How many runways can you see for Rockton airport (Canada) ? : The answer is on https://www.bigorre.org/aero/meteo/cpt3/en #rocktonairport #airport #rockton #canada #cpt3 #aviation #avgeek vl

How many runways do you see for Rockton airport (Canada) ? : The answer is on https://www.bigorre.org/aero/meteo/cpt3/en #rockton #canada #rocktonairport #cpt3 #airport #aviation #avgeek vl

How many runways do you see for Rockton airport (Canada) ? : The answer is on https://www.bigorre.org/aero/meteo/cpt3/en #rockton #canada #rocktonairport #cpt3 #airport #aviation #avgeek vl

Whoa! The inaugural meeting of Stateline Indivisible is lit! 🔥🔥🔥
#hononegah #Rockton #illinois @indivisibleteam

Better Living Through Chemistry | Picking Your Developers

Developing your film at home is both rewarding and frustrating at the same time and to add on an extra layer of complexity there is a lot of developers out there that you can use, especially in the black & white field. While certainly not as much as there used to be, there is still an excellent selection of developers to suit almost every person's need, without having to dive deep into building your developers from base chemicals. Ultimately every photographer has a different taste but if you're starting out with home development the choices may seem a little overwhelming so I'll be breaking down the different characteristics you may look for in your developing and what I feel are the best choices for each characteristic.

General Purpose Developing
While there is always a temptation to dive right into the exotic, I have found it best to get your feet wet with a bit of boring, the idea behind a good general purpose developer is that it doesn't do anything beyond developing your film and letting you explore what your films can do first before altering it through changes in exposure and development. These developers often come in large volumes and allow for development using a stock dilution to help maximise the number of rolls you can develop in a kit. The first one in this mix is the old favourite, Kodak D-76. D-76 along with the various clones available including Flic Film Classic MQ, Ilford ID-11, FPP's Dalzell76, and many others comes in either a 1 gallon or 1 liter volume and offers up use as a reusable stock solution or you can dilute it down to 1+1 or 1+2 into a one-shot developer. In all cases, this developer will handle a good 90-95% of your development needs and can even offer up some use for push and pull development. And there is almost a development time for every B&W film available today and even in the past.

Mamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak Tri-X 400 @ ASA-200 - Ilford ID-11 (Stock) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak TMax 100 @ ASA-100 - Kodak D-76 (1+1) 9:30 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Rollei RPX 400 @ ASA-400 - Kodak D-76 (Stock) 8:00 @ 20CKyocera Contax G2 - Carl Zeiss Biogon 28/2,8 T* - Rollei RPX 25 @ ASA-25 - Kodak D-76 (1+1) 8:00 @ 20C

Second on my list for a good general purpose developer is Ilford Ilfosol 3, despite the drawbacks this is an excellent choice when starting with home developing. The developer comes in a liquid concentrate that is easy to work with and takes little effort to pour and mix. You only have two dilution options 1+9 and 1+14 that will both produce similar results it all depends on how many rolls of film you have to develop. Ilfosol 3 can only be used as a one-shot developer and it oxidises far quicker than other liquid developers. That means that you will want to shoot all your film and then run through to bottle as quickly as possible. Alternatively you can use canned air to help displace any oxygen or use glass marbles to keep the volume up. You also have a tonne of options for developing film with most modern film stocks having a listed time.

Nikon FG - Nikon Series E 50mm 1:1.8 - Ilford Pan F+ @ ASA-50 - Ilford Ilfosol 3 (1+14) 4:30 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Rollei RPX 100 @ ASA-100 - Ilford Ilfosol 3 (1+9) 5:00 @ 20CPentax 645 - SMC Pentax A 645 35mm 1:3.5 - Ilford Delta 100 @ ASA-100 - Ilford Ilfosol 3 (1+14) 2:50 @ 28CKyocera Contax G2 - Carl Zeiss Planar 2/45 T* - Ilford FP4+ @ ASA-125 - Ilford Ilfosol 3 (1+14) 7:30 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - JCH Streetpan 400 @ ASA-400 - Ilford Ilfosol 3 (1+3) 5:00 @ 20C

