One of the coolest things about the online film community is the generosity of film photographers. Last year I emailed Natalie Smart, a Brighton UK film photographer after reading one of her blog posts. Seeing that she had just purchased a Hasselblad 500 C/M, I had several original Hasselblad brochures, and some other film items I thought she might be interested in, so I sent them to her. Natalie asked how she could return the favor and I asked for one of her darkroom prints. In return, she not only sent me a print, but several film-related items. One item she sent was a roll of Lomography Berlin Kino 400 film.
I’ve had an interesting experience with Lomography film over the years. Whenever I’ve shot with Lomo film, my shots have never looked anything like what they’ve advertised. Even when processed at a lab, my colors don’t look the same, or the black and white contrast is just meh. With the Berlin Kino, I decided to shoot it at box speed, and develop with CineStill DF96 Monobath. This is probably the first time I got what I expected with Lomo film. The film has a lot of grain. And the contrast is either just right or too little. And that’s exactly what I’ve seen in other examples of this film.
Camera: Leica M3 (1959)
Film: Lomography Berlin Kino 400
Process: CineStill DF96 Monobath
Scanned: Epson V700 Photo
Since having my Yashica Mat-124 G CLA’d by Mark Hama, I’ve used it more often. And recently found another film photographer on Facebook that was selling a set of close-up lenses for Yashica TLR’s. The set of lenses includes one that goes on taking lens, and the other on the viewing lens. According to yashicatlr.com, Yashica made close-up lenses that were both slip-on and bayonet mount. And two separate sets of close-up lenses were made for the Mat-124 G: No. 1 allows focusing as close as 44-61cm, and No.2 allows focusing as close as 36-45cm.
The first attempt I made at using these lenses was back in the spring when my wife and I went to our local nursery to buy vegetable plants for the garden. I thought using these close-up lenses in the greenhouses would make some interesting photos. The photos were all taken at f/3.5, hand-held. I think I could have done better with a tripod.
Camera: Yashica Mat-124 G (1970 – 1986) with
Yashica No. 2 Close-up Lenses.
Film: Ultrafine Exteme 100
Process: CineStill Df96 Monobath 3 Mins @ 26° C
Scanned: Epson V600 Photo
When New55 released a monobath a few years ago, I was eager to give it a try. What could be easier? A single solution to develop black and white film and no need to mix chemistry. After successfully developing a few rolls of 120 film, I was happy. That changed when I tried to develop 35mm film. I found that each roll had bromide drag. What is bromide drag? It occurs when the silver bromide overpowers the developer, leaving marks from the edges of the film sprockets, bleeding into the center of the film. When doing some research online, I found no real consensus. One person stated the temperature of the monobath needed to be exactly the right temperature, another said that agitation needed to happen at certain points in developing, and another person said that a prewash on the film was necessary.
Bromide drag on a photo taken with the Ondu 135 Pocket Pinhole and developed in FPP Super Monobath
Fast forward to 2018, the Film Photography Project and CineStill released liquid monobaths. I thought I should give it another try. I purchased some of the FPP Super Monobath and developed the first three rolls I shot in my Ondu pinhole camera. The 1-liter bottle from the FPP contains no instructions other than: 3.5 minutes at 75° F. After developing, the negatives looked good until I scanned them. And just like my experience before, bromide drag. I was disappointed, so I contacted Mike Raso at the FPP. He quickly responded with: agitation. And to be certain, he included Leslie Lazenby in on the email. Her response: agitation. So why wasn’t this printed on the label? Why wasn’t a small insert not included with the bottle? It wasn’t until recently that FPP updated the information about the monobath on their website. It now includes a list of recommendations and tips. What have I learned? Monobath is not a stand developer. It does need agitation like conventional developers. I found in subsequent rolls that this worked the best:
- Heat the monobath and some distilled water to 75° F with the FPP Heater Helper.
- Prewash the film for 1 minute with distilled water, dump distilled water.
- Pour in the monobath and agitate (invert) for the first 30 seconds, and then 5 seconds every minute.
- Pour monobath back in bottle. It can be used for about 3 – 6 months.
- Rinse film with FPP Archival Wash for 1-minute. Saves 10 – 20 minutes of wasting water.
- Pour archival wash back in bottle.
- Add diluted Kodak Photo-Flo for 1-minute, dump when finished.
Camera & Lens: Leica M3 (1959) – 50mm f/1.5 Summarit
Film: Ilford HP5+
Process: FPP Super MonoBath BW Developer 3.5 Min @ 75° F
Scanner: Epson V600 Photo
FPP Super Monobath Pros:
- It’s odorless. When I was using the New55 monobath, I had to open the window because it smelled like household cleaning ammonia. The FPP monobath has no smell.
- It’s quick and easy to use. There is no need to dilute or mix chemicals. In just a few short steps, your negatives are developed.
FPP Super Monobath Cons:
- It doesn’t work the same with all black and white films. Kodak TMax needs longer developing times. And films over ISO 400 are not recommended.
- Doesn’t give you the same flexibility as conventional developing, i.e. pushing and pulling. Increasing temperature can give you a small boost in density.
Would I recommend trying a monobath? Yes. It’s a guaranteed gateway drug for developing film. For me, using a monobath gave me the confidence to move to more conventional developing. Mixing, diluting, and using multiple chemicals can be intimidating if you’ve never done it before. A monobath is a great starting point for anyone that wants to develop easy, quickly on a small budget.