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There is another one from Orwo DN21. This was shot @iso16, developed in xtol stock 11.30 min. My first tests of Summicron 8 elements replica...
Another new film from Lomo - Babylon 13
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That's nice. I need to get out and shoot more of this stuff. Got two cassettes loaded 30+ exposures each, Super Takumar 50mm f/1.4 on my Singlex II, even got some batteries to run the meter. Just need time...
Went out to shoot some sprocket panos for Sprocktastic 2020 today. Since it was sunny, I decided to use DN21. Since I already had my RB67 220 back loaded with Superia X-tra, I picked a 6x9 folder that wasn't loaded -- my Wirgin Auta. Grabbed a set of 35mm to 120 adapters that came with my CCB pinhole camera, loaded up the Wirgin, made a guess on how many turns of the winding key I'd need for each frame, and out I went.
Came out pretty well, aside from the light leaks on the film from a bulk loader accident (I'll get past the fogged film in another couple cassettes). The adapters (one looks like a 120 spool with shoulders to manage the narrow film) keep the film nice and straight across the gate, and the Wirgin Auta has a shutter on the ruby window(s) -- leave it shut, and the back is light tight. Turns out it's 5 half-turns of the winding key at the start of the roll, then 4 after the 3rd frame; I only get 6 (and a half) frames on a 27 exposure roll.
Wirgin Auta, Radionar 105/4.5, ORWO DN21 EI 12, Xtol replenished stock (7:00).
Came out pretty well, aside from the light leaks on the film from a bulk loader accident (I'll get past the fogged film in another couple cassettes). The adapters (one looks like a 120 spool with shoulders to manage the narrow film) keep the film nice and straight across the gate, and the Wirgin Auta has a shutter on the ruby window(s) -- leave it shut, and the back is light tight. Turns out it's 5 half-turns of the winding key at the start of the roll, then 4 after the 3rd frame; I only get 6 (and a half) frames on a 27 exposure roll.
Wirgin Auta, Radionar 105/4.5, ORWO DN21 EI 12, Xtol replenished stock (7:00).
That's pretty cool - I'd never heard of Sprocktastic day. May need to gear up for the next one.
I also got back to some DN21 this week:
How do you like your xtol-r time for this film? My above are Rodinal 1:00 semi-stand and I don't think I'll do that again for this film unless I'm shooting dead-flat light. These scans may look mostly OK but wet printing these took a grade 0 filter.
Sprocktastic is still going -- submission deadline is October 15. Follow my link above and read the intro, look over the submissions (not sure when mine will show, just submitted last night -- this morning Aussie time).
This was my second roll in Xtol-R, I used the same time again because it seemed just about right. When not scanning over the sprocket holes (which requires a big change in black point), it scans well with that development, and applying a "similar films" factor to Lomography's HC-110 B time roughly matches the time I'm using, as does the D-96 time (with conversion factor) from the DN-21 processing instructions. Darkroom still in progress (more work on enlargers due later today). The Lomography examples show Rodinal giving a lot of contrast, but surely that's controllable with time, and with 1:50 and agitation every 3rd minute, you might pick up a little speed (perhaps EI 16?)
This was my second roll in Xtol-R, I used the same time again because it seemed just about right. When not scanning over the sprocket holes (which requires a big change in black point), it scans well with that development, and applying a "similar films" factor to Lomography's HC-110 B time roughly matches the time I'm using, as does the D-96 time (with conversion factor) from the DN-21 processing instructions. Darkroom still in progress (more work on enlargers due later today). The Lomography examples show Rodinal giving a lot of contrast, but surely that's controllable with time, and with 1:50 and agitation every 3rd minute, you might pick up a little speed (perhaps EI 16?)
Those are some lovely images, really shows how nice this film is.
Thanks! I've got a bit of experience banging away at those two goobers. Still, ISO12 & shooting two wiggly kids with a 85mm f1.8 wide open at 1/60 was less than ideal - the shot of my older son isn't really in focus anywhere.
I'll have to see if I can cobble together a sprocket shooter. A couple weeks back I got decent results running 120 in a Kodak 1A Pocket Folder, maybe I'll do some extra long and skinny shots in that.
I did mine in a Wirgin Auta 6x9. No extra tech required (though I used a set of 35mm to 120 adapters). If your 1A doesn't have a shutter on the ruby window, don't forget to cover the window (and the autograph slot) with opaque tape. Submissions I saw ran as short as standard 35mm length (36 mm, but in a camera that exposed over the sprocket holes) up to 6x9, and then one guy used a 6x12 ONDU pinhole.
