A thrift-store lens came attached to a Canon Rebel Ti, so I ended up with both. It looks like a hideous lump of early 2000s plastic, but it's functional and I remember how much I wanted an SLR of that type back when I was a kid.

Anyway, that's all to say that I picked up a roll of Fujifilm 400 color yesterday, started shooting, and am having a great time. The only thing stopping me from going out and buying a whole stack of different film types is thinking about the cost of getting anything developed.

My local camera store charges ~$6 per roll to develop negatives, and ~$22 per roll for prints. Doable for me, but I'm also a cheapskate.

I like the idea of learning darkroom development, and developing negatives seems relatively straightforward, but actually making prints with an enlarger seems like something else. I'm not sure I have the space or the money for one. My local camera store includes free scans with every set of negatives, so for $6 I could at least have something, but only ending up with digitals feels like a "why bother" case.

Maybe I should just accept that this is a hobby that will cost me, but I'm curious what other people do.

Is it even feasible to buy a lens board and ground glass / film holder and build the rest as a DIY project? Or would it be way more expensive / fiddly than it's worth, especially given entry-level field cameras like the Intrepid ($435)?

https://www.harmanphoto.co.uk/harman-phoenix-ii-35mm?___store=harman_photo_brochure&___from_store=harman_photo_uk

"Italian film producer FILM Ferrania is now under new ownership, with production of its black-and-white films and development of its colour films “back on track”.

Jake Seal, the English investor who runs German film producer ORWO and the film coating facility InovisCoat, is the new owner."

So my camera has developed light leaks in the bellow. I've been wondering how to approach the repair. I've found a suggestion to use a mix of gum Arabic and India ink to patch the holes. Is this a good idea? Or are there other methods?

I've shot my first roll with my start 2 camera and it seems that it has shutter problems and light leaks

Good afternoon!

I was wondering if anyone had experience with using rechargeable AAs (specifically Panasonic Enloops / Enloop Pros). I have yet to try them, but hypothetically they should work as they don't exceed the maximum voltage of 1.5 per cell. (They're 1.2 per cell, closer to what a disposable battery is part way through its life cycle)

I also was wondering if anyone has ever found rechargeable batteries that would work in the main body. I have yet to find one that isn't 3.7v (exceeding the normal 3v of the disposable ones) which would likely render the camera inoperable.

Thank you for your time :)

So I've got Metz 60 in a bundle of flashes but it came with no cable for syncing with cameras. Also Metz 202 came without charger & battery. What should I get to test (and potentially use) this unit.

So I've bought this sicor lense, the auction stated that it's a pk mount lense. I've tested it with my Pentax me super. It fits into the bayonet mount, but doesn't rotate.

Trying to make up my mind whether to continue home developing and scanning, or go back to using a lab. Thought I'd use this as a sounding board for my thoughts and for the sake of discussion.

So I've home developed for maybe five years now with mixed results. Mostly black and white, tried c41 but the chemical disposal is tricky where I am, and I don't shoot enough of it to keep fresh chemicals. I quite enjoy the development process actually, mad scientist in his bathroom laboratory and all that.

The scanning gets me though. Went from cheap flatbed to scanning with my Fuji XT4 and that helped. Getting a smoking deal on Fuji's native 80mm macro helped a lot more, but despite my efforts there's still a struggle with flat negatives, dust, water spots, and the digital workflow of cropping, inverting, colour balancing, dust cloning is sorta tedious. I shoot film partly to get away from screens but the edits take me way longer than my digital workflow. Often leaves me wondering if this is worth it? I started home developing so I could shoot more film, but for the amount of time and tedium it takes me, with mixed results, I've found myself shooting even less.

On the other side, I have a great lab semi local to me. They're a pro lab that works with you and caters specifically to your style with the scans so minimal edits. They scan on a Fuji Frontier at some pretty ridiculous resolutions and it always comes back way more sharp yet natural than my home efforts. The downside is pretty obvious though, they charge $30CAD per roll. Add the cost of film, shipping to send in a few at a time, it works out to about $1.50 per frame, which leaves me asking if this is worth it!

It's not entirely about the money though, as expensive as it is I could just sit down and do my job for the same time it takes me to develop and edit a roll and probably come out ahead.

Could argue just doing both, but I feel like I'd have a banger of a shoot that I didn't do justice with my own workflow, then get a bunch of impeccably processed and scanned lab images of an uninspired boring roll. Plus even more expired chemicals from doing less rolls in house.

Not a question of abandoning film entirely. Too much enjoyment from the using the gear, too much sentimental value using gear from friends and family who've passed.

I'm leaning towards going back to the lab, for a while at least, and see how I get on. Yeah it'll run $500-$1000 a year, but it's cheaper than drugs at least so there's that. Plus I could flip the Fuji macro and cover a year's worth of lab fees right there.

So that's my bit of a ramble, mostly just thinking out loud. Anyone ever go through a similar dilemma? Regret ditching the home kit and losing control of the entire process? Regret hours spent sloshing tanks around instead of out shooting?

https://www.ricardo.ch/en/a/1239792798

Hi,

I have mixed some ECN-2 chemistry according to Kodak's guide. Unfortunately I am having some issues with development.

The pictures at the end of the roll are way less dense than the start and middle. This happened to two distinct rolls in the same tank, and I don't think I just happened to underexpose the last 12 or so images on each.

here is the good part of a roll

Here is the extremely underdeveloped part of the same roll

The weird thing is that the edge markings are developed throughout the whole roll. Any idea why this is happening to me?

My amar 4.5/105 looks hazy whith Iris opened up, closing the iris helps. Is there something I can do to make the lense sharp at 4,5?

You stop developing film for the better part of a year and *suddenly* the chemicals expire *smh my head* #analog #analogphotography #filmphotography @analogcommunity

hey im just wondering as most of the information i have seen about shooting expired film to be older discontinued/ cold storage film. i recently bought 2 rolls of ilford ortho 80 at a local camera store. i was unaware that they are expired. its summer and i plan on shooting them throughout this upcoming week. it expired in September of 2022 and as far as im aware it was sitting in air conditioned stores shelf. for my piece of mind, its fine to shoot at 80 ? or should i over expose, and by how much ? im sorry if this is a dumb question im new to 120 and low speed films. i dont want to complain to a manager, as i did get a discount on the film but the "homie/good customer" discount. i was never told specifically that it was expired. what are your guys thoughts on my next steps?

I've menaged to get this m42 enlarger lens for cheap. It doesn't have built in way to focus, and when mounted in slr it's focused beyond infinity. I want to know if, and how, it can be used with analog slr. I already tried macro bellow, but that setup couldn't focus on infinity.

Especially for electrical. Very curious to start learning this. Any good resources?

Does anyone know of a place with supply of Adox Color Mission in the US? I see it on European sites, but it seems to always be sold out anyways.

This unique color negative emulsion provides a burst of retro charm and classic analogue character in any film shooting scenario.

• Explore the colors of everyday life
• Discover fascinating blue hues, vibrant reds and delicate pastel undertones
• Rich film grain for a hint of ’90s nostalgia
• A highly versatile ISO 400 emulsion
• Standard C-41 development process