Fuji GW690III Overview-Review

These cameras were the last to bear the name Fujica. First released in November 1978 as a professional unit with interchangeable lenses that were subsequently updated to a fixed lens.  They came in several formats from 4.5x6, 6x7, 6x8 and 6x9. The GW 6x9 was first released in 1985 and came with a fixed lens. The video above gives a nice insight into a range of camera that became known as the Texas Leica.

 Like to thank Mike Thomas for his insight into this camera.

The Focus finder.

This is a wonderfully simple piece of darkroom equipment. Basicly it is a magnifying glass and mirror. It provides the user with the optimum sharpness for the enlargement by focusing on the grain of the negative. 

Also known as a grain magnifier it rests on the masking frame where it diverts a small amount of light from the projected negative to your eye as you look through the small magnifying lens. With one hand on the focusing control of the enlarger you gently turn the knob until the grain becomes sharp in the mirror. This translates to a sharp image at easel level; to maintain this accuracy a piece of waste photographic paper should be placed in the masking frame with the magnifier on top. It is easiest to focus on the grain with the enlarging lens set at its widest aperture and then re-checked at the working aperture. To make sure that the focus has not changed. 

Some focus finders can only be used in the central area of the projected image. This is because the angle of the light is more severe at the edges and corners. If you wish to check these areas to make sure that the whole negative is in focus you will need a magnifier that allows for this with a wider mirror and tilting aim.

Post cards from the Humber!

Recently I teamed up with my wifefor a bit of an experiment and road trip. I loaded the Olympus mju compact with a roll of eight years out of date colour film. The idea was to share the camera between us taking pictures as we went along. Once the roll was finished I took it in to be developed at snappy snaps. No special instructions were given. The results speak for themselves. What if the film had been blank? Notch it up to experience and move on. Wouldn't it have been a waste of time and money? No! we still have the memories of an afternoon well spent, plus we had the 'mystery' to look forward too!

 

Adox art series to be developed in PMK pyro.

Adox art series CHS 100. ISO 100

It has been a long time since I mentioned that I was going to do a test development using PMK Pyro on Adox  CHS 100 art series. What with the weather being unseasonally wet and other things getting in the way I have not been able to do the test exposures. I prefer to take the pictures outside on a bright day without fast moving clouds. Something that has not been forthcoming. The light level needs to be constant for the eighteen frames it takes to produce three test strips of two F numbers over and two F numbers under the metered reading. 

I'm pleased to say that the other day, weather and time to expose the film coincided which has resulted in a film waiting to be developed. Something that requires a spare four hours to do whether all in one go or over several days. See Agfa test formethod.

Silverproof paper

This is the second run of budget priced paper marketed by Silverprint and has a matt finish. The first run was gloss. I have used the later and was impressed with the photographs it produced. With its grades being limited to two I was not put off.

Ilford FP4+,120 fromat 6x6 negative, Developed
in PMK Pyro and printed on
Silverproof paper Matt.

I originally purchased the gloss paper for contact prints and didn't really take much notice of how well they were being produced until I obtained a 12 x 16 slottie (Nova paper processor. which was the dirtiest bit of kit I have ever purchased second hand, a story for another post). The silver proof paper was the largest sized paper I had on the shelf and I was  impatient to see how well this new piece of kit worked. I was surprised by the tonality of the paper which lead me to make a series of photographs. It is a shame it was a limited retail run. It will missed.

Then a second batch was announced on Matt paper, which is a finish I'm not a fan of, but I'm always happy to try something new. This will also be a limited retail run, so if matt is your preference get some boxes in while you can.

Ilford FP4+ 120 Format 6x6 negative, Developed
in PMK Pyro and Printed on
Silverproof paper Matt.

The paper is completely different from what I'm used to. It is difficult to tell which is the emulsion side in the darkroom but with a little practice, the back has a slight  fibre feel to it which takes a time to get the hang of. First impressions are good, the photographs remind me of the cover page to Black and White Photography magazine in the way it looks and feels but has a depth to it that ink cannot replicate. It also does not have that richness of tone you get with gloss papers. Having said that, I like the difference and  expressiveness  it gives to the pictures it produces.   

Ilford FP4+ 120 format 6x6 negative, Developed
in PMK Pyro and printed on
Slverproof Paper Matt.

The pictures that complement this post were developed in a warm tone developer from Ilford with the enlarger set at grade two, initially it was set  at  grade three but I found that the pictures had to much contrast. On hindsight it may have been better to use an un-toned developer, but then I was not planing to use the proof paper for a full print session. I got carried away after the first test prints and I'm pleased I did.

