Old house Argus Argoflex Forty Kodak Verichrome Pan (expired 6/1980) 2019
One more from the Argoflex Forty as I finish writing my review. I was in Lebanon on an errand and brought the camera along.
This photo was late in the roll. Winding had always been uneven, but by this frame there was a spot during winding where I had to turn the knob hard.
For whatever reason the film didn’t wind evenly onto the takeup spool and spilled past the spool’s edge on one side. I didn’t notice that until a few days after I took the film out of the camera, which allowed light to leak onto the edges of some frames, as here.
Nice old house though. I’d guess it dates to before 1850.
Coming soon: a review of the circa-1950 Argus Argoflex Forty. It’s basically a box camera in twin-lens reflex guise, but it has a good, coated Anastigmat lens that’s sharp from corner to corner.
I had a great time with it and a roll of expired Verichrome Pan. I heard that this 620 camera can take 120 film if you snip the edges off the film spool and use a 620 takeup spool. I did that to a roll of Ektar, which is at the processor’s now. As soon as I get scans back I’ll finish writing my review of this camera and share it with you.
My second try at processing film at home was an utter failure. I was overconfident and tried a roll of Verichrome Pan expired since the early 1980s. The stuff simply would not go onto the reel. After 45 minutes of trying, it got so hot and humid in my dark bag that the film stuck to itself and was ruined. In retrospect, I probably reached too far too fast.
So for my third try I used up my last roll of Kosmo Foto Mono in my Agfa Clack (review here). I probably should have used my Yashica-12 as last time for consistency’s sake, but the Clack takes 8 6×9 images vs. the Yashica’s 12 6×6 images and I wanted to get through the roll as fast as I could so I could get on with the developing.
I had better luck this time, but the results still weren’t perfect. I diluted Rodinal to 1+50, and used the time-temp converter at the Massive Dev Chart site here to adjust developing time to my developer’s actual temperature, which was 23°, not the recommended 20°.
I am surprised by the widely varying directions online for developing black-and-white film. Some of them call for rinsing the film first, and some say that step is wholly unnecessary. They all use the chemicals in the same order, but except for the developer stage the amount of time for each subsequent step is all over the map.
Last time I used the Massive Dev Chart Timer app, and it was great except that it calls for a Hypo Clear step. I’m not using Hypo Clear and I couldn’t figure out how to skip it in the app. So this time I found some instructions online and followed them using my iPhone timer. My stupid iPhone screen kept shutting off and my damp fingers had trouble unlocking the phone — frustrating, and I’m sure some of my timings were off as a result. So maybe I need to invest in an actual timer.
As I searched online to find those instructions again, I came upon a different article that talked about agitation techniques in film developing — and discovered that I’m agitating too much and too hard, and that the results I’m getting are consistent with that. So next time I’ll agitate much more gently.
Below are all eight photos from the roll, from first to last. I put the film into the reel end first, so the last shots on the roll were closest to the reel’s core.
The negatives came out dense and several of them were blotchy, consistent with overagitation. The images closer to the spool’s core appear to be more messed up than the ones farther away. I had to really work them over in Photoshop. I was able to breathe good life into only a few of them.
My goals for developing my own film are to get scans fast and inexpensively. I’m not doing this because I want to fall in love with the process and be some film-processing fanboy. I’m mercenary; this is a means to an end, period. I’m not enjoying the learning curve. I will persist in hopes that I can soon get consistent and acceptable results.
I’m out of Kosmo Foto Mono now. I have a roll of Fujifilm Neopan 100 Acros left so I’ll shoot it next. Looking around online, people seem to get great results with T-Max 100 in Rodinal. The Film Photography Store sells it for a good price, so a 5-pack is on its way to me now.
Here now, the photographs. All but the first two are from downtown Lebanon, IN.
Boone County Courthouse down an alleyway Olympus XA Ilford HP4 Plus 2019
I’ve been out of the photographic mood much more than I’ve been in it lately. Life’s been busy, stress has been high. Yet I know that a good photowalk can cure what ails me.
When Analogue Wonderland (who is sponsoring this post) sent me some films to try it was the boost I needed. They included some Ilford HP4 Plus, a film I’ve long wanted to try. So I spooled it into my little Olympus XA and carried it around with me for a couple weeks.
I had to run an errand up in Lebanon, the seat of Boone County, Indiana, one day after work. Errand done, I parked on the square and walked around hoping interesting compositions would jump out in front of me.
When I walk with a camera, I go places I wouldn’t otherwise, such as down this alleyway on the square. The contrast between the dark alley and the lit courthouse caught my attention. It looks even better on FP4 Plus than it did in real life. I enjoy the tonal range and detail, but I love how the alley’s pavement, damp after a rainshower, looks like silk.
This post is sponsored by Analogue Wonderland, who make film photography fun and accessible for everyone.
