mike_walmsley

Interesting points. I follow my old time tested rules for fixing, I have been using wet darkrooms for black and white since 1973. My current darkroom established in 1999. Film - make up a litre of film fixer with hardener at a time (Ilford Hypam raid fixer 1:3 dilution plus Kodak hardener). I reuse this fixer until emulsion clearing times reach 5 minutes. The fix time for film is double the clearing time but up to 3X clearing time is okay especially for Tmax emulsions (I do not like more than 10 minutes of fixing times though). I have a chart on my bottle with about 20-25 squares. A litre of film fixer is often good for about 20 rolls in reuse. Paper - RC papers I make fixer with Hypam 1:7 dilution and NO hardener. I use one tray for RC. I use the same paper fixer usually for a couple of sessions, checking the quality with Edwal Hypo Chek Fibrebase papers, simliar to RC but the second fixer tray is usually employed. The first tray of print fixer exhausts first. I always use a hypo clearing agent in all cases even with RC paper, after a short water rinse. Wash tray has a Kodak tray siphon and I have a plexiglas Kindermann print washer for fibrebase print washing. My used fixer is saved in gallon jugs for environmental collection.

Likely my original Olympus OM-1 which I still have since 1976. My Yashica Mat 124G might be my second choice.

It's not carved in stone that you must use stop bath rather than water when processing film, but it will give you better and more consistent results. First of all, in the B&W darkroom, a bottle of indicator stop bath is a valuable chemical. The bath is a solution of acetic acid with an indicator dye that let's you know when it is exhausted. It is usually mixed 1 part to 64 part with water, 2 ounces makes a US gallon in other words. The same mixture is used for B&W films and paper, and reused over and over again. It can last months, or years and when the acidity falls to a level where it cannot stop the alkaline action of the developer, it will let you know and turn a purple colour. Then you start to discard it. Because it is affordable to buy, so inexpensive to use and does what it is supposed to do, that is halt the development immediately - it's pretty clear that it will do a far better job than water will do. The additional bonus is because it neutralizes the alkalinity of the developer on the film or paper, the fixing bath will last much, much longer. Traces of developer left on the film or paper will shorten the lifespan of your fixer.Using an indicator stop bath for both film and paper is a win win outcome. Also, the concentrate and the working strength stop does not deteriorate significantly or at all with time like developer does so it keeps forever. I have been using indicator stop baths (usually Kodak) since 1973.

Thanks for the information, I have never needed to resort to this before but appreciate the info. I am going to use the developer as I always did with normally exposed film to see how it compares to past results. Cheers.

I was getting respectable results from this stock solution of HC-110 the last time I used it. That was a few years ago, and now that it is over 20 years old as stock solution, I am going to test it out of interest. I am shooting a roll of outdated TriX from about 1999 which was originally in my freezer and before I loaded the camera had been in the refrigerator. I started the film, but had a cold for the last few weeks and have to still finish it. Expecting great weather this weekend, hope to finish the roll and develop it. I go by colour as well, which is why I am bothering with this test. The developer is so old as stock solution now, it should not be expected to still work but has been so far. This may be the last film(s) I can use it for as I have a small amount left. I will likely use it 1+7 with water (1+31 solution B), hope to have results soon.

Regarding Tom Halfhill' s response above, distilled water is certainly the best for anyone to use when mixing chemistry, especially developers and final rinse solutions (wetting agents like Photo Flo 200 is the most common). I should have pointed out above that I run my water through a temperature control panel with separate hot and cold filters (5 micron mesh) with removes just about any fine particles in the tap water. Also the tap water here in Toronto is very high quality and not very hard. I realize not everyone has a setup like that and I was remiss in mentioning using distilled water. I have distilled water and do use it from time to time, mostly film developer. In addition to Kodak Photo Flo 200 and Edwal LFN wetting agent, I got some Photo Flo 600 (for when I use up the 200) which is three times more concentrated than the usual camera shop version, and Tom is right, it's very cheap to use at 200:1 ratio which I mix 2000 ml at a time. I also forgot to mention I add a few drops of Edwal LFN (or more depending on tank size) to the film developer before I start to process the film, this also helps to reduce streaks and water marks on the film later. Lastly, and I never mentioned it, Tom said to never use a squeegee or anything to wipe the film before hanging to dry - I agree it's asking for trouble when the emulsion is most vulnerable and usually scratches the film. The only squeegee in my darkroom is a large one I use on fibre-based prints, which I am careful to keep clean and smooth. As I think Tom Halfhill will agree, extreme (painstaking almost) methods will always yield the best result, and thanks Tom for catching that stuff.