As an aside for those looking for glowiness resulting from an ineffective, or non existent antihalation layer, there’s Washi F. 100ISO.
A hand rolled French emulsion and as far as I can see it comes in 24 exp lengths. Works out approximately the same price (in the U.K.) as a 36 exp roll of Lomography Babylon.
A hand rolled French emulsion and as far as I can see it comes in 24 exp lengths. Works out approximately the same price (in the U.K.) as a 36 exp roll of Lomography Babylon.
Or just order a 100 foot (30.5 m) roll of ORWO DN21 from the nice guy in Florida and it'll cost less than factory loaded Tri-X or Pan F -- around four bucks for a roll of 36.
I live in the U.K. so import tax, VAT and postage make it uneconomical.
I was going to order a roll of each, ie Babylon and Washi F, but as the light is becoming less strong each day as we head to the winter solstice, plus the Covid business isn’t doing much for photo opportunities, I might leave it until happier times.
You can get the same film directly from European ORWO or via Fotoimpex without paying to ship it from Florida -- VAT priced in and no import tax, if you hurry and get it before Boris and company finish severing the ties. It's officially sold only in 400' camera rolls (it's a cine print film) but others have ordered it direct from ORWO, and I believe gotten it in 30.5 meter lengths (be sure to ask them to check for "short ends"). As I recall, mine came without a core, but there was enough space inside the roll to get it into my bulk loader; a cine short end may or may not include a camera spool (which won't fit a bulk loader), so let them know you need it for bulk loading 135 cassettes.
If you have a fast lens (f/2 or better) you can shoot this on even a winter day in UK. It has reduced red sensitivity (orthopanchromatic response) so it'll lose a stop or so in late day or probably all day during December and January, if you're north of London, but at f/2 and EI 6, that's still 1/100 with wide open aperture. Bring a friend, shoot bokeh portraits.
Thanks Donald.You can get the same film directly from European ORWO or via Fotoimpex without paying to ship it from Florida -- VAT priced in and no import tax, if you hurry and get it before Boris and company finish severing the ties. It's officially sold only in 400' camera rolls (it's a cine print film) but others have ordered it direct from ORWO, and I believe gotten it in 30.5 meter lengths (be sure to ask them to check for "short ends"). As I recall, mine came without a core, but there was enough space inside the roll to get it into my bulk loader; a cine short end may or may not include a camera spool (which won't fit a bulk loader), so let them know you need it for bulk loading 135 cassettes.
If you have a fast lens (f/2 or better) you can shoot this on even a winter day in UK. It has reduced red sensitivity (orthopanchromatic response) so it'll lose a stop or so in late day or probably all day during December and January, if you're north of London, but at f/2 and EI 6, that's still 1/100 with wide open aperture. Bring a friend, shoot bokeh portraits.
Certainly something to consider, and as you say time is of the essence with our current European relationship potentially altering at the end of the year.
I think however it would be a good idea to try a single roll to see if I like it first before ending up with 100’ or so. I’ll ponder some more, but if I do I could ask the wife to model and use my Nikkor 50 f1.2 to capture the winter sun.
Now we're getting somewhere. I quite like the DN21 -- it's not a film I use every day, because much of my photography is indoors, available light, hand held. Even with f/2 or f/1.2 lens, ISO 13 won't permit reasonable shutter speeds in those conditions, but I have shot a couple rolls in less than ideal conditions -- late day, light color stealing speed (the redder the light, the slower the film gets), or cloudy sky with a slow-ish lens.
Wirgin Auta 4.5, Radionar 10.5cm f/4.5, ORWO DN21, Xtol replenished stock.
Wirgin Auta 4.5, Radionar 10.5cm f/4.5, ORWO DN21, Xtol replenished stock.
Thanks Donald.
As an aside I do like the panoramic shot, and I’ve also admired some of Ned’s work, a highly accomplished XPan user. But Xpan prices are out of my league, definitely in divorce territory, and there’s no guarantee that the 3000 £, € or $ is going to be anything other than a doorstop after a week, month or year.
So I’ve purchased a Sprocket Rocket to scratch the itch (as it were).
Virtually any 120 camera can be used this way. Even without adapters (use wads of paper to center the cassette, take up to a 120 spool). The Sprocket Rocket makes it easier, but I first did it with an RB67.
