The Flickr 70Mmfilm Image Generatr

A Southern Rata Tree in flower. Shot on 70mm Agfa Aviphot Pan 200 (Expired 2012) with an R72 Infared filter. Devaloped in Xtol stock 9min at 20°C. Metered for iso 3 to compensate for the filter.

Shot on 70mm Agfa Aviphot Pan 200 (Expired 2012) with an R72 Infared filter. Devaloped in Xtol stock 8.5min at 20°C. Metered for iso 3 to compensate for the filter.

Some star trails shot on Agfa Aviphot Pan 200 (expired 2006), cut down from 70mm aerial roll film and shot at Iso 100. Developed in ID11 Stock for 8:30.

Brownie no. 3a (c. 1911-17), 70mm Agfa Aviphot 200 on 124 reels, ~5s exposure at 22.

It’s a pleasure to shoot this camera with almost the right roll film!

#ShittyCameraChallenge #BelieveInFilm #LongExposure

Brownie no. 3a (c. 1911-17), 70mm Agfa Aviphot 200 (expired) hand rolled onto 3d printed reel)

#BelieveInFilm #ShittyCameraChallenge

From a set of negatives I picked up at a yard sale. Photographer and subject unknown.

Testing the settings on Rollei IR 400 too. 70mm film.

Classic manual cameras, still life indoors, with studio LED lights. The main purpose was to test two new to me things:

1) Agfa Aviphot Aero 200 film, which is a 70mm aerial photography film that is unperforated and comes in 150 feet rolls. I shot the film at ISO 100, but forgot to factor in the bellows extension due to macro distance. So overall I could use 1 stop more of exposure. But otherwise, the negatives looks quite healthy with nice contrast.

2) Graflex GH-50 roll film back for 70mm film. I got the later version which has two soft foam rollers that can work with unperforated 70mm film. It worked quite well: kept the film flat, and produced even spacing. The spacing is a bit bigger than Pentax 6x7, so I cut the film into 2 frames per strip. This works fine with scanner carrier and film storage sleeves.

Technical info:

- Camera: Linhof Tech V
- Lens: Schneider Xenar 150mm f/4.5
- Film back: Graflex GH-50
- Film: Agfa Aviphot Aero 200
- Development: Clayton F76+, 1+9, 7min@68F
- Scanning: Epson V700 with Epson Scan
- PostPro: Adobe Lightroom

Classic manual cameras, still life indoors, with studio LED lights. The main purpose was to test two new to me things:

1) Agfa Aviphot Aero 200 film, which is a 70mm aerial photography film that is unperforated and comes in 150 feet rolls. I shot the film at ISO 100, but forgot to factor in the bellows extension due to macro distance. So overall I could use 1 stop more of exposure. But otherwise, the negatives looks quite healthy with nice contrast.

2) Graflex GH-50 roll film back for 70mm film. I got the later version which has two soft foam rollers that can work with unperforated 70mm film. It worked quite well: kept the film flat, and produced even spacing. The spacing is a bit bigger than Pentax 6x7, so I cut the film into 2 frames per strip. This works fine with scanner carrier and film storage sleeves.

Technical info:

- Camera: Linhof Tech V
- Lens: Schneider Xenar 150mm f/4.5
- Film back: Graflex GH-50
- Film: Agfa Aviphot Aero 200
- Development: Clayton F76+, 1+9, 7min@68F
- Scanning: Epson V700 with Epson Scan
- PostPro: Adobe Lightroom

Classic manual cameras, still life indoors, with studio LED lights. The main purpose was to test two new to me things:

1) Agfa Aviphot Aero 200 film, which is a 70mm aerial photography film that is unperforated and comes in 150 feet rolls. I shot the film at ISO 100, but forgot to factor in the bellows extension due to macro distance. So overall I could use 1 stop more of exposure. But otherwise, the negatives looks quite healthy with nice contrast.

2) Graflex GH-50 roll film back for 70mm film. I got the later version which has two soft foam rollers that can work with unperforated 70mm film. It worked quite well: kept the film flat, and produced even spacing. The spacing is a bit bigger than Pentax 6x7, so I cut the film into 2 frames per strip. This works fine with scanner carrier and film storage sleeves.

Technical info:

- Camera: Linhof Tech V
- Lens: Schneider Xenar 150mm f/4.5
- Film back: Graflex GH-50
- Film: Agfa Aviphot Aero 200
- Development: Clayton F76+, 1+9, 7min@68F
- Scanning: Epson V700 with Epson Scan
- PostPro: Adobe Lightroom

Classic manual cameras, still life indoors, with studio LED lights. The main purpose was to test two new to me things:

1) Agfa Aviphot Aero 200 film, which is a 70mm aerial photography film that is unperforated and comes in 150 feet rolls. I shot the film at ISO 100, but forgot to factor in the bellows extension due to macro distance. So overall I could use 1 stop more of exposure. But otherwise, the negatives looks quite healthy with nice contrast.

2) Graflex GH-50 roll film back for 70mm film. I got the later version which has two soft foam rollers that can work with unperforated 70mm film. It worked quite well: kept the film flat, and produced even spacing. The spacing is a bit bigger than Pentax 6x7, so I cut the film into 2 frames per strip. This works fine with scanner carrier and film storage sleeves.

