Thanks, reading it now. If you need some extra spool adapters, local camera shop has started 3D printing them. I can probably get a set for next to nothing...
And now I also have another reason to get a 500C/M. I think I should just stop fighting it... retrofocus wrote:
Thanks! If interested, I wrote a blog about the method I applied to get these kind of shots. Blog Link
Mathieu18 wrote:
Thanks, reading it now. If you need some extra spool adapters, local camera shop has started 3D printing them. I can probably get a set for next to nothing...
And now I also have another reason to get a 500C/M. I think I should just stop fighting it...
I saw at least one advertisement with those 3D printed spools - for a quite expensive price. I had my cut in less than 20 minutes from an original 120 plastic spool. Make sure when you go for 3D printed ones that one is larger than the other - when they are of equal size, the film won't be centered in the Hasselblad cartridge. This method can be applied in principal to all kind of medium format cameras I guess.
Saw that note, thanks for the tip. I work with the guys at the shop near me a lot. I'm trying to get them to print a Sony E to Nikon Z adapter for me, but he hasn't had the time to create a blueprint or find one. I just know it was one of the first things he printed. I'll see if he has a set lying around.
Edit: just checked with him. They charge $20 and that gets you the adapters as well as a 35mm take up spool so you don't have to take it right to a dev roll.
retrofocus wrote:
I saw at least one advertisement with those 3D printed spools - for a quite expensive price. I had my cut in less than 20 minutes from an original 120 plastic spool. Make sure when you go for 3D printed ones that one is larger than the other - when they are of equal size, the film won't be centered in the Hasselblad cartridge. This method can be applied in principal to all kind of medium format cameras I guess.
I tried the fist time Fuji Velvia 50 medium-format film. It is very rich in blue and orange color, but I found I need to overexpose it just about half a stop in contrasty scenes, otherwise the shadows are totally darkened without structure. Probably the most difficult film to expose correctly which I have encountered so far - very thin dynamic range, too. But I love the Velvia colors!
Photos taken with Hasselblad 500 C/M and Hasselblad-Zeiss 180/4 and 50/4 CF T* lenses. Home-developed with E-6 and digitized with Epson V850.
The Film Photography Project sells a 35mm to 120 spool kit made with 3D printed parts. I was considering trying it in my Fuji GW690iii for 9cm wide panos, but then I realized I get the exact same 9cm width when using 120 film and can just crop! (But the exposed sprocket holes are def cool!)
retrofocus wrote:
Thanks! If interested, I wrote a blog about the method I applied to get these kind of shots. Blog Link
Very cool blog post--thanks for the information! I would like to try this myself.
One question--can't you just rewind the 35mm film back into the cartridge using one of the spool stems? This video I found suggested doing so (link to where he talks about taking film out):
grahamgibson wrote:
Very cool blog post--thanks for the information! I would like to try this myself.
One question--can't you just rewind the 35mm film back into the cartridge using one of the spool stems? This video I found suggested doing so (link to where he talks about taking film out):
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Thanks - I always opened the cartridge in a dark changing back and directly reeled the film onto one of my Paterson development reels. In theory you could wind the film back into the 35 mm cartridge as mentioned in the video after you opened the Hasselblad cartridge (in fact you can do this simply by rotating the head of the 35 mm cartridge).
Been a minute since I have posted here. So I will start with this...Delta 400, rokkor 50/1.7 w/orange filter, minolta srt102, d76 stock and pakon scan.
The only difference to a Paterson tank with development reel(s) is that you don't need a changing bag with this setup which normally isn't a big deal. You need to use an extra 120 cartridge here whereas I can simply adjust my Paterson reel from 35 to 127 or 120 film usage. The development process is the same for both.