If these bags of Kodak Dektol were unopened in the Kodak foil-and-plastic lined pouches, they should be fine. I have some Kodak Selector and Selector Soft developer that I haven't even mixed yet (I'm more of a cold tone kind of guy), and they'll be fine. These developers have a best used by date but that is partly to protect the manufacturer from complaints. I mixed a fresh gallon of Dektol 2 weeks ago and I bought the developer about 5 years ago, works like a charm. I still have a small unopened bag of Chromium Intensifier that was discontinued over 25 years ago, anyone feeling lucky?

My darkroom experience extends back to the early 1970s and for the past 25 years, I have a general set of film processing steps I follow. I should add, some film/developer combinations have unique agitation or other steps but this is a good guideline to follow. 1. After preparing the solutions and setting them in beakers in the correct amount for the tank, look up and determine the developing time. Take the film end you clipped off (the start of the film) and soak it briefly in water and put into your film fixer, stir occasionally and time how long it takes to clear the emulsion from the film - the correct fixing time is double the clearing time, whether it's freshly made or has fixed several films, the longest it should take to clear the film emulsion is 5 minutes (fixing time is 10 minutes). It it is longer than that (fix time exceeding 10 minutes) then it's time to discard fixer and make a fresh bottle. Typically one litre of rapid fixer will fix at least 20 rolls of 35mm film. All solutions/water should be at the same temp. i.e. 68ºF or75ºF and all chemicals diluted for use. Now we start to develop the film. 2. Water pre-rinse (optional), fill tank with water, agitate and let sit for up to one minute, pour out 3. Developer - add to tank and agitate for 15-30 seconds at first, tap tank to dislodge bubbles and agitate for 5 seconds every 30 second until the developer time is reached, pour out (discard) 4. Stop bath, I use indicator stop bath made one gallon at a time, works over and over and changes from yellow to purple when it is not effective, add stop, agitate 5 second, and again after 30 seconds, then pour back into the stop bath reusable bottle 5. Fix bath, fix the film twice the clearing time (see 1 above) with 5 second agitation every 30 seconds, after fixing, pour film fixer back into storage bottle 6. Water rinse, fill tank with fresh water, agitate 10 times, discard 7. Hypo clearing agent (optional but recommended) (i.e. Kodak HCA, ILford Gallerie Washaid, Heico Permawash) I use Permawash. Fill tank with this solution, agitate 30 seconds, let sit 30 seconds, repeat and then discard (2 minutes total) 8. Wash film in running water for at least 10 minutes. leaving film on reel! 9. Wetting agent (optional but highly recommended) I use Kodak Photo Flo 200 in water (200:1) Pour into film tank enough to cover film reel, tap gently to dislodge bubbles and soak for up to 2 minutes 10. Pull film from reel and hold to let most of the solution run off the side, hang until dry (time varies) It may sound over the top, but this is what works for me, haste makes waste and taking shortcuts in the darkroom never works out in the end. Good luck.

