mariuskurek
Hello forum,
I developed a few metres of Super 8 film in the Foma kit over the weekend.
However, I still have a few questions regarding the next steps.
1. How many Super 8 films can actually be developed with this?
If I take the instructions for a 16mm film (30.5m)
and divide the amount by 2, I get 62.5ml of developer plus 337.5ml of water.
But to ensure the reel is properly saturated in the Lomo tank, 800ml is needed.
Is this dilution still acceptable, and is the calculation correct at all?
I’ve assumed that this would be enough for 4 films.
I think I’ve read that somewhere here in the forum before.
2. What does ‘rinsing the solution from the first development’ actually mean?
I didn’t do that in my test. I developed about 5 metres using the
calculation mentioned above.
3. Does anyone have experience with forced development
with Orwo Un54. Unfortunately, Fomapan R100 isn’t available for Super 8 yet.
However, Wittner Kinotechnik has assured us that this film should be
available by the metre later this year. But back to the question.
In my reading, I found the following information:
Pushing +1 stop: extend the primary development time by 30%
Forcing +2 stops: extension of primary development time by 80%
Has anyone tried this yet, and what were the results?
4. If I force the film by 2 stops, as it actually
has a speed of 125 in reversal processing, it now has a
speed of 500. However, the Foma kit assumes, based on the times,
that I am conducting the development of a 100 film. If I now extend the time by 80%
— assuming that’s correct — it’s actually intended for a 400 film.
In effect, it’s slightly underexposed. How should I compensate for this?
Many thanks and great praise to the forum and FOTOIMPEX.
cfb_de
Hello Marius-hst, (Stralsund?)
I wouldn’t recommend a twofold dilution of the primary developer. Have a look at Hilgert/Rohleder (“Turn back!” or something like that on sw-magazin.de) for recipes for making your own primary developer.
Any simple paper developer should work as a secondary developer, as that’s where the film is fully developed. The fixer isn’t critical either, and potassium permanganate and sulphuric acid (provided you’re not all thumbs and have suitable filters) are available from the chemist’s. If necessary, buy the sulphuric acid half-diluted (it will then be between 20 and 50% vol; the exact figure is on the label, before it turns brown from messy lab work).
And otherwise: the kit is only just enough for the minimum number of films theoretically possible. Convenience comes at a price, and you don’t change tried-and-tested procedures that deliver the desired result :-)
Best regards,
Franz
haeberlein
Hello.
I also want to develop ORWO UN 54 using the Foma kit, but I don’t know the development times. Did you use the times for Fomapan?
Couldn’t FOTOIMPEX have a word with Foma to see if they could at least produce a developer kit for 1800ml or 2 litres?
If you want to develop two Super 8mm films on top of each other in the Lomo canister, you actually need 1 litre. That’s how I developed my Fuji colour films using the E-6 process, anyway.
Regards, Rene Haeberlein
Hello forum,
I developed a few metres of Super 8 footage in the Foma kit over the weekend.
However, I still have a few questions regarding future work.
1. How many Super 8 films can actually be developed with this? Because if I take the specification for a 16mm film (30.5m) from the instructions and divide it by 2, I get 62.5ml of developer plus 337.5ml of water. But to ensure the reel is properly saturated in the Lomo tank, 800ml is needed. Is this dilution still acceptable, and is the calculation correct at all? I’ve assumed that this would be enough for 4 films. I think I’ve read that somewhere here in the forum before.
2. What does ‘rinse the solution from the first development’ actually mean? I didn’t do that in my test. I developed about 5 metres based on the calculation mentioned above.
3. Does anyone have experience with forced development in connection with Orwo Un54? Unfortunately, Fomapan R100 isn’t yet available for Super 8. However, Wittner Kinotechnik has assured me that this film should be available by the metre later this year. But back to the question. In my reading, I found the following information: Push processing by +1 stop extends the primary development time by 30%; push processing by +2 stops extends the primary development time by 80%. Has anyone tried this yet, and what were the results?
4. If I push the film by 2 stops, it will now have a speed of 500, as it actually has a speed of 125 in reversal development. However, the Foma kit assumes, based on the times, that I am developing a 100 film. If I now extend the time by 80% – assuming that’s correct – it’s actually intended for a 400 film. In effect, it’s slightly underexposed. How should I compensate for this?