And the third choice I have for general purpose developing is Adox FX-39 II, I first discovered this developer several years ago and it quickly became a fast favourite. This is another liquid concentrate that has only two dilutions available and is easily mixed into a one-shot working solution and in both cases they produce similar results so it all depends on how economical you want to be with your bottle. It also has a longer shelf life than Ilfosol 3, I've had one bottle go for a year and still was running strong by the time I drained the concentrate. The one thing that FX-39 II has that the previous two do not is a set of universal times for films exposed at box speed if there isn't a listed time. But don't worry, there is a lot of listed times available for the developer.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Adox CHS 100 II @ ASA-80 - Adox FX-39 II (1+9) 7:30 @ 20CMinolta Dynax 600si Classic - Minolta Maxxum AF 28mm 1:2.8 - Agfa Silvertone @ ASA-400 - Adox FX-39II (1+9) 10:00 @ 20C (Constant Rotation)Nikon F5 - AF Nikkor 85mm 1:1.8D - Ilford Delta 100 @ ASA-100 - Adox FX-39 II (1+9) 7:00 @ 20CNikon F5 - AF Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Kosmo Foto Agent Shadow @ ASA-400 - Adox FX-39 II (1+9) 10:30 @ 20C

Sharpness
Sharpness is both overrated and highly valued in the photography field, it's a bit of a buzz word. That being said there are several excellent options out there to help improve your film's sharpness. While sharpness can holistically mean a combination of edge sharpness and tonal contrast, these developers are used strictly to increase the edge sharpness of your images. The downside is that it will also increase the visible grain. The number one choice from anyone in this field is Rodinal, these days you can get it under several different names, Adox carries the copyright for the Rodinal name but in Canada we have the best clone, Blazinal. Rodinal can be used one of two ways, the first as a standard developer using either a 1+25 and 1+50 dilution for one-shot or you can stand-develop the film in a 1+100 or 1+200 dilution for either 1 hour or 2 hours respectively. While many people would avoid using Rodinal with faster films, I find that it does work well with both slow films that are already sharp, mid-speed films in the same vein and even faster films.

Hasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Kodak Tri-X 400 @ ASA-200 - Blazinal (1+25) 7:00 @ 20CNikon F90 - AF Nikkor 35mm 1:2D - Bergger Pancro 400 @ ASA-800 - Blazinal (1+25) 13:00 @ 20CHasselblad 500c - Carl Zeiss Distagon 50mm 1:4 - Rollei RPX 25 @ ASA-25 - Blazinal (1+50) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - CatLABS X Film 320 Pro @ ASA-320 - Adox Rodinal (1+25) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford Ortho Plus @ ASA-80 - Blazinal (1+50) 15:00 @ 20C

Next on my list for increasing the edge sharpness of your film is Ilford Perceptol. While not necessarily a sharp developer, it does an excellent job in increasing sharpness while keeping visible grain under control. Perceptol is mixed from powder into a stock solution which you can use as a reusable developer (4 rolls per liter) or as a one-shot diluted either 1+1 or 1+3. It isn't the most economical developer either way as it is only available in a 1 liter kit. This is also the developer that does wonders with almost every film that you develop with it, the one thing you will notice in some cases is that you will have a bit of speed loss with faster films.

Pentax K1000 - SMC Pentax 55mm 1:2 - Ilford HP5+ @ ASA-320 - Ilford Perceptol (1+1) 18:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Tri-X 400 (400TX) @ ASA-320 - Ilford Perceptol (1+1) 12:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.4 - Fujifilm Neopan Acros 100 @ ASA-80 - Ilford Perceptol (1+1) 13:00 @ 20C (Constant Rotation)Pentax 645 - SMC Pentax A 645 35mm 1:3.5 - Ilford Delta 100 @ ASA-50 - Ilford Perceptol (1+1) 13:00 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Rollei RPX 25 @ ASA-25 - Ilford Perceptol (1+1) 10:00 @ 20C

On the rarer end of the spectrum there's SPUR HRX. SPUR is known for producing developers designed for increased sharpness and resolution and HRX certainly fits the bill. I mean there name is short for Speed Photography, Ultra Resolution and HRX is for High-Resolution X. Now the one thing that might turn people off of HRX other than sourcing the chemisty is that it's a two-part developer with a single dilution. So there's a bit of math involved by dividing the amount of concentrate in two. And HRX will hand down some amazingly sharp images but on faster films there is a speed loss and an uptick in visible grain.

