Old 01-30-2018   #121
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Just got an email that my 10 rolls of P30 have shipped. Should get it this week, I hope.
Odd that they seem to be shipping out of order. Probably not a problem though - I have film in a bunch of other cameras already!
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Old 02-01-2018   #122
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My films are here. Now to mix up that D-96.

The films shipped from MA, not NY.
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Old 02-01-2018   #123
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I received my shipment confirmation email from Ferrania yesterday. Should be here tomorrow!

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Old 02-01-2018   #124
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My ten rolls arrive tomorrow. Unfortunately, tomorrow's high temp will be 10 degrees with snow, so I'll be stuck inside the entire day.

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Old 02-01-2018   #125
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I got mine today! All ten of them.
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Old 02-01-2018   #126
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They must be shipping them out in random order. I haven't even gotten a shipping notice.
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Old 02-01-2018   #127
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I was order #00088, ordered 10 rolls, got my notice that it shipped 12-30.
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Old 02-02-2018   #128
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x-ray, here are some iPhone shots of my films. Fluorescent noise with the phone camera, films are a consistent slightly purplish-grey. Contrasty. This was shot on a morning walk down to the Post Office and drugstore yesterday. Clear blue sky, but early enough that there was open shade from buildings. I went back out about two hours later and finished off the last six frames here. I would have gotten 40 frames, but am glad I didn't go to the very end, as when I unspooled the film in the darkroom it came right off the center, seems like the hole in the film didn't get caught by the tooth in the spindle.









Missed the focus in that last one, if you want to see it again let me know.

Taming the highlights while getting more shadow detail would be what I'd need to figure out to make use of this more often. And this was a contrasty morning for this stuff, but I would often be shooting a 50 speed film on a day like this. With the lack of shadow detail in so much of the P30 stuff I've seen (I've looked at tons of it on Flickr and Facebook besides what's been posted here) I bracketed at 1 over, ˝ over and my normal metering for these scenes.

PanF+ seems the closest in tonality to me from this first test. Similar shadow density concerns there (I shoot PanF+ at 40). I've also not used Ilfosol 3 before at all, so I don't know how much of my contrast trouble is coming from the developer. I'm interested enough to want more, but that's because it seems to be a slower film than the 80 stated and there are not a lot of slow options now that my stash of Efke25 is evaporating...
I purchased some P30 and shot a roll today. I shot at ISO 80 in contrasty mid day light and processed per recommendations in my standard developer HC110 B at 68f. I did my normal 5 inversions every 30 seconds. I had fears of flat negs but found the negs to be pretty contrasty. They pretty much look like yours. Shadows were thin to none and highlights were dense to blocked.

One observation is this film is very fine grained in HC110 and tonality is very smooth. As you mentioned the negs remind me of Pan F+.

I bracket my exposures by + 1/2 and 1 over. I suspected shadows might be a problem as I print on an Ilford MG diffusion head and prefer full shadows with plenty of detail. Highlights aren't a huge issue if they're not blocked. I actually like a neg a touch on the beefy side.

I think next roll I'm going to bracket again and dilute my HC110 1:47 like I do with FP4 and will run 5 min at 68f with the same agitation.

I have the raw chemicals and may mix some D96 for another roll and maybe give D76 a try.

I have a halon of Mic X from Freestyle and may develop in that at EI 40 and do it by inspection. Anyone tried Mic X.

I think this is a promising film when I get the shadow density up and contrast down.
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Old 02-02-2018   #129
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......I think this is a promising film when I get the shadow density up and contrast down.
Reading on the P30 processing forum, it looks like Ilfosol 3 may be the ideal developer.

My ten rolls arrived today. Once the weather cooperates, I'll put a few rolls through my F-1.

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Old 02-02-2018   #130
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X-Ray
this description ( purchased some P30 and shot a roll today. I shot at ISO 80 in contrasty mid day light and processed per recommendations in my standard developer HC110 B at 68f. I did my normal 5 inversions every 30 seconds. I had fears of flat negs but found the negs to be pretty contrasty. They pretty much look like yours. Shadows were thin to none and highlights were dense to blocked) points toward film that is underexposed and over developed. You might try exposing a roll at ASA 40 and cutting back the development time 15-20 percent.
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Old 02-02-2018   #131
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Thanks for the tip on Ilfosol 3. I've never used any so it'll be interesting.

I'll give HC110 another try at 1:47 rather than cut the time. 5 min was the time I used and that's about as short as I like to go for consistency.

