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Richard Tuohy

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Everything posted by Richard Tuohy

  1. Interesting point Simon! But it is hard to think of a better way to check critical framing. I use these viewers in 'film out' setups (ie video back to film). Any suggestions appreciated!
  2. Hi, I'm keen to get one of the little Bolex gate focusing pisms - often called the critical gate focuser or prismatic focuser. Does anyone happen to have one they don't need or have leads on one? many thanks richard
  3. It is an agitation thing (as others have suggested). Especially for bw negative, developing motion picture in a spiral needs special attention to agitation to get a good result. But you can get a perfect result. Process with the lid off in the dark. Lift the spiral right out of the tank every say 30 seconds and let it drip for about 3 seconds. As you get close to the final time, put the lid back on and you can turn the lights back on. Makes a huge difference.
  4. I reckon you have both a negative (from the first dev) and a partial positive there. Looks to me like the bleach didn't work at all (as Mark says above) but also that the second dev was not good enough. The edges of the film should be black after second developing, whereas they just look pale grey. was it permangenate or dichromate bleach? The dichromate being much easier to use and better. when it comes to second developing, don't worry about the time ... just do it until you have a really good black ... and if in doubt, do it longer. You can't over do it. You know, it is humanly possible to have inadequate re-exposure, but it is kind of hard to do. That wouldn't account for the failure to bleach out the neg, but it COULD possibly account for the thin positive image. In any case, there are at least two chemical problems here: inadequate or no bleaching action and inadequate second dev either because of inactive developer, inadequate time, or possibly inadequate exposure.
  5. Hi, if anyone has one of the critical gate focusers for Bolexes ... that would be great! There are two models. I'm after the later model one without the plastic eyecup. in hope richard
  6. Well just for the record and for those similarly interested in the new rem jet free NC500 from ORWO ... last week I did indeed receive a large order of NC500 from ORWO. I had put in an order for 8000 feet of NC500 in 16mm and 8600 feet of UN54, again in 16mm. This was for several thousand Euros. But I had bought large amounts of film from ORWO (filmotec) over the years, so this wasn't unusual. I had also ordered previously from this new British owned version of the company. When i ordered in January I wasn't aware that they weren't going to be able to fulfil the order. There was a long series of not getting much by way of information on my order and not getting reply emails to enquires ... but I got the occasional response. I had had one message reporting a new make was going to take place at the start of April. But then after a further enquiry where I got a reply I was told 16mm colour wouldn't be available still for some more months. I noted that they still had 35mm NC500 listed on their site, so I changed my order to 35mm. So now I have 4000 feet of 35mm NC500 ... and 3 x 100 foot rolls of 16mm nc500. It wasn't what I wanted of course. There is bugger all market for 35mm of any sort in Australia at the moment. But I am pleased to have something for my investment. I really do hope that this 'new' version of ORWO can continue to make film in the future. A remjet free negative in 16mm could be a boon for the artist run film lab community who mostly hand process in Lomo tanks (I use machines, but I am a big supporter of the artist run labs that work with Lomos). Remjet free stock would be a game changer for DIY colour neg processing. But that would only happen if they are able to make it in any kind of volume. It appears this time that wasn't possible.
  7. Hi all, has anybody received any ORWO NC500 lately at all? My order from late January still ins't filled ... and it was a rather hefty order. Is the business dead? Anyone receiving anything from them? richard
  8. Those little bits of emulsion slithers are called 'skivings'. Yep, they are a problem. Indeed, with normal 'soft touch' rollers the roller underneath the rubber or silicone tyre are actually a little bit shaped, rising to a gentle point in the middle. This causes the film to ever so slightly move towards the centre of the roller away from the edges so as to avoid this rubbing that causes skivings.