New Mamiya 6 - Mamiya G 1:3.5 f=75mm L - Kodak Tri-X 400 @ ASA-250 - SPUR HRX (1+17) 10:00 @ 20C (Constant Rotation)Canon EOS Elan IIe - Canon Lens EF 50mm 1:1.8 - Oriental Seagull 400 @ ASA-400 - SPUR HRX (1+13) 12:30 (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Yellow-12) - Fomapan 100 @ ASA-100 - SPUR HRX (1+20) 11:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - FPP Frankenstein 200 @ ASA-125 - SPUR HRX (1+17) 7:45 @ 20C (Constant Rotation)Zeiss Ikon Contax IIIa - Zeiss Opton Sonnar 1:1,5 f=50mm - Ilford FP4+ @ ASA-100 - SPUR HRX (1+20) 9:30 @ 20C

Fine-Grain
On the opposite end of the spectrum there's fine-grain developers. These are ones that are designed to reduce the amount of visible grain. Now in the past this has often resulted in a loss of edge sharpness but most modern developers are a balance of retaining sharpness while reducing the amount of visible grain. Number one on my list is Ilford Microphen. Microphen, a cousin to Perceptol does an excellent job with reducing grain while maintaining decent edge sharpness and controlling contrast. It can be used as both a stock reusable solution (up to 10 rolls) or as a one-shot developer in either a 1+1 or 1+3 dilution. This works incredible well in the stock dilution in cutting down grain on some of the worst offenders like Fomapan 400, Fomapan 200, and ORWO N74.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Rollei Retro 80s @ ASA-80 - Ilford Microphen (Stock) 9:00 @ 20CNikon FM - AI-S Nikkor 105mm 1:2.5 - Fomapan 100 @ ASA-100 - Ilford Microphen (1+1) 9:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 (Yellow-12) - Ilford Ortho Plus @ ASA-80 - Ilford Microphen (Stock) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Lomography Berlin 400 @ ASA-400 - Ilford Microphen (Stock) 7:00 @ 20CNikon FM - AI-S Nikkor 35mm 1:2.8 - Fomapan 100 @ ASA-100 - Ilford Microphen (1+1) 9:00 @ 20C

Second is the obvious choice, Kodak Xtol. This is the second fine-grain developer released by Kodak and was the final developer to come out of Kodak. You can also find it in several clones including Adox XT-3 and Bellini Foto Eco Developer plus several others. If you do a high-volume of developing then Xtol and XT-3 come in 5 liter volumes. The one thing that stands out for Xtol is that not only does it cut down on the visible grain, it also helps retains some level of edge sharpness. Now recently there were some concerns over the quality of the Xtol developer coming out of Sino Promise, but now that manufacturing has switched back to a US based company there doesn't seem to be the same problem. In all cases you can use the developer in stock form as a reusable developer or dilute it to one-shot in either 1+1 or 1+2 dilutions with only slight changes to how the developer acts.

Nikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 200 @ ASA-200 - Adox XT-3 (Stock) 6:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - FPP Mr. Brown @ ASA-6 - Kodak Xtol (stock) 10:30 @ 20CPentax 645 - SMC Pentax A 645 75mm 1:2.8 - Kodak Tri-X Pan (TXP) @ ASA-1250 - Kodak Xtol (Stock) 12:00 @ 20CHasselblad - 500c - Carl Zeiss Distagon 50mm 1:4 - Fuji Acros 100 @ ASA-100 - Kodak Xtol (stock) 8:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford HP5+ @ ASA-1600 - Bellini EcoFilm (Stock) 11:00 @ 20C (Constant Rotation)

The final choice is an interesting one as it is the developer that Xtol replaced, Kodak Microdol-X. Today you cannot find Microdol-X new, but if you come across a sealed pouch of the stuff then it should still be good! Rather LegacyPro makes a perfect clone of Microdol-X called Mic-X. This can be used three different ways, first is in the stock form where it is a perfect fine-grain developer and reusable but at the cost of reducing some of that edge sharpness. Second in a 1+3 one-shot dilution it does increase edge sharpness and in the third form a 1+1 one-shot dilution it is a balance of both. But even in the stock form with a modern sharp film, you don't see much reduction.

