来张66
2023春
fp4 rollei2.8e xenotar

不拍兄新年快乐，龙年大吉

这张影调真是绝了，太喜欢了
最近用美能达autocord 拍了卷FP4

Pentax ME super, M40/2.8

不拍 编辑于 2024-01-14 09:54

Pentax ME super, ORWO UN54, d76

安兄好片!够近!

Ilford HP5+ Leica M35/f2.0 1st version


Leica M 35mm f2.0 1st version Kodak TX400
安迪明 编辑于 2024-01-09 09:09

还是不拍兄用大画幅拍家人肖像过瘾，满满的仪式感和成就感
女儿现在不配合，以后肯定会感谢父亲给她拍了这么精彩的肖像照

新年假期给自己找点事情做--把大画幅拿出来拍拍纪念肖像。

去年暑期东跑西颠剩下片夹里十来张伊尔福FP4一直没有机会拍，正好可以拿出来给家人拍一下纪念型肖像。既然拍了，就顺手把十年以来陆续购入的几盒福马也各抽了几张，想用刚加入“战斗序列”的柯达也D76下检验一下效果；特别是最早一盒在深圳买的已经过期8年，上次冲洗结果和雷电露犯冲，效果差并且还出了不少莫名其妙的白点。

结果出来之后，按俺大画幅常常翻车的经历来说，这次冲洗属于空前成功，所有的十几张片子全部拍摄冲洗过关！看来新年要运气开挂！！其中有关俺的照片，还是家里领导临时学会使用大画幅给拍摄的，居然也能对焦完全准确！

FP4配RODINAL 1+25, FOMA100 配合D76 1+1,过期福马除了灰雾有所增加，居然其它方面无大问题。FP4配RODINAL当然就更无问题了，一贯地好。这批底片严格操作，无灰尘无水渍，居然也用了除海波程序，原则上说，等俺肉身挂了这些底片还会是好好的。

遗憾的是由于大画幅极浅的景深，俺精心手绘的为拍摄家人朋友用的亚麻背景上经典的图案和纹理已经看不出来了。

闺女渐渐长大，开始抵触起镜头，偶尔拍一张也是不情不愿，那就每年拍一次，作个记录好了。
骑士 罗顿斯德210/5.6, FP4,Rodinal

不拍 编辑于 2024-01-05 00:49

兄新年好
5222  21/3.4superangulon

乱拍---AGFA APX100  Xtol

How to over or under-agitate your films

When you’re under-agitating film, there will be some loss of speed if you don’t increase the amount of development time. And at the same time, over-agitating will create far too much contrast if you don’t see at least a small reduction in the amount of time the film is developed. Luckily, this has all been well mapped out over the decade’s thanks to the scientists at Kodak, Ilford, Fuji, and Foma.

When over-agitating your film, use a technique called continuous agitation. This means continue inverting and agitating the film throughout the entire developing time. When you’re doing this, you’ll need to compensate by reducing the development time by 15-20% to avoid the film becoming too dense and contrasty in the highlights.
That means if the standard dev time is 5 minutes, it should be reduced to 4 minutes when continuously agitating the film.
The best way to under-agitate your film according to Troop and Anchell is reduce the inversions to once every 3 minutes, and add 50% to the original development time. So, that same 5-minute dev cycle will turn into 7.5 minutes and inverting the film only three times including the original 30 seconds to 1 minute off the start.

When under-agitating the film, it’s important to get the developer to mix thoroughly off the first cycle. Any changes in density from the beginning will be amplified over time. Mixing the developer and breaking that laminar flow by changing direction during your agitations is the best way to ensure you don’t create bromide drag marks on the film. More on that in this section of the article.
In the end, the difference between over and under agitation isn’t going to be so extreme that you’ll ruin a roll of film. There will be some differences, but not enough to have to make you throw a roll in the trash.

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How do film grains become more noticeable on film?

There are five ways that film grains become more noticeable on film
Underexposure
Severe Overexposure
When the film is developed using an acutance developer
When using smaller film formats
When the image is enlarged
The most obvious factor is the fourth one, where enlarging the film makes the grain more apparent. You can’t scan or enlarge an image without also enlarging the grains.
But the other three factors are a little bit more complicated, so we’ll go into them in-depth here.

不合规外链图片,不直接显示，谨慎点击

The remaining large grains when film is underexposed. The extra spaces in between the grains are what make film appear grainier.

How underexposure makes film grains more apparent
When you underexpose your negatives, only the largest grains are going to receive enough light to become developable. When that happens, the spaces between the film grains will become much more apparent, increasing the overall look of the grains.
The way most photographers deal with underexposure is to push their film. Pushing is a process where the developer leaves the film in the developer for a longer period of time, hoping that the developer will permeate between the cracks and find more developable grains than it would be able to under normal circumstances.
Pushing film does develop more grains. But it cannot recover the lost shadow detail. In cases of extreme overexposure, the shadows will just start to look mushy no matter what you try to do to recapture that detail.
Pushing film also increases the appearance of contrast on the negative. The highlight sections of the image will become more dense the longer they’re in the developer for, which reduces the amount of light that can pass through when printing or scanning the film. Many photographers love the look of contrasty negatives, and intentionally push their film 1 or more stops to achieve this look specifically.
Read this article to learn more about agitation and developer dilution methods that can change the appearance of sharpness and contrast on film.

These images were overexposed by 3-4 stops, and show more grains than normal. Click on any image to see them full screen.

How overexposure changes the look of film grains
Overexposure also increases the appearance of grain on a film negative. I have to admit, this one baffled me until I found it on a roll of film I had severely overexposed due to a faulty aperture ring.
Overexposure by several stops will increase the appearance of the grains in the highlights and the mid-tones of a negative — as you can see in the images above. But it also has the effect of reducing contrast and sharpness. Since most of the grains will have become developable, the edges of different features will not be as defined as they would be on a properly-exposed image.
Use a fine-grain developer to reduce the coarseness of grain in the highlights, or under-develop the roll by giving it less time in the developer (also known as pulling film: read more about it here) to bring back some of the contrast and sharpness.

就一卷了，凑合用完，看flicker用啥药都那样

那就4倍光比呗，这要是再不行，反正就剩最后一卷了。