  9. Hi Andrew, I think you might be referring to the rubber 'tyres' that make contact with the film. Actually, they aren't rubber but rather silicone (at least mine are). They are called 'soft touch rollers' They are soft, but not like foam. Sounds like what you have 3D printer are more like the rollers called 'emulsion rollers'. These only touch the film on the edges and are what is required when you need to have the film run emulsion side down on a roller. cheers richard
  10. Hey Seth, that would be extremely helpful! Please keep me informed. If you want to email me (though I assume there is a way contact through this forum) you can find me through my business - nanolab all the best richard
  11. Hi Jörg, I think that software might be to do with networking computer printers together! All the best richard
  12. Hi Frank, thanks for the suggestion! I have just written to Tommy. Fascinated to find out what a QR code system might actually be like!
  13. Hi aapo, indeed! The issue is finding such a C drive! But I am looking! If you have any leads, let me know!
  14. HI all, I recently acquired a (or should I say 'the') Bell and Howell 6127 16mm panel printer from the National Film and Sound Archive in Canberra. The light valves are controlled by a 'Printernet' printer controller. (this one just says Printernet, so I assume it is the first itteration ... I believe there at least two later versions). The printernet controller is based on a PC. It worked for about a week at my place and I was trying to work out what the printernet files actually looked like so I could write some for the 3.5 inch floppy drive ... and then the hard drive broke. It did the click click click thing. No luck repairing it. As far as I can see I have only a few options for getting the light valves to work: I could replace the light valves with the older 'mechanical' solenoid based light valves from a model C printer and then make another light valve controller for them (I've made light valve controllers for model C printers a couple of times and that is quite 'doable'.) I could 'clone' a C drive from another Printernet computer somewhere in the world I could build a new controller for these modern types of light valves. This option strikes me as possible, but rather hard because they use digital signals. I have the circuit diagram of a tape reader from the same era. It shows me the pin wiring of the multi pin connectors for these light valves. The tricky bit is to do with the 4 pins marked d0, d1, d2 and d3 and two pins marked ack0 and ack1. I am assuming the pins marked 'ack' are acknowldedgement pins. This I also assumes means the data is sent serially to the light valves (and It kind of would have to be because 4 data pins would only make for 16 'points' of change whereas the actual figure is something like 75 x 2 (because they are actually half points). It will be difficult to work out the protocol of the data pins and ack pins (and the three pins to select red, green or blue) without some tips! So I am wondering whether anyone can help with my Printernet woes! all the best from nanolab in Australia richard
  15. many black and white lab stocks have a yellow antihalation layer which is effectively a yellow filter to cut the transmission of reflected blue light (I';m talking about normal blue sensitive only lab stocks, not panchromatic lab stocks). this yellow filter however normally dissolves during the development. I suspect you may not have adequately fixed the film and what you are seeing is silver halide retention. Make some fresh fix and try again.
  16. Yes, so not E6. The black and white reversal process is what you want. The E6 process will get rid of all the silver, expecting that you will have developed dye during the processing. But with black and white film, there is no dye to form, so the final image is a silver image, not a dye image. As such, the process is different. Just google diy black and white reversal processing enjoy!
  17. hi sam do you know if there is still sea mail from the uk? if so, i would like to buy a tin to bee sent down here to Australia let me know cheers Richard
  18. No. That's not an issue. Kodak don't state this clearly as they always think in terms of machine processing which is dry to dry. Yes, if any remjet is allowed to dry on the emulsion side, it won't come off. But if any that gets there is removed while the film is wet it isn't an issue
  19. It's done with a pair of film rewinders in a dark room. Find yourself an 8mm editor viewer. Use it as a wonder.
  20. Spectra is a great lab but they don't make prints which is what the thread is about.
  21. Yes, use 65 grams of sodium bisulfite (which you can buy from swimming pool shops as a ph reducer) per litre along with your choice of potassium dichromate or potassium permanganate
  22. Cafenol is just a black and white developer. So, it depends on what prices you mean. If you mean dev fix, then no. That makes a negative. If you mean dev bleach clear re exposure dev fix then yes. That is the reversal sequence. Note that for reversal processing you need to Mix a very strong mix of cafenol. Google reversal processing in cafenol
  23. Kodak certainly don't. There are two labs that can make colour positive prints from colour negative super 8 - andec in Germany and the lab in Florence No labs offer prints from colour reversal
  24. Amazing. I hope hope hope it also means 16mm!
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