Prints to hard or to soft.

High contrast

What are the signs that a print has been printed to hard? The shadow areas are jet black with no detail and the highlights are blank  (the contrast is to great). Assuming that the negative being printed shows none of these traits then it can be corrected by the following:

●         Use a softer grade of paper.

●         Make sure that the exposure time is correct.

●         The paper is in the developer for the right amount of time.

●         Don't use a high contrast developer.

Low contrast

What signs make a soft print? It looks grey and foggy with little punch. No contrast. In this case it is almost the opposite to the above.

●         Use a harder grade of paper.

●         Increase the developing time. If the development time is to short it may cause cloudy spots.

●         Make sure the developer is not too diluted.

●         Also check that it is not exhausted. 

There are other possibilities:

●         Your darkroom may not be light tight fogging the paper creating an overall grey cast.

●         The paper maybe to old or has not been stored properly. 

Once you establish what the problem is, the cure will speak for it's self.

Related posts:

Evaluating your test strips
Darkroom fog.

Choosing an enlarger.

This is the most important tool in the darkroom after the enlarging lens. With this in mind you need to consider the following: 

1.   The number of negative sizes you may wish to print. It is a good idea to get a multi format enlarger even if you are only going to use 35mm.

2.   The most appropriate lens size and quality.

3.   What type of negative illumination. Diffuser or Condenser.

4.   The maximum size of print you are likely to make.

5.   Whether you may want to do colour at a later date. Colour headed enlargers can be used with multigrade papers. 

As mentioned in “3” the type of negative illumination you choose is worth  a lot of consideration -  there are positive and negative points to both. Here are some of the pros and cons: 

Diffuser enlarger: 

Diffuser light box

This type of enlarger design is used with colour and multigrade heads. The light travels through a mixing box and semitransparent screen above the negative. To counteract the drop off in light, these enlargers use a powerful quartz-iodide bulb.  This multi directional light passes through the negative and down to the paper. The affect of this will produce a gentler, softer quality to the  light, producing a less contrasty grade for grade photograph. As a result damaged and flawed negatives lose or soften some of their faults. 

There are tonal differences between diffuser and condenser produced photographs because of the way light passes around the silver particle's. This is negated when using Chromogenic monochrome and colour films as they rely on dyes to capture the light. 

Condenser enlarger: 

Condenser light box

Uses a plano-convex lens which spreads a bright hard illumination  evenly across the negative. Supplied from a opal tungsten lamp. The harshness of this light produces a contrast enhancement that appears to make  fine detail more exaggerated. This crisp appearance to the photograph has the negative affect of bringing into sharp focus the grain, any scratches, flaws and dust from the negative, meaning more time spent on retouching. These enlargers are subject to the Callier affect this is where the highlights in the negative scatter the light more than the shadow areas creating the increase  in contrast.

Colour film well out of date.

The friend that gave me the out of date colour film did so in part for the removal of a partly exposed roll of film from her Dads camera a week or so earlier. She was not sure if it had become stuck or not.

The camera was an Olympus OM707. The battery carrier lid was broken and held in place with sticky tape and not working. The batteries were flat, so I tried some new ones but there was still no life which is a shame as it was in good order otherwise and had been in regular use up until eight years earlier. I had not come across this camera before so was not sure if I would be able to unwind the film manually. I found a re-wind button on the base plate, pressed it and went into the darkroom and opened the back. I took the cassette out first then gently pulled on the film and to my surprise it started to unwind. Once the film was fully removed I wound it back into the cassette.

A couple of weeks later I found out that the film had been developed and to her surprise it had produced some excellent results. It just goes to show even with a partly exposed colour film that has been sitting in a camera for eight years and extremely out of date, it can still produce some unexpectedly good results!

Yes I will admit that it is a risk when using film well outside the bbd; even more so with colour but I do not believe, like some, that you should only use this film with a so called toy camera as it suggests that if it goes wrong then it's “OK!” You just have to look at the lomograph site to see some excellent photographs. Personally you should have the courage of your conviction, use the best camera you can lay your hands on and embrace the results no matter what!

The colour pictures attached to this post were taken on my F5 on Agfa vista neg film that could have been out of date by fifteen years or so and kept in “iffy” conditions. So I walked into Lincoln on a warm sunny day with this film     and an open mind.  If I had listened to the doom and gloom merchants it was likely a waste of time! As it happens it was a good result even though I would have liked some colour shift to the pictures.

