I’m just meh about them. Redscale. Whatever. I think that’s a technique that I’m glad I tried once, but probably won’t go back to it (unless by accident).

After I got my color processing done, I busted out the Adox ATM 49 developer to try that for the first time. I bought it since I got a few rolls of Adox CHS Art 25 film from Freestyle. I only shot one roll, but it turns out the developer conveniently comes separated into two batches of chems, and can be used for processing other black and white film, too.

I had two big FAILs regarding the black and white rolls. The first came with a roll of Efke infrared 127 film. I had tried to rig a good infrared filter to use for that, but I think I just succeeded in making an absolutely opaque piece of glass instead. The entire roll turned out blank except for the frame numbers. I wasn’t too bummed by that, since I was guessing that it probably wouldn’t work.

The other FAIL involves a roll of Fomapan R100 film. That’s black and white reversal film, which I had never played with before. It sounded cool, so I ordered it from Freestyle and shot it in DC. However, after I got back, I realized that you’re supposed to send it in to have it processed, since it takes some magical processing chems I don’t have access to. Well, screw. I decided against sending it in and paying money to have it processed and thought I’d just have a go at developing it in regular black and white chems. I knew I wouldn’t get slides, but I thought I’d get something.

The film came out really dense and grainy, which was disappointing. I didn’t expect the negatives to have the dark orange hue that they did. Actually, when I saw how the negatives came out, I wondered if I would have been better off waiting to develop that roll in E6 chems. I’m not sure if I have any more of this or if I just bought the one roll, but if I do, I think that’s what I’ll try.

Everything else came out decent, though. Here’s a couple of shots using the Adox 25. These were shot using the Canon AE-1 and a yellow filter.

Smithsonian

From behind

I also followed through on my 116 pinhole camera attempt. I converted the Kodak Autographic 2A into a pinhole camera and shot a roll of old, funky Ilford Pan F in it. The pinhole worked great, but the camera had some serious light leakage.

Bench

No worries, though. Now I’m thinking about just removing the front part of the camera and attaching it to a box that I can use 4×5 sheet film holders in. I just need to get up the motivation to build said box and the nerve to tear apart a beautiful, but light leaky, old camera. It’s scary!

The black and white roll of film I was happiest about happened to be the roll of Orwo NP22 film I shot in the Yashica C. It turned out fantastic! I think the film expired in the early 80s, and I had no idea how it had been stored (I got it off ebay), but it wound up having a really neat crackling effect to it.

Phoenix Recycling

And, of course, the Yashica is just always awesome.

Alert

So, now I’m trying to decide if I want to mix up a batch of E-6 chems and give that a go. I think I may try it in a few days. I’ve got 5 rolls of slide film shot, but I figured I may as well try developing some other stuff in it, because why the hell not? Specifically, I thought I’d try a roll of C-41 (backwards crossprocessing!) and maybe shoot some 4×5 black and white sheet film to see what happens to black in white film in E-6. I also have some old rolls of film – Kodacolor, some E-2 film, probably some Triple Print crap. I figured I can try some really long, room temperature processing of that stuff to see if anything comes out. I was planning on trying developing the E-2 stuff using Moominsean’s method, but I’ve got multiple rolls of E-2 film, so if doing it in E-6 doesn’t work, I’ll try his way next time. I was going to do some of the older Kodacolor and Triple Print stuff in the C-41 chems, but it slipped my mind. So now I’ll try cross processing them. I just figure if I take the attitude that it’s probably not going to work anyway, if I do manage to get an image, I’ll be pleasantly surprised.

I’ve got a bunch of new film recently, too.

Films!

I’m most excited about the roll of 70mm Konica. I’m going to use that to respool rolls of 116 film. Yay! Picked up a lot of old (circa 1990s) C-41 film. Most of it (and the Ektachrome) is 220, though, so I’ll have to cut it down. I keep meaning to load a roll of 220 into the Yashica and see if I can reset the fram numbers in the middle of the roll. That would save me a lot of time.

I’m awash in 120/220 color film right now, actually, which means that I think I’m going to start using up my stash of Portra 160 NC (i.e., the most boring film known to man) as black and white film. The one time I developed it in black and white chems I thought it came out great.

The garage next door

Now that I think about it, what I need to do before I mix up the E-6 chems is to shoot some Portra NC so I can cross process it. Maybe it does something really outstanding as a slide. I kind of doubt it, but there’s always a shot.