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 40:00. All agitations are 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 20 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 1455

Early part of the roll is fine, but surprisingly grainy even given the film speed; and there’s less visible dynamic range than I expected.

The film worked better at the Garlic Festival, somehow: the grain is less noticeable, and the dynamic range better encompasses the whole possible range: the darks are darker, the lights are brighter. The costumes are weird (11A, e.g.). Similarly, the Rollei RPX worked well at the Biggest Ball of Twine, with the grain paying off on the texture of the twine (especially 28A to 30A).

Some nicely composed shots on this roll.

Roll 1467

Derev Pan in HC-110 stand looks stunning here. The initial shots of the Frank Turner show are a joy, with just enough graininess to feel like you’re actually at a punk rock show despite being in bright sunlight. Being right up front really paid off here in these early shots.

However, that goddam fucking smudge on the front of the Minolta 50mm prime lens is still there and haunts the rest of the roll, which was shot outside, and it seems to appear on every shot where the lens was pointed even in the rough general direction of the lens, gleefully capturing and diffusing that light into a light bloom that ruins the negative. That’s apparently most of the shots on the last three-quarters of the roll.

There are some usable shots on that part of the roll, though, including 10, where the whimsical massive ray gun looks great with the crisp grain from the film stock, and 22–23, where the old phone booth shows up nice and sharp against the trees in the background – a real benefit of this film.

Roll 1471

Orwo still looks great stand-developed in HC-110. No surprise. The dead cornstalks and decaying pumpkins at the pumpkin farm (especially 03) separate nicely into clearly distinguished layers receding from the viewer, and there’s several (e.g., 10, 25) nice shots of countryside barns and fall countryside landscapes—nice detail in the clouds, too.

All in all, a quietly successful roll.