One of my goals for my RB67 kit is to get the 65mm and eventually the 50mm lenses for it, or even the 35mm fisheye -- those will give me similar view to an Xpan, but in a robust, professional, mechanical camera that can still be repaired by folks who know what they're doing (and the shutters in the lenses mean that, worst case, if a shutter goes down beyond repair, you just buy another example of the same lens, maybe even a different -- cheaper -- one if the shutters are all the same).
One of my goals for my RB67 kit is to get the 65mm and eventually the 50mm lenses for it, or even the 35mm fisheye -- those will give me similar view to an Xpan, but in a robust, professional, mechanical camera that can still be repaired by folks who know what they're doing (and the shutters in the lenses mean that, worst case, if a shutter goes down beyond repair, you just buy another example of the same lens, maybe even a different -- cheaper -- one if the shutters are all the same).
There's plenty of room in any 120 camera to takeup into a cassette as well as feed from one. With the RB, I'm using a 220 back, which (if I put a leader on the film so I don't fog 25% in loading) will give me 18 frames on a 36 exposure roll, with a counter that goes to 20; the last one and a fraction of the one before will be out of the cassette when the film stops.
There are a couple ways to deal with that: either hand reload in a way that lets the film pull off the supply spool (the RB67 220 back, at least, will quit counting frames and free wind when that happens, so you won't just keep shooting), or splice a leader on the tail of the film as well as the head, so the actual film is protected in the cassette before the film stops (get the length just right, and you'll only shoot one exposure on the leader stock at the tail). Or just carry a dark bag along, and unload in the bag; use one of the 35mm-to-120 adapters to rewind the film into the cassette, and Bob's your uncle.
You guys really seem to know what you're talking about so this might be a good place to ask a question about these 'different' films.
If you had access to a box of Kodalith Ortho Film Type 3 and a box of Agfastar A815p (in sheet form) could they be used successfully in regular photography and what would be involved in getting sheet film onto 35 or 120 spools?
Asking for a friend
If you had access to a box of Kodalith Ortho Film Type 3 and a box of Agfastar A815p (in sheet form) could they be used successfully in regular photography and what would be involved in getting sheet film onto 35 or 120 spools?
Asking for a friend
Sheet film on 35mm or 120 spools, not happening.
Kodalith is roughly the same speed as older multigrade papers -- call it ISO 1.5 to 6 equivalent -- and was really intended for processing in an A+B Litho developer, which will give zero gray scale -- Dmax or clear, nothing in between. Fortunately for mask makers, it can also be developed in common print developers to give a gray range comparable to a graded paper -- with contrast control available only by varying developing time (which strongly suggests using more dilute Dektol than you'd use for Ilford MGRC).
That said, you have the ability to load it under red safelight, and ortho films have color response and tonality some folks like (though ortho lith films are less known for this feature). It will likely give results roughly similar to X-ray film (but much slower and with fewer scratches).
Honestly, though, I'd probably use it for things like contrast masks or unsharp masks, or posterizing -- stuff I learned in high school around 1975, when this film was still easy to get. Stuff that pretty much requires ortho lith or ortho camera film to do well.
For the Agfa product, I know nothing at all.
Kodalith is roughly the same speed as older multigrade papers -- call it ISO 1.5 to 6 equivalent -- and was really intended for processing in an A+B Litho developer, which will give zero gray scale -- Dmax or clear, nothing in between. Fortunately for mask makers, it can also be developed in common print developers to give a gray range comparable to a graded paper -- with contrast control available only by varying developing time (which strongly suggests using more dilute Dektol than you'd use for Ilford MGRC).
That said, you have the ability to load it under red safelight, and ortho films have color response and tonality some folks like (though ortho lith films are less known for this feature). It will likely give results roughly similar to X-ray film (but much slower and with fewer scratches).
Honestly, though, I'd probably use it for things like contrast masks or unsharp masks, or posterizing -- stuff I learned in high school around 1975, when this film was still easy to get. Stuff that pretty much requires ortho lith or ortho camera film to do well.
For the Agfa product, I know nothing at all.
Thank you both.
I saw some was available and am always interested in trying out something a little different alongside the standard stuff. Sounds like this would be a lost cause for my needs.
I didn't even know they made film with that low an ISO. So much to learn....!
All films not intended as "camera" films, but used at copy-cameras, under enlargers etc. typically are of very low speed. This yields a fine grain and does not induce much copying loss. Some of such films are extremely contrasty, being "lith" films, not rendering continuous tone.
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