Since it's silver rich I thought I'd give some PMK pyro a shot. I've used it with FP4 with great results and gotten very good negs with Pan F. Due to silver content it might be an ideal film.
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Old 02-03-2018   #132
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My five rolls arrived on Friday.

Okay, now I have to figure which camera to pull out and use it with... Rollei 35S, Nikon F, Leicaflex SL, or Leica M4-2?

Heavens, what difficult decisions to make!

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Old 02-03-2018   #133
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My roll above was run in Ilfosol3, which I got in for the P30. Ferrania notes D96 as their preferred developer, will get to mix that up today, and my latest roll is nearly all shot.

I wonder how much the tech sheet times are aimed at scanning rather than a wet print?
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Old 02-03-2018   #134
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My film came Friday too. I was wondering what was up since there was no shipping notice. Probably going in my N90S.

Did you notice the metal cartridge has a Ferrania label on it? I peeled one off, and underneath the cartridge is labelled as Rollei Ortho 25. Hmmm... I figure they are using up some old-stock cartridges.
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Old 02-03-2018   #135
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I could live forever with some of the results I was getting earlier with D76, but am looking forward to seeing results people are getting with D96 and PMK, both of which I already have. If people can best those with Ilfosol 3, maybe that as well. I know I like the film, will be nice to settle on a developer. Will also give Perceptol a try.
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Old 02-03-2018   #136
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........I wonder how much the tech sheet times are aimed at scanning rather than a wet print?
Good question. The times on the Preferred Practices PDF are based on what what people are finding through their own experiments, not any scientific testing on Ferrania’s part. The images on the P30 website are, of course, all scanned, so maybe the optimal developer and development times are for scanning and not printing?

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Old 02-03-2018   #137
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Good question. The times on the Preferred Practices PDF are based on what what people are finding through their own experiments, not any scientific testing on Ferrania’s part. The images on the P30 website are, of course, all scanned, so maybe the optimal developer and development times are for scanning and not printing?

Jim B.
The quality of information always concerns me because you never know the technical level of the person giving the info. At best it's a starting point. Too, a good neg for wet printing will produce a very good scan. Scanner profiles are aimed at well processed and exposed negs that would yield ideal wet prints.
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Old 02-03-2018   #138
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I was #170 and received my film Friday. Looking forward to shooting and developing this weekend.
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Old 02-03-2018   #139
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D96 is mixed, and cooling. Added a tiny bit of extra KBr, hope that tames the contrast a touch.

Mixed up some ID-3 as well. Made up a Borax bath as well for some further compensating with the ID-3, from the Photographer's Formulary version of ID-3, which uses a Borax second bath for 3 minutes after development.

So damn cold here I will only have one roll to run tomorrow (or maybe Monday), was going to finish up the first roll and shoot a second but gave up after finishing the first one.
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Old 02-03-2018   #140
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...Too, a good neg for wet printing will produce a very good scan. Scanner profiles are aimed at well processed and exposed negs that would yield ideal wet prints.
Having made wet prints for people who only scan their film I conclude that many 'scan only' folks make much worse negatives (for wet printing) than us wet-printers.
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Old 02-03-2018   #141
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Having made wet prints for people who only scan their film I conclude that many 'scan only' folks make much worse negatives (for wet printing) than us wet-printers.
My negs are processed for scanning ... I haven't wet printed anything since 1988. Negs exposed and processed for scanning should be thinner than negs processed for wet printing on normal grade paper (because scanners have more limited ability to punch through a dense negative causing contrast gain), and less contrasty (because contrast is the easiest thing to ADD to a scanned image in rendering, and impossible to really remove).

So my negatives are perfect for scanning....
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Old 02-03-2018   #142
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My negs are processed for scanning ... I haven't wet printed anything since 1988. Negs exposed and processed for scanning should be thinner than negs processed for wet printing on normal grade paper (because scanners have more limited ability to punch through a dense negative causing contrast gain), and less contrasty (because contrast is the easiest thing to ADD to a scanned image in rendering, and impossible to really remove).

So my negatives are perfect for scanning....
I scan onmy Imacon 848 and previously on a Fuji Lanovia Quattro. Thinner and flatter negs are not what you want with high end scanners. I also have an Epson v750 and find I get better scans with negs that are ideal for wet printing.

Dmax on low cost scanners like Epson and specifications in general are seriously exaggerated. Ive read some tests conducted by a scanner tech comparing a number of consumer scanners and pro prepress and without any question the specs of the consumer level are highly exaggerated and the high end prepress scanners are pretty accurate.

If you're having to make thin flat negs it's probably because your scanners Can't handle the Dmax.

