Perhaps others here also know the chronic problem of too-dark b&w reversal films. At least for me, b&w reversal films turn out much more often too dark than too bright. This happens especially in the case of expired films or obscure russian film stock etc., as well as in the case of negligence in development or lack of potassium rhodanide additive.
Often you just have a basic fog (so, bad Dmin) … There are many reasons.
In 1978, so more than 40 years ago, the photochemistry legend Patrick D. Dignan published a highly interesting script with the title “How to Compound … Simplified Color Processing Formulas.“
Unfortunately, this script is extremely hard to find, and the Dignan family has no further copies either. Darkroom mate Adrian C. from England was so nice and scanned his copy, Filmkorn now makes it available as a searchable PDF download!
The document is very interesting. While it does not list the exact formulas of the original processes, they would be very difficult to recreate. Rather, it offers a variety of simplified and tried-and-tested alternative processes with often startlingly good (or even indistinguishable) results.
The collection includes recipes for alternatives to the C-41, C-22, E-6, E-4, E3, Agfachrome and some paper processes (including a developer for Cibachrome!).
Great reading, and a printout shouldn’t be missing in any ambitious lab. You can learn a lot here.
Those who splice their film with tape know the air bubbles that occasionally gather under the adhesive film. From Würker (and later Wittner) there was the practical tape roller with which this air could be removed. Splices processed in this way are less visible and audible.
Anyone developing color films is faced with the challenge of tempering chemistry as accurately as possible to the required temperature, usually 38°C (100.4 F). While chemistry bottles can be tempered quite easily with a sous vide precision cooker or a lab bain-marie, the Lomo tank itself cools down considerably during processing.
Various special lenses for 35 mm reflex cameras were offered “at the time” to photograph Super 8 individual images.
With these special macro lenses, the format-filling reproduction of Super 8- and/or 16 mm individual images on 35 mm film was possible. The connection is made via T2 thread adapters to the different camera mounts.
I like to use individual images from Super 8 movies for handouts or movie covers. For editing on the computer with the usual image or layout programs, the analog 35 mm negative or slide is of course suboptimal.
However, when using these lenses on digital cameras with interchangeable lens mounts, there is the following problem: Only with expensive cameras with a full-format sensor, which corresponds in size to the 35 mm format, the film frame is completely captured. For all other digital cameras, only a cut-out magnification of the individual film image is possible with these lenses.
Also, these lenses are quite slow and require strong daylight for reasonably short exposure times.
I was therefore looking for a way to digitally photograph film frames or film strips with a sufficient quality for these purposes, or to be able to publish them on the Internet in a quick and easy way.
As a diehard analog photographer and filmmaker, I don’t own a “decent” digital camera. For a double-digit euro amount, I got the camera body of a slightly older digital SLR camera. In my case, this was a Nikon D100 — Nikon because my T2 adapter is intended for Nikon bayonet.
As a reproduction lens, I use a Hama slide duplicator with zoom magnification option, also available cheaply on the Internet. This duplicator was originally intended to make partial enlargements of 35 mm slides or negatives.
An old Meopta enlarger serves as a repro tripod. For this, there used to be a special “repro arm” as accessory, which was screwed on instead of the magnifying head and to which the camera is attached.
As a light desk, I use a new but cheap model from “Dörr”.
Due to the magnifying factor of the duplicator together with the crop factor of the digital camera sensor, in theory, approximately format-filling images of Super 8 individual images are now possible.
Theoretically, because my “trial” setup shows a rather noticeable hot spot as of a zoom factor of about 1.6.
So I leave it with photographed film strips with an magnification to up to three Super 8 single images. It is precisely this series of individual frames in connection with the visible film perforation and possibly edge marks that also express the special aesthetics of the small format film in the still image. This representation seems, in a way, “authentic.”
Resolution is sufficient for publication on the Internet or for use for Handouts/Covers. For good enlargements in photo size, this combination of devices is not quite good enough. Here are a few more examples:
I opened my first cartridge in daylight with a saw…
Everybody developing Super 8 films on their own sooner or later faces the task of opening the Super 8 cartridge to get the film into the development tank. The latter goes with some practice, the Lomo tank and a turntable in less than 30 seconds. When opening cartridges, opinions differ: Some break the ratchet inside the cartridge by a counterclockwise 360° turn and then pull the film out of the cartridge. Others, (to which I belong) open the cartridge and take the film wind out all over, and load it into the Lomo reel.
Even if Super 8 bulk loads are difficult to get, a reload-able Super 8 cartridge still makes sense: It is ideal, for example, if you want to develop short test pieces of a film stock before exposing the entire film.