Many thanks and great praise to the forum and FOTOIMPEX
Schwedenstahl
Hello, I read your question with interest, as I have exactly the same one. Regarding the Fuji film. I’m assuming you’re using roll film for that as well. I’ve also stocked up on the Fuji as S8 and haven’t used it yet. Do you know how it performs in a refill cartridge, given that it’s not actually a cine film and doesn’t have a lubricating layer like the old Agfa Moviechrome?
Regards,
Marwan
mariuskurek
Hello forum,
It seems I’m not the only one who’s unsure about how to use the Foma kit.
Thanks to Franz for your explanation, but without wishing to sound ungrateful or rude, I have to admit that your reply hasn’t really helped me and my questions remain unanswered. I’ll just carry on testing it.
Hello Rene,
I stuck to the kit’s recommended times during my test. The difference when you expose the Orwo UN54
at 124 ASA is only a quarter-stop. However, I think I’ll
implement underexposure by that amount for my next shots. When doing the maths, you mustn’t forget that the end result is a positive, where everything is reversed compared to a negative. I think the idea of the larger kit is brilliant too. But if Fomapan becomes available as Super 8 material, I’ll probably switch to that.
Did the 1-litre method really work for you? The film is only very thinly coated with liquid. You’d quickly run into problems with the wheels, wouldn’t you? How did you go about the double exposure to ensure the films got enough light? Just longer than specified from the top and bottom?
Hi Marwan,
I have no experience with the Fuji material. To really test how the film behaves in the cassette, you’ll probably have to sacrifice a few metres and run them through the cassette. It’s very important that the winding is neat, and that you place the cellophane underneath the material on both sides. A disc like that is actually included when you buy it. I use one I’ve cut out myself, and I put it on the other side as well so it runs more smoothly. Finally, I’d seal the cassette with some thin black insulating tape. On all three sides, especially over the groove so no light can get in. Then run it through the camera, watch closely how it runs, and then check how the camera
has wound the film. I had endless
problems with the refill cassette on my Canon 814 Autozoom because the film wasn’t being wound up properly.
This was because the cassette wasn’t pressed firmly enough against the motor.
Regards, Marius
PS: I’ve uploaded some instructions on how to load the refill cassette.
These are from Wittner Kinotechnik.
haeberlein
Hello. I bought the Fuji film by the metre from Wittner, and it ran through my Beaulieu 6008 perfectly, without any issues. However, with S8 cartridges, I’ve got into the habit of giving them a little shake before loading them for the first time. At the moment, I’m testing Fomapan in the S8 reloadable cartridge, which I separated myself in the dark using my DS8 separator.
Yes, you can work comfortably in the Lomo tank with 1 litre (for 2 S8 films). I must add, however, that I have sanded down the guide nipple (the one at the bottom centre of the can) a little and also sanded down the lower spiral slightly (so that you still have a bit of reserve with 1 litre). The film was completely submerged in the liquid.
Kind regards,
Rene
P.S. I still need to test the ORWO UN 54.
Schwedenstahl
Well, I hope my 4008 ZM II manages it just as well. The 6008’s motor is more powerful, after all. What are the results of the development? Are they comparable to the laboratory results? Do you use a heating plate?
In my initial attempts, I always had a bit of trouble with residual liquid in the tank. When filling it, I use a funnel on the hose rather than filling it via the cap as intended. I expect this to result in a more even fill.
I’d be grateful for any further advice.
Regards,
Marwan
haeberlein
Hello.
I haven’t used a heating plate or a precise thermometer, and the results are perfect. I fill the Lomo tank in the dark and then place the reel inside straight away. It works a treat. I keep the tank in a larger bowl filled with water (to keep the tank and the developer at the right temperature).
Schwedenstahl
OK, so do you close the lid and carry on working in daylight, or does the residue have to be done in the dark?
I’m not sure if this is just a quirk of my tank, but it’s really hard to open after development.
Regards,
Marwan
haeberlein
No, after that I close the lid and carry on working in the light. With a bit of a flick, you can easily open the lid even after development; you don’t have to turn it all the way.
With my old Kodak black-and-white films, I’m just not sure how long I need to conduct the development for, as some of them have a speed of 27 DIN.
Schwedenstahl
Yes, thanks very much for the tips – I’ll give them a go.
By the way, I’ve got a huge amount of VNF-1 film left over. Apparently, you can develop it using the E-6 process as well, with adjusted times and dilutions. Does anyone know anything about this?