Pacemaker Crown Graphic - Schneider-Krueznack Symmar-S 1:5.6/210 - Kodak Plus-X Pan @ ASA-125 - Kodak Microdol-X (Stock) 8:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Fomapan 100 @ ASA-100 - LegacyPro Mic-X (1+1) 9:00 @ 20C (Constant Rotation)Minolta Dynax 600si Classic - Minolta Maxxum AF 24mm 1:2.8 (Yellow-12) - Ilford FP4+ @ ASA-25 - LegacyPro Mic-X (1+3) 10:00 @ 20C (Constant Rotation)Canon EOS 3000 - Canon Lens EF 50mm 1:1.8 - Arista EDU.Ultra 200 @ ASA-200 - LegacyPro Mic-X (1+1) 8:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Yellow 8) - Kodak TMax 400 @ ASA-400 - LegacyPro Mic-X (Stock) 9:15 @ 20C (Constant Rotation)

Compensating Developers
A compensating developer is such a loaded term which is why I'm putting it in the final spot for this entry. The main reason is that I have already talked about a tonne of different developers that can be considered compensating. Ones like Xtol and Microphen all are in this category. These are developers that will help cut down some of the negative impacts of both push and pull development which compensate for over and under exposure. They also work well with expired films and help reduce grain and cut down on overly contrasty scenes or films. At the top of my list for compensating developers in Diafine. Now Diafine can be hard to acquire today, but there are similar developers being produced, I do believe that Bellini Foto has one and Flic Film has teased at something similar. Diafine is a two-bath developer, meaning you develop the film once in Part A then develop the film a second time in Part B. There is also a standard set of times that if you expose the film at an ideal speed you can develop multiple rolls at multiple speeds at the same time. And the best part is that I've seen good results no matter what film I've used with Diafine. And if you do get your hands on the stuff it tends to last forever.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Eastman Double-X 5222 @ ASA-1600 - Diafine (Stock) 4:00 + 4:00 @ 20CNikon F5 - AF Nikkor 50mm 1:1.4D - FPP XRay Film @ ASA-400 - Diafine (Stock) 5:00 + 5:00 @ 20CKonica-Minolta Maxxum 70 - Minolta Maxxum AF 50mm 1:1.7- Arista EDU.Ultra 100 @ ASA-200 - Diafine (Stock) 3:00 + 3:00 @ 20CNikon FE2 - AI Nikkor 24mm 1:2.8 (Yellow-12) - Ilford FP4+ @ ASA-250 - Diafine (Stock) 3:00 + 3:00 @ 20CMinolta Dynax 600si Classic - Minolta Maxxum AF 50mm 1:1.4 - Ilford HP5+ @ ASA-800 - Diafine (Stock) 3:00 + 3:00 @ 20C

Second on my list might raise some eyebrows but it's Kodak HC-110 along with the various clones including Ilfotec HC and LegacyPro L110. The one thing I like about HC-110 is that you can adjust how the developer can adjust to either help increase contrast or decrease contrast and even get into compensating territory. Now if you're running the stronger dilutions like A (1+15) and B (1+31) it acts more like a general purpose developer. But once you get into more dilute mixes like E (1+47), F (1+79), G (1+119) H (1+63), and even a special 1+90 with a fixed 18 minute time that will develop most B&W films when exposed at box speed. Now many people will turn there nose up at HC-110 these days because of the change of how the developer handles, it works well in Ilfotec HC that behaves similar to the original HC-110.

Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Svema FN64 @ ASA-64 - Kodak HC-110 Dil. H 16:00 @ 20CMinolta Maxxum 9 - Konica-Minolta Zoom AF 17-35mm 1:2.8-4 D - Lomography Potsdam 100 @ ASA-100 - Kodak HC-110 Dil. H 7:30 @ 20C>Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - JCH Streetpan 400 @ ASA-400 - Kodak HC-110 Dil. F 12:30 @ 20CKyocera Contax G2 - Carl Zeiss Biogon 2.8/28 T* - Kodak Tri-X 400 @ ASA-400 - Kodak HC-110 Dil. B 4:30 @ 20CKyocera Contax G2 - Carl Zeiss Biogon 2,8/28 T* - Eastman 5363 @ ASA-25 - Kodak HC-110 Dil. G 22:00 @ 20C

