Shooting Eastman (Double-X) 5222 in the Leica

Nokton48 said:
Y
I agree maybe it's got toooooooo long a straight-line for the Rodinal. Maybe something else is going on, too? OK results, but I've had better.
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The "straight line" idea. Where does one see that visually- a histogram, zone system, what ? I guess "toe" and "shoulder" are also from the same system.
I'm trying to understand the tonal scale. Could someone direct me to a site or written material ?
 
In books on the Zone System, also look under anything with Photo Sensitometry in the title. Darkroom Magazine had a lot of good articles on the subject. Not sure about websites. Peterson's Photographic used to offer softcover books, you can find them on ebay, they were a good source of basic information. Certainly the series by Ansel Adams is considered one of the best of this type, although a bit out of date.
 
Al Kaplan said:
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2475 Recording and its succesor, 2484 I think, were on a thin Estar base which loved to curl and was a bitch to handle. ...
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Nokton48 said:
Kodak 2485 Recording Film is what I remember using in that era, and I also bought quite alot of 2475 in regular 36 exp kodak packaging. ...
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There is still a bit of Kodak 2485 (aka Kodak Hawkeye Traffic Surveillance film) getting around. I bought a few 150 ft reels off ebay last year. I don't like it in Rodinal at all, but good in LC29 (1+29) or ID11 (1+1).

1_Hawkeye_Test_3_09.jpg


There's some on ebay (AUS) at the moment. (# 260337981307) BTW Al the 2485 has the same thin base, but I've found it is quite limp and easy to handle for scanning. Maybe they changed it from the one you were familiar with.
 
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You know, thinking back over 30 years (it was probably about 1978) I think, Al is -right-, it was 2484 that replaced 2475. I remember I liked the 2475 better, never got the hang of using the 2484. It was minimal.

A few years ago I found and bought half a case of 100' cans of 70mm Kodak Surveillance Film, from a military surplus dealer out in California. It's fresh perfed type II 70mm, so i can run it through my 70mm Hasselblad backs, and I -do-. It behaves about like the old Tri-X, I really quite like it. Will be sad when it is gone, but I have 1500'.

I've seen the Hawkeye Traffic Surveillance 2485 around. What ISO do you find works best for it?
 
whoah, that looks awesome, kinda like a dialed back 5222. thanks for posting those, I just bought a bunch of that auction. the bottom photo of the sculpture looks really really nice.
 
Thanks. That was shot at 250 iso, dev'd in ID11 1+1 for 8 minutes at 20 degrees C. The other (first) shot was exposed at 200 iso and dev'd in LC29 1+29 for 9 minutes. I think it works best at 200 or 250. You can get a spec sheet for the film here.

Only two rolls left in that ebay listing! :)
 
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Last post two weeks ago - time for a bump.

Many thanks to Leo for shipping some rolls over to the UK.
Also to Tom A for giving me the courage to go back to sunny 16 freedom shooting it works folks :D

Just a selection from the first roll through.
Leica M2, Zeiss ZM f2 Biogon 35mm, Ilford DDX.

Thought as it was a test I should include a wall :D
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Chris,
What was your time and temp (and EI) in the DDX? I want to try that next. I got great results from my recent "RockNRoll" shoot with Neopan 1600, developing it in 1:4 DDX, 12 minutes at 20C. Lighting was really low, and overall, kinda flat. That's N+2 development roughly, which really helped my shots. Now I want to try the same thing with XX.
 
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I'm ashamed to say that I have several shot but yet to be developed rolls sitting in the darkroom. Here in Miami, FL I'm just not used to warming my solutions to get them UP to 20C...LOL
 
Memphis, if you can process your own B&W you can process 5222. It works in D-76 and Diafine and about anything else you can dunk it in. It's a lot cheaper than Tri-X.
 
I really miss that Kodak Ektachrome Infrared. I think that its primary commercial use was to tell healthy foliage on trees from diseased foliage in low level arial photography. No doubt that's all done with digital these days. It wasn't a motion picture film. It only came in 20 Exp. cassettes.

Still films are marketed under the Kodak name while motion picture films are called Eastman.
 
On review I remembered that I had shot the end of the 5222 roll and started a roll of "new" T Max 400 whilst working around the windmill so out of interest I am posting an image from both rolls.
Same camera and lens 5222 @ 250 TMax @ 400 both DDX
Geographically this is at Lytham on the Lancashire coast (UK) just down from Blackpool.

This is 5222
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This is TMax 400 (new type)

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For those of you out there that are thinking of re-rolling 400' rolls of XX onto smaller 100' spools, to fit in your bulk loaders, here are the type of "daylight spools" that Kodak used to supply when you bought 100' of Tri-X or Plus-X. These happen to available right now, and are made by Fuji. The center mounting hole will fit a bulk loader perfectly:

http://cgi.ebay.com/ws/eBayISAPI.dl...name=STRK:MEWAX:IT&viewitem=&salenotsupported

In the left photo, are the two types of modern plastic spools I encounter. The smaller spool is from a modern 100' roll of Kodak Tri-X, which I just finished spooling off. One the right, is a 35mm Motion picture core, from a 400' roll of Eastman Movie film. Notice how much bigger the center hole is.

BTW if anybody needs 400' film cores, I have a few :D:D I can spare, I bought a whoie box full, from Hollywood, Florida (see right photo). Send me an email through the forum, pay me postage, and I'll send you some.
 

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daylight spools, for those that might not know, can be loaded in daylight. Subdued light is your friend, but you dont need to change in the dark or in a bag. You just need to roll off the first couple feet on the reel and you are good to go.
 
My next film run, hopefully later today, will be a combo of XX, Neopan 1600, and Tri-X. Going to try Ilford DDX 1:4, for 12-13 minutes at 20C. This equates to about an N+2 development, I am thinking, and has worked extremely well for me recently in low light, using the Neopan 1600. So now I want to see how Tri-X and XX will respond in the DDX.

And Oh Yeah, I did get a couple of the Fuji Daylight cores, from out in Hollywood.
 
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