While walking around the Derwent reservoirs, my descent back to my car took me through some pine forest where the low winter sun was shining beneath the canopy illuminating the trunks of the trees.
I attempted two shots with the XA3, which didn’t turn out badly at all – I was expecting camera shake as, despite the sunlight, it was still quite dim beneath the canopy, and braced myself against trees to attempt to keep the camera steady. Luckily there is only perhaps minimal evidence of any shake.
I’ve never visited Sherwood Forest before, despite it being only half-an-hour’s drive from where I live. I’ve visited Clumber Park and it’s surrounding woodland on many occasions though, and I guess that’s all part of the original much larger area of forest.
The trip I took last month was mostly intended to photograph the Major Oak but, if I’m honest, it’s not all that photogenic and, due to the fences that surround it, the compositions are a bit limited. I’m sure that, under good conditions, there are many good photographs to be had, but I feel that the other trees (including many other ancient oaks) withing the forest are perhaps better subjects.
Today I’ve posted a few other pictures from the trip. I think I might try to return in a few weeks when tthe autumn colour is in full effect.
Bronica ETRSi, Zenzanon 75mm f/2.8 PE, & Kodak Ektar. Lab developed, home scanned, and converted with Negative Lab Pro.
A photograph of a woodland road today, taken on one of the rolls of Fomapan 100 that I’ve been having problems with. As I’ve mentioned in previous posts (such as this one) I’ve been having issues with white speckles of debris when using this film. I ruled out my development process and chemicals – both worked fine when developing other film stocks. I also tried omitting a chemical stop-bath, replacing it with water, and also adding a pre-wash of the film before developing. Nothing seemed to work and the speckles still stubbornly appeared when I developed each roll of Fomapan 100.
Then, a month or so back, I came across a post on the Photrio forum which seemed to detail someone having the same problem. It turned out that other people suffering the same difficulties all had film form the same production batch. One person in a linked post had contacted Foma themselves and been advised that the cause was a harder than usual anti-halation layer on that run of film and that a specific development process might help. I tried the process myself, but still ended up with the smae spots on the negatives, albeit possibly slightly less pronounced than before.
I decided to contact Foma myself and they replied with some similar instructions, although this time I noticed an additional stage that involved a wash of the developed film in an ethanol / water mixture before the final wetting agent stage. I’ve not tried this process as yet and, I suspect, probably won’t – mostly because ethanol seems quite hard to come by, at least at a price that isn’t prohibitively high. It would likely be cheaper to buy some fresh, unproblematic film, than attempt the ethanol rinse process.
I’m grateful for Foma’s response though, plus they sent me a few rolls of film as a goodwill gesture – two rolls of Fomapan 400, plus a roll of Retropan 320. I’ve never shot Retropan 320 before, so I’m quite looking forward to giving that one a go.
Should anyone else be suffering a similar issue when developing Fomapan 100, the instructions provided to me by Foma are as follows:
In case of your already exposed & processed negatives we recommend to you the following procedure to remove the residues of remaining anti-halo layer:
1) Prepare working solution in minimum with 40% of ethanol (optimally 70%). 2) Put carefully the films into spiral´s developing tank or a spiral with the film into similar transparent container with enough ethanol solution, with emulsion layer inside of the cylinder tank/container. 3) Keep the negatives in this solution approximately 45 minutes and make moderate movement each 4-5 minutes. 4) Wash sheets of the negatives in running water from tap for 2-3 minutes. 5) Make standard drying including wetting agent (FOTONAL).
If you may decide to use also other films from the same emulsion number, we advise you to follow this procedure of processing:
1) Exposed films put inside of the spiral´s developing tank. 2) Pour distilled water or water without minerals into this developing tank and keep the films in this solution for 20-30 minutes. Occasional inversion is convenient. This solution, ca. 600 ml, is possible to use in maximum for 2 rolls. 3) Immediately after pouring the water out you can fill the tank by developing working solution keeping standard conditions of developing, best using more alkaline developer, e.g. FOMADON R09. 4) After developing we recommend to stop process just by water bath, best running filtered water, in minimum for the time of 30 seconds in water´s temperature 12-18° C. Using acidic stop bath like FOMACITRO and others is not convenient in this case, because there are needed alkaline baths to help with dissolving the hardened anti-halo layer. 5) Standard fixing. 6) Wash the strips of the negatives in running water for 20-30 minutes (according to higher or lower temperature). 7) Use ethanol solution and other steps (1-5) as described in previous paragraph.
There’s a set of power-lines tucked away in here if you look for them…
I managed to miss a picture out of my post yesterday, so here it is, last but not least. It’s captures the sidelight on the mossy tree-trunk quite nicely, I think, although the background is perhaps a little messy with all the undergrowth.
The term ‘forest’ in the title up there is somewhat misleading. This is actually a small plantation of pines nestled into a meander of the River Rother not far from Eckington. It’s a place I’ve never visited before, but it has potential for some nice photos – it certainly did on the snowy, misty day when this photo was taken.
Steel City Snapper photography 