And finally there is Zone Imaging 510-Pyro, this is one of my favourite developers to use when I want a good balance between edge-sharpness and fine-grain. Now Pyro developers are not for everyone as there is a lot of extras needed to get the best out of the developer and your negatives. But between all the available pyro developers, 510-Pyro is the easiest to handle. It has only one concentrate and is mixed 90% of the time at a 1+100 dilution. It is thicker than other pyro developers but does have an incredibly long shelf-life. Honestly, I have yet to find a film stock that 510-Pyro doesn't like.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - CatLABS X Film 320 Pro @ ASA-320 - Zone Imaging 510-Pyro (1+100) 12:15 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Adox CHS 100 II @ ASA-80 - Zone Imaging 510-Pyro (1+100) 8:00 @ 20CNikon FE2 - AI Nikkor 24mm 1:2.8 (B+W 092) - FPP BW Infrared @ ASA-200 - Zone Imaging 510-Pyro (1+100) 7:00 @ 20CMinolta Dynax 600si Classic - Minolta Zoom AF 28-80mm 1:4-5.6 - Derev Pan 400 @ ASA-320 - Zone Imaging 510-Pyro (1+100) 10:00 @ 20C (Constant Rotation)Rolleicord Vb (Type-2) - Schneider-Kreuznach Xenar 1:3.5/75 - Kosmo Foto Mono 100 @ ASA-100 - Zone Imaging 510-Pyro (1+100) 7:00 @ 20C

Like anything related to photography it all comes down to personal taste. The best thing you can do is to get together a good collection of developers that will suit not only the film stocks you regularly use but also how you want your images to look. There is some wisdom in picking a single developer and film stock, I'm more one who has a set list of films to use for any situation and then picking the right combination. Now this comes from developing my B&W film at home and fine tuning my process, so it will be worthwhile to keep detailed notes so that you know what you like and what you dislike. You can check out all my past developer reviews to help get you started on your development journey.

#musings #adoxchs100ii #adoxfx39ii #adoxrodinal #adoxxt3 #agfasilvertone #antwerp #aristaeduultra100 #aristaeduultra200 #arras #bwdevelopers #bwphotography #belgium #belliniecofilm #berggerpancro400 #blazinal #bobcaygeon #burlington #cambridge #canada #canoneos3000 #canoneoselaniie #catlabsxfilm320pro #centrewellington #chemistry #derevpan400 #developing #diafine #districtofcolumbia #dundas #eastman5363 #eastmandoublex5222 #fergus #flicfilmclassicmq #fomapan100 #fomapan200 #fppbwinfrared #fppfrankenstein200 #fppmrbrown #fppxrayfilm #france #fujifilmneopanacros100 #galt #georgetown #guelph #haltonhills #hamilton #harborsprings #hasselblad500c #homedevelopment #ilforddelta100 #ilforddelta400 #ilfordfp4 #ilfordhp5 #ilfordilfosol3 #ilfordmicrophen #ilfordortho #ilfordpanf #ilfordperceptol #jchstreetpan400 #jerseycity #kawarthalakes #kodakd76 #kodakhc110 #kodakmicrodolx #kodakplusxpan #kodaktmax400 #kodaktrix400 #kodaktrixpan #kodakxtol #kosmofotoagentshadow #kosmofotomono100 #kyoceracontaxg2 #legacypromicx #lindsay #lomographyberlin400 #lomographypotsdam100 #london #mamiyam645 #michigan #milton #minoltadynax600siclassic #minoltamaxxum70 #minoltamaxxum9 #minoltaxe7 #montreal #moosejaw #newjersey #newmamiya6 #nikonf5 #nikonf90 #nikonfe #nikonfe2 #nikonfg #nikonfm #oakville #oldfort #ontario #orientalseagull400 #ottawa #pacemakercrowngraphic #pentax645 #pentaxk1000 #quebec #rockton #rolleiretro80s #rolleirpx100 #rolleirpx25 #rolleirpx400 #rolleicordvb #rolleiflex28f #sandwich #saskatchewan #shakespeare #spurhrx #stratford #strathroy #svemafn64 #toronto #unitedstates #washingtondc #zeissikoncontaxiiia #zoneimaging510pyro

Please join us at our next meeting on Tuesday 6-7pm at Talcott Library.
RSVP here:
https://www.mobilize.us/winnebagodems/event/737827/
We'll be planning for our December Holiday Party and the April elections!
#Roscoe #Rockton #SouthBeloit #Illinois #Hononegah

Obwohl ich gestern angekündigt habe, dass es heute keinen Beitrag geben wird, will ich doch kurz schreiben.

Bevor wir uns heute Morgen auf den Weg gemacht haben, konnten wir in unserem B&B sogar auf der Terrasse frühstücken. Gegenüber vorgestern und gestern war es trotz relativ früher Morgenstunde schon recht warm.

