Darkroom Diaries: Ilford Pan F+ 50 and Photographers Formulary TFX 2

Challenging one's comfort zone admittedly is a good thing.  As big of a fan of HC-110 as I am, I did have to wonder what else was out there in black and white developers that might work well to give me.  As my supply of the syrup was winding down, I began to explore what other options might be out there, and was wondering what I might find to vary my stable of developers.

Ultimately I selected Photographer's Formulary TFX-2.

The desire to try a new developer actually goes a bit beyond simple caprice as I imply.  As much as I love HC-110 as a general purpose developer, I wanted to see what I might be able to find that might be a lower contrast developer, particularly for use on microfilm as well as Ferrania P30, both of which tended to have higher contrast in HC-110.  I'd seen some results of P30 in the Metol based Beutler formula, which really looked promising, and was about to pull the trigger on the needed powders when, on perusing the wide array of options from Photographer's Formulary, elected that TFX-2 was the perfect choice.  Similar in makeup to the Beutler formula, but in a 2 part liquid formula that could be used as a one-shot developer, TFX-2 also had some at least one follower who was using it as a stand developing solution!  It was just like taking my existing practices and just changing the ingredients! 

Rather than jump directly into microfilm developing with TFX-2, I elected to do my first tries of stand developing of this developer using a couple of rolls of Ilford's Pan F+ film, a 50 speed emulsion known for being a bit heavy on contrast.  Using 12.5ml of both solution A and B in the 400ml tank for a 30 minute stand, I was quite curious to see what I'd get.  My first roll was a roll of 120 shot in a newly acquired Zeiss Ikonta 515/2, and my second roll was a cut down roll of 127 taken in my newly beloved Zeh Goldi.  

My results show a mix of promise and concern.  Some are simply wonderful, while I find there are a few challenges that can result when using this developer, at least on the somewhat temperamental Pan F film...

From the Zeiss folder, I'm instantly impressed by the first frame developed in TFX-2.  Though the sky shows some rather odd developer artifacts around the steeple, the tonality in the statue is nothing short of wonderful to me.

Point and Shoot Pity Party Part 2: The Rolls Camera

This is Part 2 of a recurring series on basic point and shoot consumer cameras, the details of which can be found here.

It's a Genuine Rolls Camera proclaims the original box.  I guess that was supposed to be special for some reason?!?  Though it lacks much in features as it has in advertising bravado, the Rolls is among the earlier "Point and Shoot" cameras aimed at the casual photo market. With just two settings: for time exposures and normal exposures, the Rolls is certainly simple to use.  But what sort of photos can it take on 127 size roll film.  Have a look! 

Front View

Top View 

Through the Viewfinder

Name: Rolls Camera

Format: 127

Type: Fixed Focus Point and Shoot 

Year: 1939

Features: Time or Instant Settings.

Lens: 50mm f/16 Rollax.
Battery: None.
Manual: http://www.butkus.org/chinon/rolls/rolls_camera.htm

The Peculiar Paradox of the Perplexing Pickwik

To ponder and postulate the perils of my predicament was particularly problematic.  Phooey!

Sure I'm a "camera collector," but not in the most literal sense.  I like to limit myself to working examples of everything I might acquire and I most certainly seek to run at least one roll of film through everything I may have the fortune to pick up.

A few weeks ago, I happened on a bargain of a lot containing 7 cameras that I snagged for just over $20.  While it was just one camera of this batch that really drew me in, I hoped that at least some of the other more basic cameras were in operable condition to be able to use a time or two as well.  Who knows?  Maybe I would discover a new favorite from the motley assortment.  In a marked departure from my usual luck, it turned out that all 7 cameras had fully working shutters and appeared to need just cleaning to be ready to try out. 

One of the more interesting cameras in the batch was an unusual little guy branded as a "Pickwik." It is a true pseudo-TLR complete with two lenses and a small flip up screen designed to frame fixed focus shots in the 3x4 format on 127 film.  Armed with only settings for "Time" and "Inst," it is a particularly simple if interesting little camera.  I gave it a quick look over to get an idea of its operation and put it in the queue for eventual usage.

A unique and certainly oddball among 127 cameras of the era, the Pickwik "TLR" was an interesting pickup for me.

As it turns out, the odd little camera would be the first of this group to be pressed into service.  As I worked my way through my 21 roll assortment of D-i-Y color films, I had some headaches in advancing a roll of 127 film through my Foth Derby.  I realized only later that this turned out to be that I'd used a single ended spool on the take up side of the camera and it was facing the wrong way. Still, I looked forward to the chance to get a few snaps with the Pickwik, and since I had to open the camera in the dark to re-situate the take up spool anyway, I figured I may as well complete the rest of the roll in the Pickwik instead.  I gave it a quick cleaning with cotton swabs, loaded the film and shot the last 6 shots in this unusual little "TLR" camera of sorts.