Related Posts:

Film Storage



PMK Pyro after bath.

I have been developing Ilford FP4+ 120 format in PMK Pyro for ten minutes for quite some time, without an afterbath. With my latest use of this developer I decided to change part of the process, instead of inverting the tank every twenty seconds I changed it to every fifteen seconds to see if this increased the density of the negatives. My reasoning is that previous negatives have looked a bit on the thin side. Yes you are right! I could have increased the developing time but wanted to find out how much influence agitation has on the process.

FG 1
Film FP4+

When changing or adapting a method that works well, it is better to change one aspect of it at a time so that it makes it easier to judge whether it is an improvement or not. So what did I do introduce a re-bath of the film in the developer after the fix. The after bath is part of the full process when using PMK pyro that completes the staining. Up to now I have not felt the need to do this but was curious to see how much stain would be added and if it improves the print quality. I did this for the two minutes suggested which I agitated for thirty-seconds at the beginning and ten seconds one minute later.

FG 2
Film FP4+

There has been a marked difference in the density and the colour of the staining on the negatives. The picture marked Fg 1 shows the negatives developed with the afterbath, they have a yellow-brown look to them. Fg 2 shows negatives without the bath and they have a purplish look to them.

These results would suggest that an increase in agitation has just as much effect if not more on the density of the negative than an increase in the process time. The afterbath also produces a significant change in how much stain is deposited which is supposed to help in making these negatives easier to print. I have found that even without the extra staining I have been producing some wonderfully toned photographs. I have not printed this latest set of negatives yet but hope to do so soon.


Related Posts:

FP4+ PMK pyro method update.
PMK Pyro developer part B
PMK Pyro working solution

Film storage.

Out of date colour film.
Upto four years on some
boxes

The recent receipt of ten rolls of out of date colour negative film from a friend has prompted me to share my experience with issues around the storage and freshness of film.

How do you define fresh? A film that has a long expiry date, one that has been kept refrigerated most of its life or even in the deep freeze. It is true to say that film used before the manufactures expiry date, which by the way is a conservative indication of when it should be used by, will yield the best results provided that it has been kept properly. The manufacturers suggest that  normal conditions are temperatures of no greater than 24 degrees C (75 F) and a relative humidity of 40% to as much as 60% in some cases. At temperatures and humanities greater than this will cause the emulsions to age far quicker. Normal conditions also refer to the fact that the film should only be removed from, in the case of 35mm from its plastic container and roll film from its foil wrapper just prier to use. Once the film has been exposed the rate of deterioration increases so you should not leave it to long after the roll is finished, to develop the latent image. It is reasonable to say that  monochrome film is more robust relatively speaking to colour film which has a greater number of   delicate layers for the atmosphere to attack and if stored badly will increase the likely hood of a colour shift.

Fg 1
Film 35mm, FP4, developed in ID11.
Printed on Ilford MGr paper 

Freezing is an extreme method of slowing the ageing process and can cause  problems with condensation and ice particles. Refrigeration is the most popular with film photographers but should be treated with care and common sense. At one time I used this method but not any more as it is not suitable with the way I work. Instead I use a floor standing Cabernet that is out of direct sunlight and away from direct heat. I have used this method for years with no ill affects. I also pay little attention to expiry dates as experience has shown me that it has had little affect on my results thus far.

FG 2
Same as above.

A couple of years ago I was sorting out some boxes of darkroom kit when I came across some containers of FP4 that was about twenty years out of date. I say twenty but on thinking back it's probably closer to thirty years or longer. The pictures (fg1 & fg2) are the results from one of those rolls of FP4 which was mistakenly exposed at ISO 400. Half the film was developed in ID11 and timed for HP5 and the other was developed in Rolie R3 developer and timed  for 400 iso. With results like this it makes me wonder whether refrigeration is necessary for monochrome emulsion if stored with care.

 It would seem that all film users over estimate how quickly film deteriorates. Each person needs to look at the way they use film and what sort of climate they live in, then take the appropriate action to comply with normal conditions. 

Related Posts:

Colour film out of date

Test strips before printing.

The test strip is the foundation to obtaining a good final print. Unless you have one of RH designs excellent Analsyser Pro enlarging meters. If not the most common way of producing a test strip is with a sheet of card moved at timed intervals across light-sensitive paper. There are several things you need to set before doing the test: the size of the print, the aperture of the enlarging lens and making sure you have sharp focus.

