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[MF3D.FORUM:739] Howdy, and Re: Slide Mounts, Ort film
- From: "Brown, Fritz - LABS" <BrownF@xxxxxxxxxxxxxxxx>
- Subject: [MF3D.FORUM:739] Howdy, and Re: Slide Mounts, Ort film
- Date: Wed, 14 Jun 2000 17:11:17 -0600
Well, after lurking around reading Marco's archive pages, I finally
subscribed to the list so I can occaisionally annoy people here too instead
of just on P3D. Since Paul asked other new subscribers to identify
themselves to the group a couple of weeks ago, I suppose I should do so too.
My interest in stereophotography, per se, has developed over the last couple
of years since I bought a Realist off of Dave Kesner. Shortly after, I
built a slide bar so I could use my SLRs for stereo as well as my Mamiya for
medium format work. I also have a fantasy of a 4x5 stereo camera in the
back of my mind. My interest in photography in general tends towards the
technical. I am right now trying to learn as much as I can about such
things as latent image formation, developer kinetics, reciprocity failure,
and anything else that noone else could possibly care about. I guess I am
trying to understand photography from a scientific standpoint (occupational
hazard). Along the way I hope to also develop the aesthetic side of my
photography also. At the urging of George Freeman, with whom I spend an
enjoyable evening drinking beer, eating mulligatawny, looking at
stereoviews, and learning much about photography as an aesthetic pursuit,
I have also now started to make stereocards. Hopefully to the betterment of
my photography.
Some time back (a year or so ago) I became interested in producing black and
white slides. This came about for a couple of reasons. First, since my 2d
photography was entirely black and white (color film was for snapshots of
family picnics) I really never felt at home shooting color slides. I wanted
the expressive quality that I liked in black and white back when shooting
transparencies. I also saw it as a technical hurdle to exercise myself at.
So I dug around and found references and started working on protocols for
reverse processing black and white films. I wasn't happy with the results I
got from the protocols I had access to, and the film that I came to prefer
(Tech Pan) was one that others discarded as unsuitable. I tried and
discarded a number of black and white films as candidates for producing
transparencies for various reasons. Eventually I worked out protocols,
which Dave Kesner was kind enough to post here a while back, that produce
what I consider to quite nice transparencies from TechPan. I have also
worked with Kodak's HIE infrared black and white film and am currently
working with Maco orthochromatic (see below) and infrared films with
encouraging results (with one notable caveat below). I like to think that I
have fairly exacting standards for black and white transparencies and thus
have some pretty strict qualities that I like in a film (tonal range, Dmax,
Dmin) and am willing to sacrifice things such as speed to get them (for
example I shoot TechPan at EI 12 for reversal). But the search for a faster
film goes on, thus the exercises with Maco's 100 speed orthochromatic film.
Sam writes:
;The Ort film I ordered has arrived. I should know by the weekend how well
;it performs for MF stereo positives.
I too have been working on Maco ORT25 and PO100 for black and white
transparencies. I gather from your past posts that you are contact printing
negatives to generate the postive. I have been working on reverse
processing the film directly. When I have the protocol fully worked out
(maybe by the end of the weekend if all goes well) I will post my protocol
here for public scrutiny. So far my results are encouraging. I have gotten
a usable dynamic range of between eight and ten stops depending upon the
first developer conditions. My shooting speed is in the range of EI 25 to
EI 64 depending again upon the first developer conditions. I need to work
on cleaning up the highlights still, but that is a simple matter. The only
big problem I have encountered so far is an unsettling tendency of the
emulsion to separate from the film support during processing. This is
occurring whether I am processing as a negative or as a transparency so it
cannot be blamed on the harsh chemistry involved in reversal processing. I
dont know whether this is an ongoing problem with films coming out of H.O.
Mahn or whether it is just a problem with the particular batch of film that
I have. But in any event, I recommend being very careful when handling the
wet film.
Well, that should be enough of an introduction for now. So I will end this
with a big "Howdy" to all and repeat a standing offer that I made some time
ago on P3D, if you want to try a roll or two of TechPan ( or PO100 after I
get it worked out) let me know and I'll give you the specifics for the
exposure and then will gladly process it for you.
Until next time...
-Fritz M. Brown
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