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Thanks @amey and @umop3pisdn. Yes, I used a single softbox light in all four of these.

@nankatsu, x-ray film is used a lot by large-format photographers, mainly because it's really cheap. It's not really worth using it with 35mm cameras, but it's a great option for larger pinhole cameras. I'd like to try it one day with a box brownie. Many of those use archaic film sizes and these x-ray sheets can be cut to any size (I use a sliding paper guillotine to cut mine). For a lengthy discussion on x-ray film, see the following on the large format photography forum:

https://www.largeformatphotography.info/forum/showthread.php?48099-Use-of-X-ray-film-technical-discussion-with-example-images&p=460200&viewfull=1#post460200

Thanks. Because you have to develop each negative individually, a single-shot developer is extremely wasteful. I ended up using an old Kodak formula known as D-23 and a so-called replenisher named DK-25R. You need to mix both of these up from the raw chemicals, but it's not difficult. Using these, I waste less that 2.3ml of developer for each of these 6x6 negatives. If anyone's interested, I can send the formulas - but there's info online about Kodak D-23 and Kodak DK-25R.

I use 500ml glass beakers to do the development and little stainless steel clips, designed to process dental x-rays, to suspend the negative in the developer, fixer and water/stop beakers.

To digitise I use a Pixl-Latr negative holder/diffuser on top of a LED light panel (the type that gets used in household lighting) and photograph the negative with a Nikon D610 camera with a macro lens and extension tube. I then invert the image and make level adjustments in free software called Darktable.

X-ray film is a bit fussy. I discovered that you have to pre-wash the negative in water for 3 or 5 minutes before putting it in the developer and that this water, the developer and the fixer should all be at the same temperature (roughly). I do this at 20°C. One also needs to be careful not to scratch the negative, especially when it's wet. Another tip is to use an acidic fixer (Kodak Rapid Fixer comes with an optional "hardener" bottle). This helps harden the negative once dry.

Edit: another thing, I expose the film at ISO 64 and the film is Fujifilm UM-MA.

Here are some shots taken on a Mamaya C330 with a single exposure back and mammography x-ray film. The single exposure back takes film holders and of which I have 3. So you cut the film to size in a darkroom under a safe light (the film is orthochromatic - insensitive to red light) and load them into the film holders which can in turn be loaded into the single exposure back in daylight. There's no reason though that x-ray film can't be cut and placed directly inside any camera in the darkroom. Mammography film, unlike normal x-ray film, has its emulsion on one side only, so there's less chance of it getting scratched. It also has better resolution, I believe.

There's a list (sticky thread) of repair specialists on the "Leica Collectors & History" forum of the Leica Forum site. That forum is a good place to ask specific questions on the older Leicas too.

https://www.l-camera-forum.com/forum/35-leica-collectors-historica/

Thanks a lot. They were all taken on a tripod - but the leaf photo was at at f8, the dog and the bike were at f2.8 to try and soften the background a bit (worked better with the dog, because he was closer to me). Here's another sharp one taken at f8 of a wooden ball.

Cheers,

Hi, I've recently experimented with x-ray film and a single exposure back for the Mamiya C330. I've used a film made for mammographies, and these have a single-sided emulsion layer, unlike x-ray film for general use which is double sided, as far as I know (and consequently not as sharp unless the emulsion is removed from one side). Details are: Mamiya C330, single exposure back, Mamiya-Sekor 80mm, paramender, Fujifilm UM-MA @ ISO 64, D76H 1:4 24ºC, development timed by observation under safe light. Scanned with a DSLR.

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Great stuff @mi7rennie

Nikon F2 Photomic, Helios 44-2 58mm 1:2, Ilford Delta 100 @ 80, PMK 1:2:100 10' 24°C.

Nikon F2 Photomic, Helios 44-2 58mm 1:2, extension tube, Ilford Delta 100 @ 80, PMK 1:2:100 10' 24°C.

Current project: A 1980s Somec Special. Film specs: Leica IIIf, Summicron 5cm 1:2 collapsible, Ilford Delta 100 @ 80, PMK 1:2:100 24°C.

The catalogue for the 2001 Rex (my model), gives the max width as 28mm. Do you know the year?

And another more recent 35mm scan: Leica IIIf, Summicron 5cm 1:2 collapsible, Delta 100 @ 80, PMK 1:2:100 10' 24°C.

It's the ramp leading to the base of Brasilia's digital TV tower by Oscar Niemeyer. I took this photo yesterday but I'll attach a print that I took/made a few years ago in more dramatic weather. The full specs are:

Scan of 17.8x24cm Ilford MG FB print. Contax IIa, Carl Zeiss Jena Sonnar 5cm 1:2 collapsible, Ilford Delta 100 @ 80, PMK 1:2:100 10' 24ºC. Leitz Focomat 1c, Schneider Componon-S 2.8/50, Ilford Multigrade.

One bad thing about PMK is that you lose a stop with faster film. Eg. Shoot 400 ISO film at 200. Faster films you might not even need to bother but I shoot Ilford FP4 125 @ 100 and Delta 100 @ 80.

PMK is the name of the developer - it's also called PMK Pyro and it belongs to the family of pyrogallol developers. It's very toxic unfortunately. Pyrogallol developers are also known as "staining" developers and leave a deposit on the negative which tends to reduce the grain. The chemicals last for years in concentrate and you mix it up when ready to develop. After developing, stopping (must be non-acidic, eg. water) and fixing, you do an optional staining step which involves pouring the spent developer back in the tank and agitating as you would fixer. After that, there's the normal washing step. The 1:2:100 refers to the dilutions as PMK comes in two solutions which can only be mixed when ready to develop. So, 1 part solution A, 2 parts solution B and 100 parts filtered water.

Mamiya C330, Mamiya-Sekor 80mm 1:2.8, Kodak Tri-X 400 @200, PMK 1:2:100 11' 24ºC.

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Spectacular

-thanks
-yes, it's true

Nikon F2 Photomic, Micro-Nikkor 55mm 1:2.8 Ais, Delta 100, PMK 1:2:100 10' 24ºC.

Were the Principia branded headsets from the early 2000s by Chris King? This one is on a 2001 Rex:

I bought the frame. Haven't heard back yet from Somec but I'm pretty confident that the frame is legit and anyway, I have 10 days in which I can return it. I pick it up today. All the 1984 Somecs listed as having Columbus Aelle tubing, that I've found online (3 or 4), have no name embossed on the seat stay. In the 1983 catalogue, the Aelle frame also has no writing on the seat stay. The frames with Columbus SL or SL and Air, do. Those frames have Campagnolo dropouts whereas the Aelle frame has Gipiemme and the frame I bought has Gipiemme as well.

Here's a link to the 1983 catalogue and below, the photos of the Aelle frame therein:

https://bulgier.net/pics/bike/Catalogs/somec/1983/

Cheers

As someone else did here here in this thread, I've written to Somec to ask if the frame is genuine. Thanks @anidel for the alert. I'll post back if they reply.