You’d think I would have shot Ilford’s FP4 Plus by now. It’s a traditional-grained ISO 125 film, much like Kodak’s lamented, discontinued Plus-X, which I loved. Also, Ilford films are easy to buy in central Indiana given that their US distributor, Roberts, is located here. I can walk into their store and buy any film Ilford makes.
But it wasn’t until the nice people at Analogue Wonderland asked if I’d like to write some sponsored posts for them in exchange for some film from their extensive selection that I thought, “Here’s my chance to finally shoot some Ilford!” FP4 Plus was at the top of my wish list.
As much as I miss Plus-X, I’m not going to compare the two films. It’s been overdone. Search “Plus-X vs. FP4” and prepare for the link avalanche. No, I’m going to evaluate FP4 Plus on its own merits, through the lens of my Olympus XA.
FP4 Plus is a very good medium-speed black-and-white film. Its blacks are inky rich and it authoritatively captures a full range of middle tones. Best of all, it does not tend toward blown highlights like so many other ISO 100-125 black-and-white films I’ve tried. I’m looking at you, Kentmere and Fomapan.
Even in mixed lighting, FP4 Plus delivers the details. Its grain is almost undetectable, it’s so fine. It leads to delicious sharpness.
The only time I wasn’t thrilled with FP4 Plus was on a particularly gloomy day. An ISO 400 film would have been a better choice, but FP4 Plus is what I had in the camera and so I shot it. This photo conveys the feel of the day all right, but lacks detail in the deepest shadows.
I plowed ahead shooting on this dim day. I had to run an errand in Lebanon after work, so I photographed around the town’s square. You can drive only one way down this alley.
The original Boone County Jail is now a bar and restaurant. You can have dinner in one of the cells.
This seriously old house is about a block off the square.
Down another side street off the square is the First Baptist Church. Just look at the great tones and all that detail!
FP4 Plus is a lovely, lovely film. I regret not trying it sooner. I need to always have some cooling in the film fridge.
I made one more experiment scanning negatives on my CanoScan 9000F Mk II and its bundled ScanGear software. This time I tried scanning black-and-white medium-format negatives.
I hope to start processing my own black-and-white film, especially in medium format, this year. I don’t shoot as much medium format as I’d like because processing and scanning costs about $17. That’s a buck and a half to two bucks per frame! Processing and scanning my own will manage medium format’s costs better.
I went back to 2016 to find some images I made with my Yashica TLRs, a Yashica-12 and a Yashica-D. These cameras have wonderful lenses that make the most of whatever film I put behind them. Here is a scan I made of a scene on the square in Lebanon, Indiana, on Kodak Tri-X.
Here’s a crop of my scan at 100%. I scanned at 2400 dpi, by the way, and applied unsharp masking and other tweaks in Photoshop until the image was to my liking. That’s some pretty good detail right there.
Here’s the scan Old School Photo Lab delivered, after I tweaked it in Photoshop to my liking. Both my scan and Old School’s scan are crops of the original image to the interesting part of the scene. My scans are about 5200 pixels square, give or take, while Old School’s are slightly off square at 4832×4760 pixels.
Here’s my scan of the Boone County courthouse in Lebanon’s square.
And here’s Old School Photo Lab’s scan. Either scan is acceptable. I like the tonality in my scan a little better as it feels more realistic to me. The Old School scan looks to be a bit sharper.
The next two images are from my Yashica-D on Fujifilm Neopan 100 Acros. I could have done a better job of cleaning minor dust marks off my scan, which is below. It’s otherwise a perfectly usable scan.
Here’s Old School Photo Lab’s scan. At blog sizes, they’re hard to tell apart. Both images are crops of the original frame, by the way.
These two images are from the far-northwest corner of Indianapolis, which is quite rural. Here’s my scan of a cemetery that lies along the road above.
Old School Photo Lab’s scan appears sharper — compare the grass in both scans. But either scan is eminently usable for my purposes.
I am pleased with my scans. I would use them for any of my usual purposes.
These experiments, and your comments on them, have taught me some key techniques. First, thanks to your advice I’ve turned off all the built-in image improvements in ScanGear and scan at as close to 4800 dpi as I can. Second, I’ve learned enough about the Amount, Radius, and Threshold settings in Photoshop’s Unsharp Mask filter to sharpen my images acceptably.
I see I’ve still much to learn about how to look at a photograph and see its details. In these experiments I’ve studied my scans in far more detail than I’ve ever studied a photograph, and compared them in depth to the lab scans, and thought about what I like in a scan. I realize I need to study far more photographs to learn how to see their details and decide what I like.
I also now realize just how much the quality of a lab scan might have affected my views of various cameras, lenses, and films, and how excellent scans might have enabled the praises I heaped on particular gear or films.
I feel like a man who thought he’d climbed a mountain, only to find that he had scaled but a foothill to see the real mountain emerge from the mist.