As you may have read in my previous post, here came recently a noble representative of the British pride: the Agilux Agifold III. A 6×6 medium format camera. Unfortunately, its extinction meter is no longer working (or at least, I have not been able to figure out how to use it) and then, I decided not to leave her alone in this test and I accompanied with an equally british Weston Master III.
Sometimes, when you receive a vintage camera, it happens to find inside an old negative, forgotten there for who knows how many decades. It happened to me twice in the past, into a folding 6×6 Rheinmetall Weltax and a few days ago, in another folding MF, the Agilux Agifold. In the first case, the roll was totally blocked and I could not avoid exposing it to light to pull it out. I only remember that it had a red bordeaux paper. This time, however, having noticed through the rear window the presence of a film (at N° 10), I rewound with the intention of developing it. It was an old Tri X Pan Professional, which I developed semi-stand on Adonal (Rodinal) 1: 100 for an hour. Results? Totally disappointing but ….
Things do not always go your way. But this case was (almost) expected. Too bad, because the Fuji GS 645 Professional is a very good camera, built with a mix of old criteria (folding structure and rangefinder) and more modern ones, especially the good and sharp lens and the meter. A good friend of mine lent me a copy in perfect condition, were it not for the presence of numerous pinholes in the bellows. I tried a repair with the “liquid electrical tape” but unfortunately it was not enough.
Some time ago, stimulated by certain images seen on the net, I wanted to try the Ilford XP2 Super 400 film. This stems from the XP1, which appeared in the early ’80s to make more widespread treatment of b/w and to provide less grain than other films of these times (which often had too much of it). I must have somewhere a series of negatives taken with the XP1 ….. The XP2 must be developed by the classic C-41, used routinely for color films. This could have been a major point in its favor, at least until the advent of the digital era.
As described in the second post of this blog, I recently made an “hazardous” test with a film (Adox CMS 20) rather difficult to treat, even with its dedicated developer. The test was done at box speed (ISO 20) and as developer, I used the Ars Imago-Fd. The negatives were rather “hard” and contrasted, though (at least when scanning) image data seemed well present in the shadows as in the highlights. But, the ultimate goal of an image shot on film is undoubtedly the wet print in the darkroom. Only on the final print we can make a judgment that has a real sense and evaluate details such as definition, grain, and so on.
As you can see, the experiments with infrared (IR) continue. As mentioned in the previous post, during the last photographic trip, besides the Ilford SFX 200, I shot a roll of Rollei IR 400, with the aim of developing it in new Ars-Imago Fd. A couple of days ago, I had enough time to do it and as first thing I had to find a starting time for development, given that it was a “first time” and there were no data about in the data-sheet.
After the first (successful) attempt with infrared photography (IR), I immediately wanted to try it again and so, taking advantage of a beautiful sunny day, I shot other two rolls with my “usual” Rolleiflex. The first, a Rollei IR 400 again, I have yet to develop. As a second, this time I used the Ilford sfx 200, to assess any differences in performance with the previous one.