10 x 8 test strip.

Once all this is done how big should the test print be? This is down to personal choice but you should consider whether the use of whole sheet, half, third or strips give the best test results. If using a test strip of about two inches (50 mm) you need to make sure that each segment includes a full range of tones from the lightest to darkest so you can see at which timed interval gives the best high values and shadow areas. It is much easier to achieve this with the larger test strip.

What should the time separation be? A good starting point for prints around the ten by eight size is five seconds. These intervals will give you a rough idea of what the exposure should be. This can be refined with further test strips of two and/or one second if needed.

On what grade of paper should you make the test print? Grade one is standard practice. If the method you use places your negatives at a particular grade In my case it is grade three then you should do your test print at that grade unless you are using the split grade method.

Related posts:

Evaluating your test strips

Enlarging a section of the negative.

Picture from a 120 FP4+ ISO125 6x6 negative
 developed in ID11 and printed on Ilford MG paper
 Processed with Ilford MG Developer.
Landscape format

There are no rules when it comes to enlarging your negatives. Cropping, re-formatting and partial enlargement are all part of the creative process. Changing horizontals to verticals and diagonal is also part of this rich tapestry of creativity. The only time I feel this looks odd is with waterscapes and their horizons.

Portrait format

As one of those people that works with 6x6 negatives, cropping and reframing is all part of making the picture fit the paper. I'm not complaining but the fact is all paper sizes are oblong. I think this has helped me in getting the best from my pictures. I do not waste time in trying to make the whole negative fit the page; this is heresy to some who believe that having carefully framed the view that you should print as you saw it! This is not always possible, especially when you have a certain size of print in mind. Sometimes this careful framing once projected on the enlargers baseboard may look better with horizontal or vertical framing. Do not be afraid to play.

Square Format

Which do you prefer?

Enlarging the negative. How big?

Depends on how crisp the negative is! If it is razor sharp there is no reason why you cannot enlarge it to its maximum. A thirty-five millimeter negative should be able to produce a 24 x 30 centimeter print with ease and in exceptional cases 50 x 60 cm. To check if the negative is of a good enough quality, enlarge part of the frame to 18 x 24 centimeters, if it looks a bit grainy the chances are that when the whole negative is enlarged to 50 x 60 cm and viewed from a meter away it will look good.

When enlarging to larger sizes you need to take into account the distance that people will see the picture from. Large photos are rarely viewed up close.

Magnification on your enlarger

This is going to get a bit technical, so bear with me! This is the ratio between the print and the negative. It is calculated using the linear rule. To make things easy, lets say we are going to enlarge a thirty-five mm negative (24 x 36 mm) by a factor of ten this will give us a print size of 240 x 360 millimeters ( about 9" x 14") in size.

Magnification is related to the distance the negative is from the enlarging lens and the lens from the baseboard. So as the latter distance increases the former decreases. In other words the higher the enlarging head is from the baseboard the closer the lens gets to the negative when it is being focused and vice versa. It stands to reason that the larger the print the longer the exposure time will need to be. There will also need to be a change in paper grade to a harder one as there is a softening in the contrast.

Keeping your negatives safe.

Is important! You need to make sure that the method you choose will keep your negatives flat and safe from damage. The cheapest way may not be the best course to take in the long run.

You can buy loose leaf pages in plastic or paper divided into six for 35mm film which will hold thirty-six frames cut into lengths of six. They have a white edge with ring binder holes that allow you to store the pages in albums/ folders or box folders. (I think the latter is the better solution from experience.) The white edge also means that you can write details on it like the method of development and/or a serial number, this will help you together with a contents list at the front of the album/folder to give you access to your negatives instantly.

The same type of leaves are used for medium format negatives 6x4.5 and 6x6. They are divided into four and the negatives are cut into lengths of four and three respectively.

It is important that the negatives are completely dry, before you load them into the storage leaf otherwise they will stick making it impossible to slide them in. If you still have trouble inserting them when they are dry you can snip off the corners of the leading frame of each strip.

Filing systerm.

This is down to personal choice as to what record keeping you attach to your processed films. You can write it in a notebook, a file on your computer or as I do along the top of the film sheet. What data should you record:

1. Date it was developed.

2. Make and type of film.

3. Reference number of the film for your files. I use format size and date of development as a reference number.

4. Developer used.

5. Dilution.

6. Development time.

7. Results.

The more comprehensive your records are the more you will use it, to refine the processing of your film. Ansel Adams believed in keeping meticulous records, this maybe part of the reason his pictures are so well printed.