The Lanovia Quattro I had has a true 5000dpi optical resolution for the entire 14x18" bed (one pass scanning) with a true Dmax of 3.9. If you looked at the v750 Epson it's claimed to do 6400 dpi with a Dmax of 4. Why would anyone pay $50,00ore for the Fuji? Because the Fuji blows the Epson away in every way. When you scan the same film with both you immediately see that Epson seriously exaggerated specs. I'm just guessing here but I'd say the true Dmax of the Epson is 2.6 or so. On the Epson images look like they were scanned through a diffusion material compared to the Fuji.

The Imacon 848 is extremely close in performance with the Fuji. Imacon claims 8000dpi optical and Dmax of 4.8. I think that's a little exaggerated although I've not compared the two.

In both machines though the best scans came from properly exposed and processed negs and transparencies. Film profiles were created from film exposed and processed for wet prints.
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Old 02-05-2018   #143
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The D96 rolls are in the dryer, and looking vastly better than the Ilfosol3 film.

I shot at 80, since Ferrania is adamant that this is an 80 speed film. They also state that D96 is the best developer for P30, but recommend shooting it at 50 for this developer. Ah well. I bracketed assuming it wasn’t going to work well at 80. 11 minutes at 70F, with 15 seconds of initial agitation and then 1 inversion per minute seemed to work best by looking at the films. I use metal reels and tanks, these were each run in a single reel, 300mL tank.

I will get to print tomorrow, so will give some impressions of the negatives in the darkroom then. I’ll not likely get to scan the prints for a bit, but could shoot some phone pics of them.
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Old 02-05-2018   #144
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The D96 rolls are in the dryer, and looking vastly better than the Ilfosol3 film.

I shot at 80, since Ferrania is adamant that this is an 80 speed film. They also state that D96 is the best developer for P30, but recommend shooting it at 50 for this developer. Ah well. .
Bob,

Last week this incongruity was pointed out to Dave Bias, the Film Ferrania spokesperson. He said he had never noticed that "50" was shown in the current best practices pdf. Whoops. It's a mistake, a typo. He said the times for processing refer to 80 ASA, and should have been in that column. They do not have a recommendation for D96 at 50. He said the chart would be corrected and updated this week, or soon.
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Old 02-05-2018   #145
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11 minutes at 70F, with 15 seconds of initial agitation and then 1 inversion per minute seemed to work best by looking at the films.
Bob,

Have you tried/what are your thoughts about continuous agitation with D96 and this film, as it is my impression that cine films in general, and this film/developer combination in particular was originally processed this way (?).

But, perhaps, times were different originally. I don't know, I can't find the original info, and don't know if the Ferrania best practices times are the original ones used for the cine film, which they know, or if they are based on WAG recent customer results someone happened to like.
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Old 02-05-2018   #146
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I was very leery of continuous agitation since this stuff is so inherently high contrast. Not as bad as Washi S, but highlights seem to block up really easily. Looking at examples all over many to most of them have blown highlights, and from what I’ve gathered nearly nobody is wet printing this stuff.
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Old 02-05-2018   #147
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I was very leery of continuous agitation since this stuff is so inherently high contrast. Not as bad as Washi S, but highlights seem to block up really easily. Looking at examples all over many to most of them have blown highlights, and from what I’ve gathered nearly nobody is wet printing this stuff.
I'd tend to agree, but was just mostly wondering about whether the methods used in past history to process this film would still apply today, and if not, why not. If that makes any sense.

If you look at the movies shot with P30, the look Fellini, Pasolini, de Sica all seemed to be intentionally going for didn't have a lot of shadow detail. Zone system seemed not to be the order of the day. Justifiable and laudable artistic preference or just "doing it wrong" might depend on what one wants out of the film. Getting it to look like well metered and developed Plus-X might be difficult, or perhaps even beside the point. I don't know, just thinking out loud. For me, the film seems to have a character all its own, which I might just accept on its own terms. Not sure yet, but should know by the time I've run through the ten rolls sitting here.

La Dolce Vita Fountain scene Anita Ekberg and Marcello Mastroianni, Fellini:

https://www.youtube.com/watch?v=The8Xi6fKOE

I'm stuck with scanning simply because I'm too old to develop the competency I would be happy with for wet printing. Just never had the opportunity earlier, and now it's too late to get good at it so I've had to let it pass, sadly. Hats off to those who wet print, because you are on a higher plane, seriously.
So, I'd probably take the ideal wet printing developing suggestions and reduce development by 15% or so for starters and go from there till I get something I like.