Best regards,
Marwan
haeberlein
Just to let you know, my Kodak film with the Foma kit didn’t turn out at all. After the second development, the film delaminated, even though I developed it at 20 degrees. The film itself (it was a 400) turned out fine after an initial development time of 18 minutes. I just don’t know why the emulsion layer delaminated.
hjkoenig
Good evening,
A question for those who develop narrow-gauge film:
I’ve now got the film-splitting tool for DS8 film, but what are the practical steps involved (apart from the fact that it has to be pitch black)? Gloves, I suppose – and what do you do with the cut-off ends? It’s all much easier in theory...
Best regards
Hajo König
I’ve just realised that this is actually a new question that I’ve hidden here. Can the post still be moved?
ChristianKolinski
Good evening,
A question for those who develop 35mm slide film:
I’ve now got the film cutter for DS8 film, but what are the practical steps involved (apart from the fact that it has to be pitch black)? Gloves, I suppose – and what do you do with the cut ends? It’s all much easier in theory...
Why do you want to cut it in the dark? Develop first, then cut.
That way, you only have 7.5 metres to handle in the dark (instead of 15... and if you’re winding it into a spiral or something similar, you’ll be grateful for every metre you save), and you can see what you’re doing while cutting.
hjkoenig
Good evening,
A question for those who develop 35mm reversal film:
I’ve now got the film cutter for DS8 film, but what are the practical steps involved (apart from the fact that it has to be pitch black)? Gloves, I suppose – and what do you do with the cut ends? It’s all much easier in theory...
Why do you want to cut it in the dark? Develop first, then cut.
That way, you only have 7.5m to handle in the dark (instead of 15... and if you’re winding it into a spiral or something similar, you’ll be less grateful for every metre), and you can see what you’re doing whilst cutting.
Hello and good evening again,
I’d like to fit the Foma reversal film into an S-8 cartridge – or have I overlooked something and is it already available ready-made? I’m in the same boat...
Regards
Hajo König
ChristianKolinski
I’d like to fit the Foma reversal film into an S-8 cartridge – or have I missed something and it’s already available ready-made? If anyone knows of one...
Oh, I see, that explains it ;)
No, Fomapan doesn’t seem to be available pre-spooled as S8. I’d advise building a small rig. Mount for DS8 reel --> slitter --> mount for 2 S8 reels. That way you can spool it directly. You can load this in daylight at the start (after all, DS8 is also loaded into the camera in daylight. You’ll lose at most about half a metre of film in the process) and then switch off the light and wind... It costs a bit of film at the start, but you can see if the slitter is working and can attach the split streaks neatly to a reel. Two(!) 30m ‘tape worms’ thrashing wildly through the darkroom are no fun. What’s more, most slitters work best if you pull the film through steadily and without jerking.
And while we’re on the subject... I’d buy the 30m reel. Cutting film in the dark is easy... sticking two 7.5m lengths together in the dark... :D
hjkoenig
I’d like to fit the Foma reversal film into an S-8 cartridge – or have I missed something and it’s already available ready-made? If you’re like me...
Oh, I see where that’s coming from ;)
No, it doesn’t seem that Fomapan is available pre-spooled as S8. I’d advise building a small rig. A holder for a DS8 reel --> slitter --> holder for 2 S8 reels. That way you can spool it directly. You can also load this in daylight at the start (after all, DS8 is also loaded into the camera in daylight. You’ll lose at most about half a metre of film in the process) and then turn off the light and wind... It costs a bit of film at the start, but you can see if the slitter is working and can attach the split streaks neatly to a reel. Two(!) 30m rolls of film thrashing wildly about in the darkroom are no fun. What’s more, most slitters work best when you pull the film through steadily and without jerking.
And while we’re on the subject... I’d buy the 30m reel. Cutting film in the dark is easy... sticking two 7.5m lengths together in the dark... :D
Many thanks,
I’ll get started on the DIY then. I recently bought a Quarz 1x8S-2. A unique product, built in ’82, made entirely of metal, spring-wound (!), purring contentedly like a sewing machine. In theory, I wouldn’t even need the battery for the light meter. It should turn out well, provided it delivers images of high sharpness...
And while I’m on a roll – does anyone have any experience with that marvel from GK-Film, namely the precision impression plate that’s inserted into every cassette before shooting? It is rather expensive, after all... I know this actually belongs in the other section, but with narrow-gauge film, you have to become an equipment and lab expert these days if you don’t want to starve. (I hope my old German teacher isn’t reading this forum.)
Regards
Hajo König
