And YOU missed the idea that you probably figured out what the problem was by working in the dark outside the dark bag, and then were able to apply that knowledge inside the dark bag.
That is one way that worked for me at least.
And YOU missed the idea that you probably figured out what the problem was by working in the dark outside the dark bag, and then were able to apply that knowledge inside the dark bag.I think you missed the point that I can now load effortlessly inside the darkbag with my technique that I described in an earlier post. I am not looking to make any corrections to a technique that works well for me.
As far as loading in complete darkness is concerned, there is ample space to work with the reel and the film and there's no sweating. All this makes loading very easy. When using a darkbag to load the film, space constraints and sweat create problems that don't exist when you're loading in complete darkness.
I also wonder, as it is also superior in dimensional stability, strength (a con for motor wind cameras and cine) and archival qualities. It makes sense for still film. So far I think it is just Adox and Foma using it across their film lines.PET based film is a lot easier to load on reels, dry and handle in general.
And it’s a joy to handle, print and scan too.
Does anyone have any idea why this material isn’t universal?
It’s said to kill the gears in motor drives if a jam occurs, because of its strength.I also wonder, as it is also superior in dimensional stability, strength (a con for motor wind cameras and cine) and archival qualities. It makes sense for still film. So far I think it is just Adox and Foma using it across their film lines.
Are you trying to start an argument? ;-) I’m saying more or less that.I think you missed the point that I can now load effortlessly inside the darkbag with my technique that I described in an earlier post. I am not looking to make any corrections to a technique that works well for me.
As far as loading in complete darkness is concerned, there is ample space to work with the reel and the film and there's no sweating. All this makes loading very easy. When using a darkbag to load the film, space constraints and sweat create problems that don't exist when you're loading in complete darkness.
I found light piping to be a very minor problem. Even with IR exposed film.Light piping is one other downside of PET substrate.
Along with the fact that a material that is difficult to cut (as PET is) presents challenges in manufacture - just think of how much more difficult it would be to cut and punch out those millions of 35mm and motion picture film sprockets!
And of course, in order to use it, every film stock currently on cellulose tri-acetate would need to be reformulated for the new substrate. In particular, the anti-halation materials would need re-design.
Supposedly, my stance on stand development, plastic reels and digital photography being art, makes me a troll, according to some. But I cannot care, and so I’ll say it again: plastic reels have no place in a darkroom.
I always tear the tape off...I love seeing the glow from the tape separating from the film!...I usually tear the tape across to separate the film from the paper -- modern tape seems to be a lot stickier than it was even fifteen years ago, and I have poor results trying to peel it from either the paper or the film. If there's any left from the paper side, I fold it over, and I don't have any problems.
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