This implied a 20% reduction in developing time, 10% for each stop. The first element was to adjust the development time to account for the fact that I have pulled the film, i.e.
#KODAK PHOTO PLUS HOW TO#
Of course there are lots of experts on the Internet with lots of conflicting advice, but by turning to some knowledgeable people in a group I belong to, the Film Shooters Collective, I was able to learn a few things on how to do this properly. The other challenge was how to develop this film. This allowed shutter speeds ranging from 1/60 to 1/125 at anywhere from F2 to F5.6 in the daylight. I wanted to hand-hold and shoot this film the way it was meant to be used, so I decided to just go over by a few stops choosing ISO 25, which would be two stops of overexposure.
The problem was that seven stops of overexposure would mean a 1.25 second exposure at F16 in bright sunlight. The film is essentially partially exposed, so overexposing allows the image to burn through the fog. Overexposure is required because old film absorbs radiation over the years and fogs. The rule is to overexpose by 1 stop for each expired decade, but 7 stops below ISO 100 or 125, the nominal rating for this film, would be ISO 0.8. After some difficulty getting the camera loaded-which involved the leader tearing and several trips to the darkroom in my basement-I finally had it loaded and ready to go.Įxposing the film was a bit of a gamble. I decided this film was best exposed using a lens from the same era, so I went with a 1951 collapsible F2 Summitar mounted on a Leica M6.
A detailed data sheet was enclosed including information on the raw materials required to make developer and how those materials should be mixed. The film itself was packaged much differently than what we see today.
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