110/16mm Camera Image Quality

Donald Qualls

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Bronson Dugnutt said:
I'm still trying to distinguish between the characteristics of the films on offer, but the 'Fuji PT-21 HR-II Medium Speed Low Contrast' sounds interesting.
Click to expand...

For microfilms, "high speed" is ISO 32-40 by the time you develop to low enough contrast to have a good gray assortment. Medium speed should be ISO 16-25 range -- but you might do better with this, since "low contrast" may not require you to use special developers or massively underdevelop by the film's usual standards.
 

Bronson Dugnutt

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A spool of HR-21 or PT-21 would probably suit my purposes but unfortunately I'm not a library in need of 3 kilometers of film.


Edit --

Rollei 16 'A' mode
Vision3 250D @ 200; ECN-2
V800 negative scan


The viewfinder parallax correction is much better after the adjustment.



Lens performance at infinity is excellent.

Along with bulk, the camera's shutter is quite loud. It emits a CLACK like the focal plane shutter in the original Minolta 16 but followed by pronounced spring noise. Maybe it's just this copy. For a quieter shutter try a QT.
 
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Bronson Dugnutt

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Just from counting spools, I'm already the proud owner of 1.5 furlongs of a variety of mostly color 16mm film stocks. Accounting for what I've already exposed I'm probably still sitting on about 7.82331e-15 parsecs worth...

At that rate I'll be all out in 80 fortnights!
 

Sirius Glass

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How many furlongs per fortnight?
 

qqphot

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I've been scanning some 110 color negatives from my childhood, taken with a Kodak Tele-Instamatic 608. I'm really kind of amazed at how much better the resolution and image quality is than I'd expected. Many of them beat the few 126 format negs I've come across, just because the 126 film was clearly shot with an atrocious lens and very poor film flatness. The 110 frames are smaller but are sharp enough across the frame.

I've been wet-mounting them on glass and copying with a sony mirrorless camera, so they're perfectly flat and imaged at 4k by 3k pixels, which probably helps. The film has degraded vastly less than the prints made at the time, so it's kind of neat seeing them in good corrected color.
 

Cholentpot

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Mamiya 16, Plus-X. I don't have a cassette so I shaved down a 35mm spool to make a dowel. Kind of worked but the spacing was all off by the end of the roll.









Rollei A110, Tri-X. Golly this camera is sharp. Had some issues with film advance but I think I worked it out.






















I wonder if I'm the first to shoot b&w 16mm in the Rollei. Someone else out there had to kludge this before me.
 

Cholentpot

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Pentax Auto 110, Plus-X. I lost my nifty little lens filter on this trip. They're expensive to replace though so I'll have to go without one for now.









 

Bronson Dugnutt

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Cholentpot said:
Pentax Auto 110, Plus-X. I lost my nifty little lens filter on this trip. They're expensive to replace though so I'll have to go without one for now.
Click to expand...

That sucks; color filter, diopter, or something else? Any kind of front filter thread on a submini is pretty miraculous in itself but the weird sizes and their propensity to vanish has to be reckoned with. The slip on filters for the Minolta 16 series are particularly bad in that regard: most of them are model specific and are the size of your thumbnail.

That hangar shot would be great as a hyper-stereo pair. A bit of bog standard early morning double-x --

Minolta MG-s, shutter priority 1/60s
Double-X @ 200, Xtol 1+1 11'
V800 negative scan





Mostly blind shots with the 25cm close-up lens, but I slid in the 120cm lens for the slow flag dude.
 

Cholentpot

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Just the basic UV filter. Annoying but not essential.

Nice photos.
 

Sirius Glass

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Cholentpot said:
Just the basic UV filter. Annoying but not essential.

Nice photos.
Click to expand...

This is a good time to upgrade to Hasselblad before the prices increase. Avoid the rush and panic now!
 

Bronson Dugnutt

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Minolta QT, 1/250s f11 @ closest focus (~1.2m)
Kodak Tri-X @200 (7222); B&W reversal D-19 8' 1st, Xtol stock 2nd
V800 positive scan, D850 digitization



 

Bronson Dugnutt

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Trying not to be gored while out with some Double 8 Foma R100. It's not a bison, but better safe than sorry.

Minolta 16ii w/ Y48
Foma R100 B&W reversal D-19 8'



The reversal characteristics are very different from the Kodak, Ilford and Adox stocks I'm used to. Not surprisingly, it's closer to Fomapan 100 (my 120 reversal go to despite the dye) but even squirrellier. First development in stock D-19 at box speed is major overkill, but rating at 400 seems feasible.



I kinda like the Double 8 sprockets; the film support is oddly flexible, almost pliable, probably with cine cameras & projectors in mind.
 

Cholentpot

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Kodak Fling. Plus-X





Shooting 16mm out of this thing is a trip. The frame goes well beyond the intended 110 lines.
 

Patrick Robert James

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I finally developed some color film a while back. Kind of disappointed the Ektramax's feeler wasn't catching and failed to stop the advancement in the right spot so the frames almost all had the perforation in the frame. On top of that the film was the equivalent of a brown banana. Just too out of date I guess. This is the only frame that was slavageable on the roll and of course it was an ugly picture. Lol. I still have some 110 film laying around. Maybe I'll put it through the Rollei.

 

ic-racer

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I hadn't posted anything here for a while. This is Minox with HP5. The print is a little over 4x5". Printing that small I use the 45mm Componon HM, which is my sharpest lens. Rather than a 25mm Rodenstock or 30mm Rokkor-X lens.
I use those other lenses for big enlargements. For example, about 20 years ago I was on a kick to make 16x20" Minox enlargements.
 

ic-racer

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This one is Minolta 16mm on Kodak Cine film. Again the image is printed small on an 8x10 sheet.
 
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