Wie ich gestern bereits angekündigt habe, sind wir heute von Lakes Entrance nach Canberra in die „Capital City“ gefahren. Die ersten etwa eineinhalb Stunden ging die Fahrt auf der A1, dem „Princess Highway“ in Richtung Osten, bevor wir dann in Cann River auf die B 23, den „Monaro Highway“ in Richtung Norden abgebogen sind.

Zu den Straßenklassen in Australien werde ich in einem späteren Blogbeitrag noch etwas schreiben. Jetzt nur so viel: Die Klasse sagt generell wenig über die Qualität der Straßen aus. So war die Fahrt auf dem Princess Highway ziemlich anstrengend, weil die Straße wieder einmal recht kurvig war und es auch immer wieder rauf und runter ging. Auf der B 23 wurde es dann wesentlich entspannter, insbesondere nachdem wir die Grenze zum Bundesstaat New South Wales überquert hatten.

Auf der Fahrt in Richtung Norden konnten wir in westlicher Richtung am Horizont die schneebedeckten Gipfel der australischen Alpen sehen. Dort befindet sich mit dem Mount Kosciuszko auch der mit 2228 Metern höchste Berg auf dem australischen Kontinent. Für ein Foto hat es leider nicht gereicht, dafür waren die Berge zu weit weg.

Obwohl wir bei Rockton die Great Dividing Range erreichen und letztendlich zwischen Bombala und Cooma bis auf über 1100 Meter Seehöhe hinauffahren, ist die Fahrt doch sehr entspannt

Dass wir so hoch hinaufgefahren sind, war an den Straßenverhältnissen nicht zu merken. Die Straße führt teilweise kilometerweit schnurgeradeaus.

Die Gegend ist auch äußerst dünn besiedelt. Unterwegs passieren wir mehrfach über lange Zeit keine einzige Ortschaft.

Nach einer Kaffeepause in Bombala und einem Picknick bei strahlendem Sonnenschein im Park sowie einem Tankstopp in Cooma, einem australischen Skiort, kommen wir gegen 15:30 Uhr in Canberra in unserem Appartement an.

Da es noch früh am Tag ist und unser Hotel in der Nähe des Regierungsviertels liegt, beschließen wir, uns das Parlamentsgebäude noch von außen anzusehen.

Wir sind zu Fuß unterwegs und kommen von unserem Hotel aus seitlich am Parlamentsgebäude an. Schon der erste Eindruck ist keineswegs offen und einladend – eher im Gegenteil. Das Gebäude ist riesig und in einen offenbar künstlichen Erdhügel hineingebaut. Rundherum sind immer wieder hohe Zäune und Mauern errichtet. Auf uns macht das Gebäude eher den Eindruck eines Bunkers.

Lediglich zum Haupteingang hin ist das Gebäude etwas offener.

Wir umrunden den Gebäudekomplex einmal komplett, bevor wir dann zu Hotel zurückkehren und den Tag ausklingen lassen.

https://michael.herbst-haste.de/auf-in-die-hauptstadt/

#Australien #Bombala #Canberra #Capital #CapitalCity #Cooma #LakesEntrance #Parlament #Reise #Rockton

Developer Review Blog No. 28 – Flic Film Classic MQ

You can never have too many D-76/ID-11 clones. And while there are tonnes already on the market, plus the capacity to mix one up yourself at home. I want to introduce the latest clone on the market, Flic Film Classic MQ. Flic Film is a new Canadian film lab based in Alberta, Canada. While they focus on re-rolling motion picture film stock, they have a healthy film chemistry group. In addition to their brilliant Black/White & Green, among their offerings is a D-76 clone, Classic MQ (Metol/Hydroquinone). But it is available in the smaller 1L volume rather than mixing up a whole gallon of stock solution.

Technical Details
Manufacture: Flic Film
Name: Classic MQ
Primary Developer: Metol & Hydroquinone
Type: Reusable/One-Shot
Mix From: Powder

Mamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20C

Handling
If you can mix any developer from a single pouch of powder, Classic MQ is not beyond your reach. The developer comes in a single pouch of pre-mixed powder combined with water to make a litre of stock solution. The temperature is pretty hot to mix the stuff up, and I recommend going with the upper range of temperatures. The reason is that the power will mix better; if you're doing the mixing by hand, it will take about 6-8 minutes to thoroughly mix, shorter if you have access to a magnetic stirrer. Once mixed, the stock solution has a shelf life of six months in a full 1L bottle. The stock solution can develop ten rolls of film or equivariant. You can reuse the solution in stock form for development, but it is a one-shot developer once diluted down to either 1+1 or 1+2. Flic Film has published no official times with Classic MQ; instead, use the published times for Kodak D-76 or Ilford ID-11 for times and dilutions. If these developers can do what they say, so can Classic MQ. I did all the rolls in the 1+1 dilution for this review to work through the bottle quickly.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20C

