50g of washing soda (I baked baking soda at 400F for one hour to turn it into washing soda).
Develop the film in this soup at 86F for 15 minutes. Agitate for the first 30 seconds and 5 seconds every minute until done. Stop & fix as you’d normally do.
I found the results to be interesting. The beer turned the grain in Ilford FP4+ ISO 125 into irregular shapes, and the grain was larger. Some frames became foggy. Many frames displayed some sort of bromide drag. Some frames were flat and others super contrasty.
In the example below you can see 8 bands of bromide drag.
Here’s an example of fogging with bromide drag, too.
Here’s an example that came out okay. If you zoom in, the grains are highly irregular, large and spotty. I suspect this might have something to do with the beer bubbles. There’s bromide drag in the bottom left.
Beeronol is expensive to make. 2 bottles of Guinness Stout (25cl) is already $4 versus sixteen cents ($0.16) per teaspoon of Rodinal per roll of film. If I wanted to make a photo look like it was from long ago, the irregularities with bromide drag, fog, and graininess make this a good choice.
A lot of Perl one-liners can fit into a tweet – powerful and useful ones.
You can also propose the concept of a hash tag in a tweet:
However, there are many thoughts that seem to be difficult to fit into a tweet:
The Pythagorean Theorem and one of its many proofs
Anselm’s Ontological Proof for God’s Existence
Merge Sort in Ruby
Merge Sort in PHP
Why you should or shouldn’t outsource
What qualities make a great tech hire
The logical fallacy in another person’s tweet
How to subtly tell someone something in an indirect way with the only others knowing being those in the know
Twitter encourages the laconic expression of thought.
I stand developed Ilford FP4+ ISO 125 in 500ml of 68F, 1:100 Rodinal for an hour. I was expecting a very fine grain, and high amount of accutance but was slightly disappointed. The highlighting and gradient effect you expect from stand development still blew me away. In the highlights the grain was fine, but the midtones and shadow areas gave medium grain that one would find in pushed film. With all this said, when looking at a magnifier, these were the sharpest negatives I had ever seen. The quirkiness of the results will make me think twice before using it as a film for landscapes, but the detail I got from the close up shots with bokeh make me see the potential for portraits.
Unfortunately, the low-end Epson V600 scanner I had wasn’t able to capture the subtleties in highlights that I could see in the negative. I’m pretty sure that as a print the highlights will be there, and if not, a little dodging should fix that.
Here’s a photo shot with Ilford HP5+ 400 pushed to ISO 1600 stand developed in 500ml of 68F, 1:100 Rodinal for 2 hours. This shot is exceedingly sharp thanks to the lens, and stand development process. However, the grain prevails everywhere. Some like this; others don’t. I am a fan of grain, but also understand the need for fine or undetectable grain for portraits.
Here’s a photo shot with Ilford FP4+ ISO 125 in 500ml of 68F, 1:100 Rodinal stand developed for an hour. You can see the fine detail and sharpness, but the bokeh area has a bit of grain.
Here’s another photo shot with Ilford FP4+ ISO 125 in 500ml of 68F, 1:100 Rodinal stand developed for an hour. This is a photo of a very popular spot for photographers, Sutro Baths in San Francisco. There were at least 2 couple photography sessions happening while I was here.
So I’m really not sold on Ilford FP4+ for landscapes, but close ups and portraiture would seem to be its strength. I was surprised by the amount of grain, too. I am not sure I would buy this film again.
I’ve seen Sicario and Arrival, and both had far more emotional resonance than Blade Runner, and Blade Runner 2049. In Sicario, I felt the loss of innocence of Agent Kate Macer played by Emily Blunt. In Arrival, I mourned for Louise Banks’ daughter which set the emotional tone for the rest of the film. These are both masterful films by Denis Villeneuve who is the director for Blade Runner 2049.
Neither Blade Runner had that emotional resonance. I thought Roy Batty’s poetic language before dying was beautiful. Gaff’s line, “Too bad she won’t live, but then again who does?” still sticks with me for its sang froid. I thought the “love” scene between Rachel and Deckard which teetered between rejection, and near rape, made me feel very uncomfortable. Yet, where was the emotional core?
The sequel to Blade Runner, Blade Runner 2049, is even worse at evoking an emotional response. Like a reverse Voigt-Kampf test, if this movie left you feeling nothing, then you’re probably human. Yet, I can’t dismiss it. There are certain visuals that haunt me. There’s a scene where Officer K (Ryan Gosling) arrives at a dystopic orphanage, that looks more like a junk yard, where a sea of charges are made to take apart green computer boards. This harkened back to a visual that might more be seen in Alfonso Cuaron’s Children of Men.
I could not find fault with the world-building which extends Ridley Scott’s original vision, and at the same time has a Villeneuve and Cuaron feel to it. The visuals delighted. The world is headed to the ecological breaking point: sea walls to protect the city because the glaciers have melted.
The philosophical questions raised by this Blade Runner sequel are the same as the last one (can an android be human?) except with the addition of the idea of a skin job revolution derivative of Battle Star Galactica (RDM).
It just gets worse and worse, both in Hollywood, and in dystopias, so maybe the replicants should take over.
Before I could shoot it, I had to adjust the focusing which was off. Youtube has a plethora of videos to help you with this and adjusting framelines if needed. Once the focus was adjusted, I loaded the camera with JCH Streetpan.
I made my way to the N-Judah Stop.
The shutter speeds for this camera are 1/300, 1/100, 1/50, 1/25 and 1/10. The f-stops for the 50mm lens it comes with are f3.5, f4, f5.6, f8, f11, and f16. The camera comes with what I discovered to be a single zone focus setting: f16 set at 15 feet will put everything from 8 feet to infinity in focus. This zone focus setting is indicated by a red and yellow arrow.
To take a photo requires the following steps:
set the f-stop
set the shutter speed
compose the shot in one window
in the window next to that, focus the frame lines
cock the shutter
take the shot
press the film advance release button, and then
wind to the next frame.
That’s over 8 steps! 4 steps if you’re zone focused and already cocked.