When I started commercial processing at my black-and-white lab in 1999 I soon got in contact with a photographer who was into architecture. He told me that he got streaks on 120 negatives and the edges never clean. I proposed to develop a roll parallel to him developing an other, equal exposures on both. He was stunned by what I delivered which was only possible through constant agitation of the spiral reel in a large open trough. The films, by the way, were Fuji Acros and the price he payed me was 12 Swiss Francs. For that success I was happy to have stood in the dark with rubber gloves on.