Re: HIE developing and 70mm (was: Some basics Please (Part II)

["Willem-Jan Markerink" <w.j.markerink@xxxxx>]

On  1 Nov 97 at 22:50, Jon wrote:

> As far as having a lab process B&W, I have simply asked my lab to
> develop my Konica IR 120 film at a certain time and temp.  That way I
> know that I can make changes in exposure and the development will stay
> the same.  I have had no problems in coming up with accurate ways to
> shoot the IR    B&W.

I recently took a fool-proof approach with HIE in Xtol at my local
pro lab. I once had them try HIE in Tmax RS, but that was not a
success, even though I supplied them with the data that is on my
homepage and also used by Jim Henderson for all HIE formats.

This time I sacrificed a test roll HIE with 6-stop brackets (#87C at 
1/60s, f2.8 - f16), and had them run it in their standard Xtol soup.
Still not sure what dilution they use, but it was 5.5 minutes at 24C.
(is the bulk version of Xtol set at a certain dilution, or is it 
still adjustable by the lab itself?)
I think they printed the contact sheet a bit softer than with my 
previous non-pro lab (which now refuses to handle HIE after I complained 
about spots and dirt on the emulsion), but I am happy with the 
results.
Arguments of doing it yourself and have full control are nice, but 
not if you come back from holidays with dozens of film rolls....I 
rather pay someone to do the boring work....US$7 for development and 
contacting is a good deal in my eyes....8-))

PS: has anyone a good tip how to tackle 18 foot 70mm in machinery 
that takes 220 size maximum? The main appeal of 70mm is the 55-65 
shots I can get without reloading, but in that case the development 
is getting problematic....I have been pondering about cutting this 5m 
length up afterwards, but that would risk 3 or 4 frames at the 
cut....I *could* take 'idle shots' at the cutting points, but I would 
have to mark the film there to be sure to cut it right....
I know some 70mm cameras can cut the film inside the camera (Combat 
Graphic 70mm, see my homepage for a short story on this camera), but 
that is not an option with the Mamiya.
Physically Punching the film at those idle frames seems a solution, but I 
probably can't do that in daylight, as that would spoil at least the 
frame before and after because of extreme overexposure of the middle 
frame.

Any thoughts?
Don't tell me I am nuts, I know that already....;-))



 

- -- 
Bye,

Willem-Jan Markerink


      The desire to understand 
is sometimes far less intelligent than
     the inability to understand


<w.j.markerink@xxxxx>
[note: 'a-one' & 'en-el'!]
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