Відео

15 minutes of my life wasted watching a stupid video.

Awesome. Im thinking of trying this method. Is the “per roll” based on amount of stock, exposure or extra leader vs volume of tank? Do i adjust for constant rotary agitation & or push +3?

noob here. is the prewash fluid just water?

For b&w film all you need is a b&w developer of some kind (Rodinal) at room temp.. Forget buying a chemical "stop bath" solution just use running water then use a fixer (Ilford). It works for any 35mm b&w film. I did it for 25 years this way. Negatives came out beautiful.

This is the best tutorial on color film development I've seen on UA-cam. Great work!

I have the C220 with the 80. It great. Overall I like your scans. Also, for lab scans there also a operator making decisions. Some labs will work with you to get you more of what you want. At this point I am much happier with my scans and would only send out to a lab if I needed best development and consistent results. Also if I were to need a drum scan and neeeeeed that quality.

The Sous Vide is a game changer. Hardest part of C41 is the temps. For black and white development I keep a bottle of distilled water in the fridge and mix with room temp until I have what I need.

Sorry but Cinestill df96 is a whole lot easier and it's black and white.

How long does the blix last though???

I just developed a couple of rolls this afternoon, and definitely agree that C-41 is easier than B&W. One tip I would like to pass along is don't screw up like I did today and mistake a roll of Tri-X for Ektar. oops! I will say this though, the film comes out a nice clear purple color.

The developing tent is the way to go. I struggled with a flat bag for way too long.

Already agree with the premise man! I gotta do 4 steps with dev, stop, fix, and hypo for BW. The only thing hard about color is babying the temp and agitating every 30 seconds. Love your content man! Very informative. I'm starting to think I gotta get serious about my film photography youtube stuff. Nobody seems to like the silly stuff i do, but there's already so much informational detail oriented stuff out there it doesn't feel like me to try and produce that. Anyway, I have subscribed. See you on the scroll!

hey Kerrenton, what's the trick you used to double load one roll of 120 onto the reel?

I had been looking for videos on Zeiss 135mm f/2 for my full-frame camera when I discovered your video on 135mm for my 4x5 inch large format camera.

noooo the light leak!

Narrator: Its not. But its easier than most think. This video taught me how to develop color.

It's way easier to use the light- meter app, trust me.

one mistake I found at 4:03 with LF think of the lens as a torch (the battery light you use when camping), if you rase it, the darkness comes from below, not above, same as vignetting, the centre of the lens goes up, the sharpest part, it leaves the bottom, so that's where the circle of coverage will end, soon... if you move too far. Also, without a centre filter, on a wide angle lens, esp. the mild to extreme end, vignetting and exposure at the corners (hot spot in the centre), is inevitable, just due to physics of optical design; and the fact the wider you go, the LESS movements you have before you reach the limits, swing/tilt and shift/rise as the lens coverage angle is so huge these problems arise so early, they are sensitive things, so a little goes a long way, even bellows extension factor, which if you think, 90mm (x1.5= 135) which is only 4.5cm away from infinity, so you can get there quick, when focusing, esp. if you need long extensions for macro, ie flowers, etc.

4:10 just remember to never develop exactly 40 rolls, because the math might collapse into a black hole.

temperature control is a pain in the ass even with a sous vide, for bw you can just use some room temp rodinal and fixer

at 5:16 you also forgot to say that as this is an LF lens (hence f5.6 or f9 max opening, that the lower iris settings <11 are not as prone to diffraction like 135 format lenses, so this f 16 is FINE for using.

The lens bought me here. All large format enthusiasts are looking for one.

The glove trick is fantastic! I was having a hard time loading 120 because of the humidity issue. Just loaded a roll with gloves and it went on like butter!

C41 is definitely not easier than BNW. Are you kidding me with this??

For what do you need scisors loading 120 film?

one note at 2:06 you forgot to say, that this is a wide angle (as in 4x5" the standard lens is 150mm), a long is 210 and a wide is anything <90mm but can also, depending on preference, or opinion include the 135,120, 110 & 105 mm lenses; hence putting the standard in that hole, as the front hole is for the 210, and so on back to the rear, emulating the infinity focus distance (focal length of the lens).

I have a Schneider Xenar135mm f4.7. I didn't know there was Xenotar. I use it on my MPP Micropress 4x5 i dont like the Intrepid for two reasons. Too slow to set up and useless in rough windy conditions. Black side of the slide exposed, silver side unexposed as ever. I used a Speed Graphic in 1953 when I was 15 years old. You made some nice photos there sir

A enjoyable walkthrough of the general 4x5 process. Nice to see you share the good and the 'oops' efforts. Lovely lens and I actually prefer the light of the wide open shot. Looking forward to seeing more of your videos. I shoot the SK Xenar lenses on my MPP MkVII 4x5 so not quite the performance of the Xenotar but reliable and well made.

Stunningly beautiful colors! 😎👍

The video explains very well how to develop color film with C-41 at home. Thanks very much! I did not yet know the formula for extending the time and will incorporate it into my workflow in the future. I have a few additions based on my experience. After the developer, I rinse 3x with water of the same temperature, which keeps the subsequent bleach clean. The Photoflow used at the end, I also use several times, in which I put on a bottle with demineralized water and Photoflow. This saves chemicals and money.