Only to get results back like this...

Box Camera Deluxe or TLR Lite - Part I - The Silverflex Model S

Variety is the spice of life in the world of medium format film photography. There are capably crafted SLR bodies as well as handy portable folding cameras.  There are timeless and treasured TLR cameras and basic budget-conscious box cameras. And then there are the interesting animals that tend to eschew the classifications above. They are neither truly TLR nor box camera, yet in some ways they are both of these.

Often referred to as "Pseudo-TLR Cameras," I tend to prefer a tad more delineation of the genre's nomenclature to the include the more depictive terms "Box Camera Deluxe" and "TLR Lite."

And what is interesting is that despite one these terms seeming to sound more derogatory than the other, you will find that this is hardly so.  I picked up an example of both of these sub-genres, each costing under $20, and am posting simultaneous reviews of each for your reading and viewing pleasure.

There is a saying dating back nearly 500 years that states, more or less, never to look a gift horse in the mouth. The saying still persists today as a means of emphasizing not to expect something for nothing, or alternatively, that you get what you pay for. There is a great degree of truth in this saying, but the hopeful thought is that there will, at times, be exceptions to this rule.

Even in this era when film photography has been largely relegated as a niche market, and in which  bargains persist wherein one can pick up some excellent models of SLR and Rangefinder cameras for under $20, some camera styles are still quite elusive below price points many times this nominal price. Medium format TLR cameras are a tough find under $50, leaving the person seeking an affordable 120 camera to consider folding cameras for their low cost option for medium format.

So when I happened upon a listing for a pretty looking but otherwise unknown TLR came up, I was quite surprised to see a sub $15 bid take it. I hadn't been looking for an additional TLR, but I was not going to balk at one, particularly one this pretty. Even if the camera turned out to be a lost cause,  the risk was certainly minimal. Besides, this camera was pretty enough to make for a lovely shelf queen if I so chose, though I certainly hoped that would not be the case. Either I would be expressing modest lament at this near gift horse, or I would be happy exclaiming "Hi Ho Silver."  Did I have a Gift Gelding or Gifted Galloper?  

I would soon discover that this camera, the Silverflex, was a variant of the Ricohflex, which seems to be a near twin.  The few write-ups I could find regarding the Silverflex referred to it as largely as a budget version of an already budget camera.  Interesting. 

The Silverflex certainly seems to borrow more from the TLR design to its right.

Univexed! A Camera Named Iris

I have come to realize that I am a stubborn King of Forgotten Formats.  Either that or I am a Clown Prince of the Arcane.  Either way, I'm happy, so it is what it is.

And just when I thought that my foray to finally delve into the world of 127 film would constitute my final quirky deviation from the safe place of 120 and 135, I find yet another slice of obsolescence to try out my hand in.  This one constitutes not just one but TWO goose eggs: namely, the fabled "00" format. It's entry into my photographic world would oddly prove to be a perfectly timed and profound blessing to move me into new but necessary territory.  Read on!

My super-length roll of 127 that proved to be too much an undertaking for the photo lab, and which proved to be the push I needed to get into the world of black and white film development, was only part of that impetus.  Just as I got the news that this odd roll of film wouldn't load into the reels, I was finishing up my first roll of 00 sized film, an oddly sized film that is about 2-3 millimeters narrower than 35mm stock.  If my lean roll of 127 wasn't fitting the lab's spools, certainly a roll of film that is deliberately narrower than 35/828 was not going to fare any better in a commercial lab. Thus, my entry into the 00 format only validated the need to develop film myself.

The oddest aspect to my entry into the world of "00" film is that I can't even recall the reason WHY I elected to adopt this camera and its flaky format into my cadre of equipment. Perhaps it was a flaky outburst of "GAS" or perhaps I was just enchanted with the retro look of the camera I was picking up.  Either way, the camera was quite cheap, so I had no real regrets about picking it up.

The Univex Iris gleams with a rich elegant black body, a shiny metallic faceplate, and just enough embellishments of art deco striping to present a stylish look indicative of the era.

Ikonography: The World of Zeiss Folders

After decades of shooting with cameras like Minolta and Canon, I have finally taken some photos with a certain well regarded camera whose name ends in "ikon" and thus far, it has been a really wonderful experience.

From the shooting ergonomics to the actual looks of the camera, I am definitely liking this new acquisition of mine.  Have a look!

Okay, maybe you were thinking of a different camera line with a name ending in "ikon." While I certainly have not a thing against the certain highly regarded manufacturer of 35mm and digital cameras, my esoteric tastes as of late have been to that of medium format film, and of the durable beasts of decades past that are still very capable in capturing images on that film stock.  And this is definitely one of them.