what was the last camera you used, last film and how was it developed

tnp651 · Feb 10, 2017

(Not counting my return to film in the last two weeks) my last film camera was a Hassy 500C/M with a 150mm Sonnar T*, on August 10, 2005, shooting Ektachrome EPS on a commercial shoot. It was commercially processed.
Tom

John_Nikon_F · Feb 10, 2017

Working on a roll of Ektar 100 in the F2AS. 50/2 Nikkor-HC is mounted. I'll be using it in tandem with the FT3 and the FM2n, both loaded with Superia 400 at a car meet on Sunday. Probably have the 20 on it with the 50 on the FT3 and the 85 on the FM2n.

-J

TheFlyingCamera · Feb 10, 2017

16 rolls of FP4+ in 120 and 25 rolls of Ektar 100 and Portra 800 in 120. All through my Rolleiflex and my Lomo Belair. All processed in my Jobo CPP2. The b/w in Pyrocat HD, the color in a Unicolor C-41 kit.

pdeeh · Feb 10, 2017

MyLittleBrony, Acros EI200, caffenol-cm(rs) 13m@20C.

Marcelo Paniagua · Feb 10, 2017

Leica IIIf, HP5+, Caffenol-C-H (first time using Caffenl and I'm hook ).

Regards.

Theo Sulphate · Feb 13, 2017

Finished my "everyday scenes" theme with two rolls through the Agfa Silette L (Kodak Gold 200) and two through a Retina IIa (Kodak Ultramax 400).

Now I'm back to one of my F3/T's (bought new in 1988 - my first Nikon) with Fuji 200 and an old Kodak Baby Brownie (Rerapan 100, 127 format).

emjo · Feb 14, 2017

A Trip 35 with Fomapan 100. Test roll devved standing in HC-110 1:150 for an hour, 20 minutes between agitations. Yes it works!

michr · Feb 14, 2017

Arista EDU in TMAX liquid developer shot on a Graflex 4x5 with 135mm Wollensak lens. The negatives are really thin, not sure what I did wrong, but I was eventually able to get a decent print.

LeftCoastKid · Feb 15, 2017

A roll (and a little more) of Ilford HP5+ (EI 200) through an F5 with one of either a 28mm, 50mm, or 85mm Nikkor Ais lens. Into the deep freeze until I have some free time.

lpt10 · Feb 16, 2017

Mamiya 6, Fuji GS645W Wide60, Noon612 pinhole. C41, E6, BW, all developed commercially since presently i have no chance to develop at home. Specially the cost of E6 is painful to say the least.

removed account4 · Feb 16, 2017

hp5+/iso 50 + optima
will be procrssed with the rest of the slog
... eventually

R.Gould · Feb 16, 2017

Last two cameras were my newly bought Ikonta 645 and Issolette II, both with fomapan 400 developed in Rodinal 1/50, looking not to bad

locutus · Feb 16, 2017

Shen Hao 5x4, Imago Direct Positive EI3, Maco Ecoprint developer.

Kevin Scott Koepke · Feb 25, 2017

DIY 8x10 Pinhole Wet Plate Camera; Exposure 12 minutes, developed with ferrous sulphate formula fixed with hypo...

tnp651 · Feb 26, 2017

Kevin Scott Koepke said:
View attachment 173906
DIY 8x10 Pinhole Wet Plate Camera; Exposure 12 minutes, developed with ferrous sulphate formula fixed with hypo...

Wow, you have to be dedicated to do large-format pinhole photography with a medium that has to be exposed before it dries. I salute you, sir!

justpete · Feb 26, 2017

Yashica EM with NOS Minicam flash (Press 25), Tri-X, Arista Premium chemistry

Jeff Bradford · Feb 26, 2017

Some old HP5 in a Kodak Vigilant Six-20 6x9 camera. When the roll is done, it will be developed in HC-110 1:49 for 11 minutes.

Kevin Scott Koepke · Feb 26, 2017

tnp651 said:
Wow, you have to be dedicated to do large-format pinhole photography with a medium that has to be exposed before it dries. I salute you, sir!

Thank you very much sir!

Thomas Bertilsson · Feb 27, 2017

Lots of film shot in the last week:
9 rolls of 120 Ultrafine Extreme 400
5 rolls of 120 Ilford Delta 400
3 rolls of 120 Fuji 800 NPZ
1 roll of 120 Kodak Ektachrome 100 for cross processing
2 rolls of 35mm Kodak Ektachrome 320T
2 rolls of 35mm Kodak Ektachrome 1600P
3 rolls of 35mm Kentmere 400

So far I've processed 16 of the rolls, and am about to purchase a C-41 developer kit to process the color film.
All 120 film shot in a Hasselblad 500 series, and all 35mm film in my grandmother's old Minolta p&s camera.

Rick A · Feb 27, 2017

After nearly three years of not shooting 35mm, I loaded my OM-1n with some Fuji Neopan Acros 100 and burned through about 2/3rds of it before pulling it out to process. It was that or leave it in the camera for who knows ho long. Developed the film in PMK Pyro and printed a couple test prints, I prefer to shoot my 4x5 and 5x7's.