Thanks everyone for all the information.
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Old 02-05-2018   #148
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For that Plus-X look we have ORWO UN-54. Really a very close feel/look to what I used to get with Plus-X in Microdol-X. I shoot that at 100 and run it in Perceptol 1:1. That, HP5 and XX are my most used films these days. I agree, taking this for what it is might be the order of the day, and I suspect that I will be able to get decent prints out of some of this, and just eyeballing the film on the light table when sleeving it up I’d say the frames shot at 50 are closest to what I will want. The last frame of these two rolls looks a lot like UN54, a snow covered roof, a yellow sided house and a bit of brick chimney. Shot that as the sun ducked behind some heavy clouds, not quite cloudy bright. I should be able to shoot some UN54 and P30 side by side next time I get out, I’ve got two rolls of UN54 waiting for the two loaded ones to get finished up...
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Old 02-05-2018   #149
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I tried P30 today and had a good time. Mostly my negatives were too contrasty, and in even illumination (like the dreary light factory entrance below) they were thin. But with some dialing in this could be a good, slow, fine grained film choice.

I closely followed Ferrania's suggestions for exposure at iso80 and developing with Ilfosol 3. My next roll will be bracketed around iso50 and I'll shorten development time. Should be interesting.

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Old 02-06-2018   #150
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Prints are in the wash. Not terribly encouraged by what I got. Shadows are still hard to print, and highlights are still blocked up. And I still needed to print at grade 1 and 0 to get decent image tone. I may just pack in P30, and stick with what I like.

Grain did look lovely under the magnifier for the D96 negs. Tight, crisp pinpoints. I think I will give my UN54 and XX a try in the rest of the D96 I mixed up.
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Old 02-06-2018   #151
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doing a video on shooting the P30. Planning to wet print all samples shot in the video since I'm not scanning film anymore.
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Old 02-08-2018   #152
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Also noted that the edge-printing was barely visible, very PanF+ like. I wonder about latent image keeping properties?

I packed it in and sold the film I had left. Sticking with UN-54 for 100-ish speed 35mm. I have it down and really like what I get with it. Decided to dial in on PanF+ at 25 instead of sorting out P30, so I can use PanF as a replacement for the Efke 25 I’m almost out of.
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Old 02-09-2018   #153
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Also noted that the edge-printing was barely visible, very PanF+ like. I wonder about latent image keeping properties?

I packed it in and sold the film I had left. Sticking with UN-54 for 100-ish speed 35mm. I have it down and really like what I get with it. Decided to dial in on PanF+ at 25 instead of sorting out P30, so I can use PanF as a replacement for the Efke 25 I’m almost out of.
Not to de-rail this thread, but how are you processing the UN 54? I think I might remember your mentioning Perceptol somewhere but not sure. Am hoping that I eventually need to know, as the bulk roll I ordered from ORWNA the first of October still hasn't shown up, though I keep getting assurances. I liked the bit I had earlier gotten out of Japan on ebay, but didn't have enough of it to feel I had it "dialed in".
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Old 02-09-2018   #154
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Yes, Perceptol 1:1. There is an under-utilized thread for UN-54 here. I will be back to scanning prints again over the next few weeks, will try and do some more posting there.
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Old 02-24-2018   #155
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Ferrania P30 SLVR video is cutting now. I've only scanned the film quickly on a V700 and haven't printed yet but I'm looking forward to taking the negatives into the darkroom and seeing what they come up with. Stay tuned

Leica M5, Voightlander Nokton 50mm F1.5, Ferrania P30

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Old 03-25-2018   #156
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Finally got around to finishing the video. Check it out here

https://youtu.be/sB2XOGees9A
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Old 03-25-2018   #157
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^^^^Thanks for taking the time to make the video. Appreciated.
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Old 03-25-2018   #158
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I haven’t shot much P30 since last fall, but with winter finally on the wane, I pulled out a roll out of the freezer and stuck it on my old F-1. Taken on a brilliantly sunny day, incident light metering, E.I. of 40. Even though Xtol is supposed to be the worst developer in the world for P30, that’s all I had so that is what I used. I kind of like the results though I need to experiment more with this developer. FD 15mm fisheye.



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Old 05-31-2018   #159
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Been experimenting with P30 again. Taken with a Canon 7s and 50/1.2 lens at F2.0. I rated P30 at an E.I. of 40, straight D-76, continuous agitation for 8 minutes, 68F.



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Old 05-31-2018   #160
Larry Cloetta
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Larry Cloetta is offline
Join Date: Jun 2006
Location: Jackson, WY
Age: 70
Posts: 1,809
That works.
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