Technical info:

- Camera: Linhof Tech V
- Lens: Schneider Xenar 150mm f/4.5
- Film back: Graflex GH-50
- Film: Agfa Aviphot Aero 200
- Development: Clayton F76+, 1+9, 7min@68F
- Scanning: Epson V700 with Epson Scan
- PostPro: Adobe Lightroom

Classic manual cameras, still life indoors, with studio LED lights. The main purpose was to test two new to me things:

1) Agfa Aviphot Aero 200 film, which is a 70mm aerial photography film that is unperforated and comes in 150 feet rolls. I shot the film at ISO 100, but forgot to factor in the bellows extension due to macro distance. So overall I could use 1 stop more of exposure. But otherwise, the negatives looks quite healthy with nice contrast.

2) Graflex GH-50 roll film back for 70mm film. I got the later version which has two soft foam rollers that can work with unperforated 70mm film. It worked quite well: kept the film flat, and produced even spacing. The spacing is a bit bigger than Pentax 6x7, so I cut the film into 2 frames per strip. This works fine with scanner carrier and film storage sleeves.

Technical info:

- Camera: Linhof Tech V
- Lens: Schneider Xenar 150mm f/4.5
- Film back: Graflex GH-50
- Film: Agfa Aviphot Aero 200
- Development: Clayton F76+, 1+9, 7min@68F
- Scanning: Epson V700 with Epson Scan
- PostPro: Adobe Lightroom

Classic manual cameras, still life indoors, with studio LED lights. The main purpose was to test two new to me things:

1) Agfa Aviphot Aero 200 film, which is a 70mm aerial photography film that is unperforated and comes in 150 feet rolls. I shot the film at ISO 100, but forgot to factor in the bellows extension due to macro distance. So overall I could use 1 stop more of exposure. But otherwise, the negatives looks quite healthy with nice contrast.

2) Graflex GH-50 roll film back for 70mm film. I got the later version which has two soft foam rollers that can work with unperforated 70mm film. It worked quite well: kept the film flat, and produced even spacing. The spacing is a bit bigger than Pentax 6x7, so I cut the film into 2 frames per strip. This works fine with scanner carrier and film storage sleeves.

Technical info:

- Camera: Linhof Tech V
- Lens: Schneider Xenar 150mm f/4.5
- Film back: Graflex GH-50
- Film: Agfa Aviphot Aero 200
- Development: Clayton F76+, 1+9, 7min@68F
- Scanning: Epson V700 with Epson Scan
- PostPro: Adobe Lightroom

Where the magic happened.

Tim Samshuijzen’s wonderful Lunar Orbiter camera photos (linked to below) and their accompanying Eastman Kodak descriptions, allowed me to compile/paraphrase the following:

“The Kodak photographic subsystem of the Lunar Orbiter contained two cameras, a film processor, and a readout system. The entire unit was contained in a shell of aluminum .015 or 1/64th of an inch thick and measuring 22 x 26 x 32 inches. The pressure, temperature, and humidity in the shell were controlled. Total weight was about 145 pounds. The film, film advance, and shutter control were common to both cameras. A special sensor in the photo subsystem tracked the lunar surface through the 24-inch lens and determined the proper compensation for the movement of the spacecraft relative to the lunar surface.

The two lenses in the two lunar orbiter cameras simultaneously made high- and medium-resolution exposures. The large lens (left), a 24-inch Paxoramic lens manufactured by Pacific Optical Company, produced the high-resolution photos of approximately 3-foot or 1-meter ground resolution. The smaller (right) 80mm Schneider wide-angle lens made the medium-resolution exposures of approximately 8-meter ground resolution. In one photographic pass over the moon’s surface, the Kodak photo subsystem exposed up to 20 frames of two pictures each. The intervals between frames varied from 2.2 to 8.8 seconds. The slow, high-resolution Kodak High-Definition Aerial film, used in the lunar orbiter camera, required long exposures. The film was 70mm wide, the same width as 120 amateur film, with a resolution of 450 lines per millimeter for a potential capability of 29,250 lines for the width of the film used. The optical-mechanical scanner in the subsystem scanned 18,942 lines over the 2¼” width of film. Prior analysis of the lunar surface, based on photographs from the Earth, was used to determine the exposure time. At least 176 frames of two pictures each were exposed with enough extra film footage to provide a potential of about 215 frames. When exposing a picture, the camera unit automatically (1) activated the movement-compensating sensor, (2) clamped the film to the platens and flattened it, and (3) opened the shutters to make two exposures simultaneously. The exposed film was stored on a looper system to await processing at times other than during actual photography or during the lunar night. Nine photographic targets of potential Apollo landing sites were recorded before the film supply was exhausted.

The Kodak photo subsystem processed the film before scanning into the video relay to the ground. The drum, (on the far left) contained the Kodak Bimat film supply. A gelatin layer on this film was saturated with a photographic processing solution. The Bimat film was laminated with the camera film on the small drum in the center where it developed and fixed the film in about 3½ minutes. The Bimat film then left the camera film and passed onto a separate take-up reel (on the right with the spokes). The camera film then passed over the drying drum at the bottom (barely visible above the lip of the shell). At a temperature of 95° F on the drum dried the film in about 11½ minutes. It then moved to the readout system.”

Amazing.

Additionally:

www.drewexmachina.com/2017/08/01/lunar-orbiter-5-filling-...
Credit: Andrew LePage/Drew Ex Machina website

The 116 version, fixed the shutter with a tiny amount of lighter fluid, this is an early model, so despite being a Model 2A this is a 120 one in Red bellows, an early 120 one

My solution, hopefully for 116 70mm and 65mm film a tip from Michael Raso

116 Film from Kodak Autographic 2A

I knew my 70mm HP5 would be useful

116 Spool and backing paper loaded with Ilford HP5 70mm

Kodak 70mm 116 film Ilford HP5