Spun dry?

This is the fastest way you can dry your negatives. I had forgotten about this method until recently. Why? because it is the first time I have had access to a spinner. I recollect that there was/is opposition from other photographers in the use of the centrifuge method but cannot recall for what reasons.

The process is quite simple, you leave the film in the spiral attach a long hook to the side of the drum so you can hange the spool from it, close the lid and run for one minute. When removed the film is completely dry. That's quick! and no drying marks!

Drying cabinet.

The safest and one of the quickest ways of drying your film. The cabinet has a built in heater that gently blows warm air over the negatives lessening the amount of time that particles in the atmosphere can attach to your valuable film. They can be dry in fifteen minutes.

If, like me, you only have a small darkroom then a cabinet may not be practical within the room itself. You could place it outside but the problem I have with that is it looks like a gym locker, making it a blot on the landscape wherever you put it! Oh! and they're not cheap! Make your own mind up!!

The results of my first use of PMK Pyro

The results are not faultless. I will come to that later, first I have forgotten to mention that the films being processed are Ilford FP4+, used at ISO 125. 120 format producing a 6x6 negative. Now I'll outline the procedure used.

1. The working solution was made up using filtered tap water at 21 degrees C and poured in straight away.
2. Once the developer was in the tank I agitated it continuously for the first minute.
3. The tank was inverted twice every 20 seconds and tapped to dislodge any bubbles.
4. stopped, fixed and washed as normal.

I did not re-dip the film in the developer after fixing to intensify the staining. This is up to you but I was advised it did not make a noticeable difference.

Whenever I process a film I find that I'm a bit apprehensive as to what the outcome will be, even more so with a new developer! so just before I wash the film I have a little look to see if there is a negative, so far I have not been disappointed.

First impression, once the film was dry I noticed there weren't any water staining marks, that's a bonus. The film base has a slight mauve colour to it which increased in strength slightly with longer development times. The negatives overall were evenly processed. The contact prints revealed that there are dark spots on the neg's which I think may have been caused by air bubbles. I have just processed another film this time I gave it a two-minute pre-soak and there are no black spots on the negs.

To re-cap: Two minute pre-soak, pour developer in and agitate for first minute, then invert tank twice every twenty-seconds, stop,fix and wash as normal. You should get some very very fine grain negs.

I have printed four pictures so far. The first two on Foma 113 variant gloss, F11 grades 2.5 and 3 and they have a cool tone to them. The next two on Ilford multi-grade gloss, F11 grade 2 and 2.5, these have a warmish tone to them. Both papers were developed in Ilford -multi-grade print dev.

The pictures that appear in this post have been scanned from prints and do not convey how well they have printed. These are straight prints with no dodging or burning in. I wanted to show how well the negatives have printed and how evenly they have developed. I will be producing a final print set on FB paper at a later date using a mix of ordinary and warm tone developers.

Will I use Pyro again? Yes! it is likely to become my default film developer. The grain produced by this developer is minut to the point of making it difficult to see when focusing the negative for enlargement. I feel that the twenty-second double inversions of the tank is a bit fraught but I think it will get better the more I get used to it. Without Trevor's advice it may have taken a few more films to get it right. Thanks Trevor!


Other articles from this blog on PMK Pyro

What next?

Agfa test strips.

Working solution

Solution B

After bath

FP4+ development

Adox art 

PMK Pyro raw

Making up PMK Pyro from raw

Adox results

Negative comparison with PMK Pyro

PMK Pyro grain comparison

Drying the negatives.

Where to dry your film once they have been washed and you do not have a drying cabinet. It is not good practice to hang them near a vent or radiator. The turbulent air that these areas create can force hair, dust specs etc to land and stick to your damp film. One of the best places is in the bathroom where in most cases the room is at constant temperature and the level of dust is less because of the higher humidity.

You should attach a special film clip to the top end of the film and one to the bottom to add weight. This will also reduce curl once it has dried. The film is best hung wet and any excess water is removed with wiping tongs (double-sided squeegee). This also helps with the elimination of drying spots. I can tell you from experience that if these tongs are not spotlessly clean they will scratch your negatives. It is better to leave the film to air dry and remove the water with a well washed soft leather cloth, you keep especially for the job. You can wait till it is dry, use a film cleaner and soft lens cloth to remove the water marks. In both cases only wipe the shiney side of the film.