Thomas Bertilsson · Feb 27, 2017

Rick A said:
After nearly three years of not shooting 35mm, I loaded my OM-1n with some Fuji Neopan Acros 100 and burned through about 2/3rds of it before pulling it out to process. It was that or leave it in the camera for who knows ho long. Developed the film in PMK Pyro and printed a couple test prints, I prefer to shoot my 4x5 and 5x7's.

Rick, is PMK Pyro your go-to developer and how do you print your negatives?
I'm running out of ADOX FX-39 and thinking about PMK to replace it, as my past experience with it has yielded superbly sharp negatives that I've enjoyed printing very much, particularly on graded paper.
I'd be interested in hearing your thoughts on PMK Pyro.

Rick A · Feb 27, 2017

Thomas, I use it mostly for LF, thought I'd give it a try with the Acros (35mm). I couldn't find much on the MDC for it, so I guessed (based on similar times/D-76, my other dev). I print via Omega D-6 Pro Lab or contact print. I shoot mainly 4x5 and 5x7, so it's very economical for me, especially with rotary, 200-225 ml per 4-4x5's or 2-5x7's in a Unicolor drum. It really shines with Fomapan films, and the old Shanghai GP-3. Price initially seems high, but since you need very little, it is very cost effective. I used to use Pyrocat-HD, but wanted to try this, like it more. I use graded and VC papers, no difference in tonality. I've been reading some folks can't get a "proper stain" using Ilford film, that is of no consequence, IMO it still makes for better printing negatives than most developers I've used over the years. I even like it for T grain film, Delta pops with it, even though I'm not a fan of Tabular film except Acros. I have a pile of Acros 120 in the freezer, I should probably start using it again.

Thomas Bertilsson · Feb 27, 2017

Rick A said:
Thomas, I use it mostly for LF, thought I'd give it a try with the Acros (35mm). I couldn't find much on the MDC for it, so I guessed (based on similar times/D-76, my other dev). I print via Omega D-6 Pro Lab or contact print. I shoot mainly 4x5 and 5x7, so it's very economical for me, especially with rotary, 200-225 ml per 4-4x5's or 2-5x7's in a Unicolor drum. It really shines with Fomapan films, and the old Shanghai GP-3. Price initially seems high, but since you need very little, it is very cost effective. I used to use Pyrocat-HD, but wanted to try this, like it more. I use graded and VC papers, no difference in tonality. I've been reading some folks can't get a "proper stain" using Ilford film, that is of no consequence, IMO it still makes for better printing negatives than most developers I've used over the years. I even like it for T grain film, Delta pops with it, even though I'm not a fan of Tabular film except Acros. I have a pile of Acros 120 in the freezer, I should probably start using it again.

Thanks for the info. I remember liking PMK Pyro with Tri-X very much, and thought about trying it with Fomapan films, but probably got side-tracked; I like the ISO 200 film a lot and imagine it would do well in PMK.
I remember liking to print on graded paper since it's primarily blue sensitive, so the prints ended up with really amazing contrast, particularly in the highlights. The VC papers I tried with PMK Pyro didn't react the same way, and I had to use 1-2 grades higher contrast to get similar overall contrast, but still ended up with lower highlight contrast than the ones on graded paper.
The comparison was Agfa Brovira G3 compared to Agfa MCC, and Ilford Galerie G3 compared to Ilford MGIV. All glossy fiber. Both MCC and MGIV had to be printed at G4 to G4.5 to yield similar overall contrast.

What do you like about PMK specifically over Pyrocat? I have my own opinion, but would be interested in yours. Sorry to ask you to reply back again, I hope you don't mind.
I should probably just order some and rekindle my efforts with it.

Rick A · Feb 27, 2017

What do you like about PMK specifically over Pyrocat? I have my own opinion, but would be interested in yours. Sorry to ask you to reply back again, I hope you don't mind.

It accentuated atmospheric effects such as fog much better than Pcat-HD. I love shooting in the fog.

Thomas Bertilsson · Feb 27, 2017

Rick A said:
What do you like about PMK specifically over Pyrocat? I have my own opinion, but would be interested in yours. Sorry to ask you to reply back again, I hope you don't mind.

It accentuated atmospheric effects such as fog much better than Pcat-HD. I love shooting in the fog.

That makes a lot of sense to me. I have found that Pyrocat-HD/MC, etc all tend to darken midtones quite a bit, for a darker mood in the pictures. I like that look a lot for landscape photography, and some portraiture.
The PMK appears to me to be more brilliant, with a straighter resulting curve, where mid-tones are more normal, so that thing like fog would be more prominent in the resulting print. I like that look as well.

I think I'll get some PMK now, before I run out of FX-39, which I really like, but it's expensive at about 14 dollars for 500ml, in a soup that's diluted 1+9. It also doesn't last very long once the bottles have been opened.

Thanks for playing, Rick. I appreciate your time in providing feedback.

Back to films and cameras. Sorry for the digression.

what was the last camera you used, last film and how was it developed

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