• 1476: murals in and near Hopkins, MN / Colorado Hwy 115 / Riverside Cemetery (denver, CO) / Lower Derby Lake (Rocky Mountain Arsenal National Wildlife Refuge, Denver, CO). (1–12 January 2025. Wolfen NP100 @ EI 100 in Nikon FE-2.) (on top?)
  • 1466: Elko Traders’ Market (Elko, MN) / hop harvest at home / Frank Turner at Strictly Discs (Madison, WI). (1–12 September 2025. Wolfen NP100 @ EI 100 in ???.)
  • 1456: Two Harbors Lighthouse Museum and environs. (16 Aug 2024. Fuji Acros II @ EI 400 [oops] in Minolta XE-7.)
  • 1453: Swing Bridge Park (Inver Grove Heights, MN) / Lowertown walking tour. (5–6 July 2024. Fuji Acros Neopan II @ EI 100 in Minolta XE-7.) (on bottom?)

Order of rolls within the developing tank is uncertain, because I usually keep track of this by stacking the film cassette tags in the correct order, but in this case I dropped the stack on the way down into the basement right before developing. Oops.

Loaded into 1.15L tank inside daylight changing bag. Pre-wet film. During the pre-soak mixed 20mL HC-110 concentrate into distilled water to ~800 mL. Emptied out pre-wetting water and poured developer into the tank, topping off with distilled water. Agitated 40x over the first sixty seconds or so, knocked on the tank several times to dislodge bubbles, and then agitated 5x at 20:00 and 41:00. All agitations are all half-agitations, gently (i.e., gently twisting to a 90-degree angle, then gently back).

After 60 minutes, disposed of developer, rinsed 5x/10x/20x in 68-degree tap water. Fixed in fixer 1+4 for 6 minutes, inverting 10x over 15 seconds at the top of every minute. (That’s now 24 rolls fixed in this batch of fixer.) Reclaimed fixer and rinsed for ten minutes in 72 degree tap water, then emptied tank, added a few drops of Photo-Flo, filled tank with distilled water and agitated 20x, and hung negatives vertically to dry.

Evaluation and notes

Roll 1453

Liking this film/developer combination: it’s crisp but it’s got some weight to it. (01A, 02A are good examples of this.) Processing was sloppy, though: there’s some fingerprints (05A, 16A) and scratching (03A, 04A), especially on the early parts of the roll. The subject matter is nothing special—it’s hardly my first trip with a camera to Swing Bridge Park, and the compositions are certainly not substantially different this time—but some of them are better executed than their predecessors (e.g., 02A, 04A). A few are overexposed—11A blows out the sky without preserving shadow detail—but a deep scan along with stand development recovers an awful lot of what’s been lost, making it salvageable. (Same deal for the next five or so shots on the roll: river is dark, sky is almost pure white).

The second half of the roll has its moments, too: 18A has nice depth and a crisp, classic look to it; it’s really a nice photo of the Robert Street bridge and the Mississippi. And there are some nice architctural shots, too: 23A and 32A, for instance. But all in all, the choice to lean into the 24mm lens here doesn’t pay off, and the exposure is pretty variable; I think that I needed to change the batteries in the light meter here. All in all, though, not much of note on the second half of this roll, just some mid-rate shots of buildings in lowertown.

Roll 1456

Roll is apparently missing. Where did this go after I developed it????

Roll 1466

All right, this is fun. The first few shots, at the Elko Traders’ Market, are nothing special; the previous roll (1465) is better there. But the shots of Frank Turner at Strictly Discs are great! I was standing, oh, eight feet from the performer and he really put a lot into the short set. The first shots—the clever idea of shooting past the posters in the window when Frank arrived—mostly didn’t pay off, although I kind of like the way that 10 and 11 worked out.

But the rest was fun: good lighting; I was smart enough not to let the backlit situation distract me from metering for the performer; a few decent shots of the fans (though I wish that for, with most of these shots, I’d focused on the performer instead; becing that close to the performer meant having to choose even with the lens stopped down in the bright light through the front windows, and it’s usually the case that the performer is doing something a lot more interesting than the fans watching, which makes it a sadness when the fan is in focus and the performer isn’t. 19 is a notable exception, I think). And it’s nice that the blur here is mostly motion blur and not out-of-focus blur.

Too bad about the spots at the end of the roll, but I guess those are the shots I’d choose to lose if I had to make a choice about which parts of the roll to wind incorrectly: the ones at the end, because the spool wasn’t quite long enough, and one of those damn reels has a wonky clip that makes it hard to roll tight at the beginning. Sigh.

Good roll, though, all in all.

Roll 1476

Really pretty roll here: nice, smooth response curve, rich shadows, beautiful contrast between life and dark. This is especially apparent at the beginning of the roll, on the murals (especially 02, 03, but really, everything through 06). The trees and hills and run-down desert shacks in New Mexico (10&nbasp;13) look great, too: crisp, contrasty, with stark shadows; there’s a genuine feel of dry heat here, and the response curve give the hazy hills in the background a genuine feeling of distance. Similarly, the gravestones and other monuments in Riverside Cemetery (14 30) are nicely contrasty, and the film really shows off their clean geometry.

Parts of the roll look slightly overdeveloped, but HDR scanning recovers all of the detail on these shots. All in all, I’d call this roll a success.