Applications
Like any D-76 clone, Classic MQ offers an alternative to Kodak chemistry, especially if you're Canadian support for a Canadian company. Classic MQ offers up that baseline developer that works well with all the black & white films on the market, working well on both standard cubic grained film and modern T and Delta grained films. And because it comes in only 1-litre volumes, it is ideal for those who develop at home but have limited space available to them. And for those working on a septic system, Classic MQ, designed for rural developers, has lower toxicity and is safe for septic systems. And like D-76 and ID-11, in a pinch, Classic MQ can be used as a paper developer both for darkroom printing and paper negatives. A film like Washi A would be a good idea to use Classic MQ to develop.

Nikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20C

Qualities
Being the same stuff as D-76 and ID-11, Classic MQ offers up that same baseline developer. Classic MQ lets the film shine, adding or subtracting anything from itself. You get that full speed out of your emulsion without any trouble. D-76 offers excellent detail at stock dilution, both in the highlights and especially the shadows. Surprisingly the developer does an excellent job taming grain at stock dilution. There's little in the way of adding or reducing contrast, for normal behaviour develop in a stock dilution. If you want to increase the sharpness, with a slight uptick in grain visibility, dilute down to 1+1 as I did, and it certainly helped get a bit more sharpness out of my HP5+ and Double-X without and decrease in contrast.

Nikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20C

Lowdown
Like any other clone developer, Classic MQ offers up another chance to get your hands on a solid developer if you're starting your journey in home development. And these days, with supply lines long and a bit of quality issue coming out of Sino Chemicals right now, Classic MQ offers up a classic D-76/ID-11 experience without any trouble. The developer's cost is right in line with what you would pay for D-76 or ID-11. While you cannot purchase the stock directly from Flic Film, they have many retail partners here in Canada and the United States and is a powder it is much easier to ship without any significant restrictions. And yes, it is easy to mix up your D-76 or similar developer yourself; sometimes, it's nice to support a Canadian business and simplify your life.

Recommended Reading
Don't just take my word on Classic MQ. Check out these other blogs on the subject!
No Other Reviews Found

#developerreviewblogs #blackwhite #canada #chemistry #classicmq #developer #developerreview #eastmandoublex #filmdeveloper #filmphotography #flicfilm #flicfilmclassicmq #guelph #hamilton #ilfordfp4 #ilfordhp5 #kodaktrix400 #mamiyam645 #minoltamaxxum9 #nikonf5 #nikonfe #ontario #review #rockton #westfieldheritagevillage

Film Review Blog No. 82 – Film Washi Type “F”

When it comes to Film Washi, they certainly have gotten their hands on some interesting film stocks. And after enjoying some of their products last year, one of their products I've wanted to try. But with any repurposed film stock, you have to wait for the raw materials to become available. Thankfully after watching out on the Film Photography Project's store I saw them come back in stock thanks to their email newsletter. Type "F" is a special X-Ray film used for mass lung disease diagnoses; according to the Film Washi website, it is truly a unique film that offers, coated without an anti-halation layer, a high diffusion effect beautiful grain.

Film Specs
Type: Orthochromatic X-Ray Film, B&W
Film Base: Polyester, 100 μm
Film Speed: ASA-100
Formats Available: 135 (35mm)

Roll 01 - Ilford ID-11
I didn't know what to expect from these negatives; they looked decent, a bit dense, but nothing too terrible out of the tank. Silverfast, however, made the initial pre-scan look overcooked. Thankfully once I got the frames set up, things started to look better. There is undoubtedly an ethereal quality to these images, a soft fuzziness around the edges. Almost as if you're looking through the world with dirty glasses. You do lose your highlights but get excellent shadow details. Probably the one thing that caught my attention is how grainy the film is, not that I'm complaining; we are talking cut down x-ray film here, so a bit of grain is to be expected. But the images have an excellent sharpness about them, which only adds to the film's overall feel. And for a first roll, I think I'm going to enjoy the film moving forward.

Nikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Ilford ID-11 (1+1) 11:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Ilford ID-11 (1+1) 11:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Ilford ID-11 (1+1) 11:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Ilford ID-11 (1+1) 11:00 @ 20C

Roll 02 - Ilford Ilfotec HC
After seeing the results, I got with the first roll. I decided to play off my strength and see if I could push the film towards that same ethereal look. Rather than go with the dilution and time on the Washi datasheets, which called for 4.5 minutes in a dilution of 1+15 (Dilution A). I felt that the time was too short and the dilution too strong. Thankfully, Washi tells you an alternative source for times, so I went with a sixteen minute time in 1+63 (Dilution H). Although the film probably would have done better in either the 1+15 or 1+31 dilutions, it would have bumped up the contrast. I am, however, happy with the results I got; you got that same ethereal glow about the images and a certain drop in the visibility of the grain; I did have to dial things back in editing, so maybe drop the development time to fifteen minutes or go with a more substantial dilution.

Nikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Ilford Ilfotec HC (1+63) 16:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Ilford Ilfotec HC (1+63) 16:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Ilford Ilfotec HC (1+63) 16:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Ilford Ilfotec HC (1+63) 16:00 @ 20C

Roll 03 - Adox Rodinal
I'll admit I was torn when picking a development using Rodinal. On the one hand, I knew that I would get some increased amount of grain no matter which dilution I went, but I wanted to see a bit more contrast from Washi F. In the end, I went with a tried and listed time, going with a 1+25 dilution for nine minutes. After pulling them from the tank, the negatives looked like the rest, which is a good sign. They are a bit overcooked; thankfully, a bit of work in post-processing did drag a bit of detail back out of those highlights. Some of the times are a little off on the datasheet, and I would go with at least one minute less on all listed times.

Nikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Adox Rodinal (1+50) 15:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Adox Rodinal (1+50) 15:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Adox Rodinal (1+50) 15:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Adox Rodinal (1+50) 15:00 @ 20C

Roll 04 - Flic Film Black/White & Green
The joy of running these films sequentially is that I can make adjustments as I go along with developing the rolls. In the case of this last roll, I took my advice and went with one minute left on development. Here I went for the FP4+ times again and used the Flic Film Black/White & Green, which is liquid Xtol, hoping it might tame the film. Sadly it did not, and despite shooting under wildly different lighting conditions, the film came out of the tank looking like every other roll. In fact, despite being developed by four different developers, everything looked the same. There's the same ethereal look to the images, loss of highlights, tonnes of grain and sharpness.

Nikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Flic Film Black/White & Green (1+49) 11:45 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Flic Film Black/White & Green (1+49) 11:45 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Flic Film Black/White & Green (1+49) 11:45 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Film Washi Type F @ ASA-100 - Flic Film Black/White & Green (1+49) 11:45 @ 20C

Final Thoughts
Washi F is not for the faint of heart; it's a film that has specific tolerances and has very little in the way of forgiveness when outside those tolerances. And that isn't surprising for me, it is a film with a single purpose, and here I am taking it well outside that purpose. An X-Ray camera does one thing well and does it the same every time. On that side, if you're into this look, then Washi F will give you a fun film to experiment with ethereal portraits and landscapes and certainly makes you embrace the grain. And no matter what you develop the film in, it will look the same. The one thing I did note with his film is how difficult the handle is. The first thing is that the base is thin, not super light like other Washi films, but thin enough to give my F5 some headaches when loading. The second is handling when loading onto plastic reels, the first roll through bound a little during the process. Thankfully, I kept the film rolling with a bit of luck and a touch of violence. The thin base did allow the film to dry flat, but it did tend to roll upon itself. It also tends to suffer from light piping, so keep the roll inside the canister until you're ready to use it and load in dim light. The canister recommends shooting six frames, but four seems to do the trick. If you're looking for Washi F, it can be challenging to obtain as Washi is a small company out of France, thankfully they have a long reach, you can find a complete list of retail partners over on the Film Washi site.

Further Reading
Don't just take my word on Film Washi Type "F", you can check out the reviews by other awesome reviewers!
Emulsive - 5 Frames with Film Washi Type F
Analogue Wonderland - Washi F Film Review
Filtr Film Cameras - Film Review - Washi F

#filmreviewblogs #adoxrodinal #canada #film #filmreview #filmwashi #filmwashitypef #flicfilmblackwhitegreen #hamilton #ilfordid11 #ilfordilfotechc #media #medium #milton #nikonf5 #ontario #review #rockton #toronto #typef #washi #westfieldheritagevillage