Such a great video! well done

Any recommendations on the sous vide contraption?

The Patterson tank lid is designed to be pressed in the middle as you’re putting it on the tank to create suction

Doesn't your fridge have a cool water dispenser? Mine (a GE) serves me water at 14ºC; for B&W I just let it reach 18 while I load the tank and the developer reaction will bring ot to 20º faster than you can say *cool!* 😉 The best storage is 1L mason jars or equivalent. Fill them to the brim as the volume decreases with glass marbles. Cs41 lasts me for a year and over 40 rolls by adding 10" for every roll developed. Try Jobo tanks and reels. I process by rotation floating them in my tempering bath. Leave your storage bottles outside and just heat the needed volume, it will be faster. No concern about longevity; I have film shot 55 years ago.

About the black and white temperature thing you are seriously straight up misleading people in order to sell your own method which like just don't do that please

The sous vide is kind of the key element here. Also though you have to understand that with black and white the temperature literally doesn't matter all you do is adjust your developing time to the temperature recommended. And then it just works. And you can use any developer they're all going to give you results as long as you're using a normal film you can put in almost any combination. Plus the only tools you're going to need is the film developed in fixer and a tank and that's literally it you don't need anything else

This is great! I thought that B&W would be easier as the temperature issue for color seemed complicated! But you have explained it very well with how the Sous Vide can help - that does not seem so daunting! Definitely will try this with a SV.

What an awesome video! Thx Kerrenton. 🎉

Question for you. Do high ISO film exhaust developer quicker? Rollei kit says that 400 ISO and higher = less rolls/litre. I'm just before my first color dev at home, so no experience with that.

What scale are you using?

I just started shooting film again after 13 years. I use a laser thermometer gun, aquarium heater and a b's rotary processor to make the process a little easier and more consistent. I plan on picking up a sous vide and shooting some color eventually. I want to get more consistency in the black and white before hopping to color. great vid.

Not a lot that is "incredible" with the 135mm f3.5 Xenotar, originally designed and intended for 4x5 hand held press cameras like speed/crown graphic, Technika and similar. The prime advantage of the Xenotar is good optical performance at full aperture trading off small image circle that does not increase as the lens aperture is reduced. Just enough image circle means hard limits to camera movements.. Noting the amount of front rise illustrated in this video, there is no possible way the Xenotar will have or produce proper optical performance at the edges of the 4x5 film. What the Xenotar will do is illuminate those edges of the film without proper optical performance. Bare eyes cannot see or discern the light fall off at the image circle limits or optical performance drop off without techno aids. Note this Schneider brochure from the time this lens was sold/produced.. Respect the lens specifications published by Schneider as they are likely to "know" something about this lens design and what it's optical performance will be: www.pacificrimcamera.com/rl/00832/00832.pdf Another notable about double Gauss formula designs (Zeiss Planar, Schneider Xenotar and others) from that era, they have not so nice in to out of focus rendition and Bokeh. This was another trade off that was made with this design in their quest to gain optical performance at full lens aperture. Once these lenses are stopped down for film exposure the prime advantage of these lenses is greatly reduced. You're better off using a modern Plasmat formula view camera lens from Schneider, Nikkor, Rodenstock, Fujinon as these offer a lot more image circle, better contrast, more reliable/predictable shutters (due to age) and overall optical performance over the Xenotar or similar double Gauss formula lenses. If you're interested in nice and pleasing into out of focus rendition and Bokeh pick a Tessar formula lens ala Xenar, Kodak Commercial Ektar, Zeiss Tessar, Fuji Fujinar and a Very long list of others.. There are extremely good reasons why the Tessar lens formula has been in production for over a century and to this day. As for stopping down/closing down the lens aperture to gain areas in focus.. there is only a single point/plane of actual focus for any lens. stopping down/closing down the lens aperture produces apparently to be in better focus than what is in actual focus. Large lens exposure apertures demand proper precision/accuracy of registration between ground glass/film holder area in the camera and precise/accurate camera alignment of front and rear camera standard and setting the zero reference points of the camera's swing/tilt/rise/shift for both front and rear standards.. What a view camera offers over the camera that is a box with a lens attached (Digital or Film or ?) is the ability to be flexi. This allows the point/plane of focus to be altered/modified/changes as needed, a feature no camera with a lens fixed to it's box can do.

Well, I kept watching just to see if you ended up with something decent...Anyway kudos for your honesty in admitting all the failures, LFF is nothing easy and newcomers are advised of the many pitfalls it implies...

interested in the tripod, kind and where can I get one.

Spectacular!

👌🏻👍🏻

This is your setup at home?!

Wonderful video and such beautiful images. I'm picking up a Yashica Mat EM tomorrow for situations where I don't want to lug around the RB67. I can't believe your channel doesn't have more subscribers - the production is so well done.

hello, is there a possibility of double exposure, any tricks? :D