I have not been on in a while, apologies. Spending so much time in the digital darkroom these past few years dealing with raw files. Last couple of weekends I got back into my wet darkroom to process some film and continue making small proofs of some trip. I saw a bottle of HC110 stock I have which in itself is unremarkable except that I prepared this solution in 1991 from Kodak's concentrate. I have not tried it in a while but between 1991 and the mid-2000s I was using it quite successfully and amazed at its keeping qualities. I told some darkroom savvy pals and they were impressed that it even still worked. Well, the stock is going on 26 years old now, and I am keen to test it out. I have some out-of-date Kodak TX 400 which I think I will use so I can test the developer and the film. FYI, HC110 stock was mixed in 1991 and has been stored in dark brown glass bottles, in progressively smaller sizes to minimize air in the bottle. Last checked, it was a clear amber colour (not dark). I mostly use D76 and Tmax film developers, and less often Ilfosol-S, Ilfotec (like HC110) and Agfa Rodinal. With out-dated film I sometimes will add a little Edwal liquid Orthazite to fend off fogging. I understand that this latter product is no longer available so what I have will seem like gold. I'll keep you posted.

<p>Just saw this post - sorry I haven't been on in months.<br> While you can use the under-the-lens filter adapter option, I would strongly suggest you look around for a set of Ilford MG 6" x 6" box or Kodak Polycontrast filters in the 6" x 6" wallet. I have been using my 23c for over 20 years and get superb results with these. There should be a pull-out metal filter holder behind the flap door situated between the lamp source and the condensers.<br> First off, this is a better place to condition the light source as it is far enough away from the negative stage to cause any problems associated dust. You'll run into problems with dust using a filter below the lens not to mention that you're compromising some of the sharpness a good lens has by using a piece of coloured plastic between it and the paper. Also, if a below-lens filter gets scratched, that can cause more problems.<br> Incidentally, the filter drawer is also where a sheet of heat absorbing glass is placed if you can come across one (they used to be round and sit on the upper condenser and later ones are square and slide in like the filter holder).<br> You have a great condenser enlarger, these tips are intended to enhance the experience to get the best results.<br> Good luck with your printing, cheers. mbw</p>

<p>Glad you met with some success this round, Clarke.<br> <br />Shoot some more Neopan and see what happens, it is unlikely but not impossible that x-rays at the border fogged your Fuji film. X-ray damages really fast films usually, like 1600 ISO and higher and 400 Neopan should survive it although I realize you are pushing it later. That you were not watching how the package was inspected leaves many unanswered questions.<br /><br />We got plenty of film here in Canada though, maybe look more closer to home! <br /><br />I was the Winogrand fan, guilty as charged. Good luck with your next batch of developing.</p>

<p>Craig Shearman makes some valid points which we've mostly covered, and he shares the same years of experience as I do. The times given for developing are common averages, but by no means apply to all films. I am usually developing at 1+1 dilutions in the 10 minute range much of the time, only with stock solutions of D76 are you going to see 8 or less minutes. Tmax developer at 75F is faster but there's something to be said for a longer, gradual developing time if you can spare the extra minutes. Fixing times Craig suggests are for freshly mixed fixer and it sounds like he prefers to use it just once which is wasteful since it is designed for re-use but that's his prerogative. The clearing test to determine fix times is by far the most accurate because you are testing the exact film you are processing. There is absolutely no danger in re-using film fixer as long as you test how long it takes to clear film, it is one of the most common darkroom practices around. Exhausted developers, stop baths, hypo clearing agents etc are fine to dispose of down the drain, but it's no place for used fixers and toners. These chemicals even if used until exhausted pose some dubious pollution issues and should be saved up and discarded in a greener fashion. Most places have "toxic waste" disposal for that reason.<br> I said that I make film fixer at 1+3 from concentrate a litre at a time, and use the same fixer concentrate to make paper fixer at 1+7, but to be clear I do not use film fixer for paper. I make the paper fixer up at the start of a printing session and store it as working strength fixer for paper in a dark bottle and use it the next day, but check it's effectiveness with Hypo Chek before I use day old paper fixer.<br /><br />The point he mentions about temperatures is important, that the solutions should all be the same, ideally 68F/20C for almost anything (except when you choose Tmax developer - 75F). If you wash your films in cold running water after the processing steps are done at 68F, you may detect some ugly reticulation in the film grain once it dries.</p>

<p>Yes, Lex, your results are similar to mine. I don't mix a separate fixer for the Tmax/Delta films but my fixer sees some during its useful life. If I were only developing Tri-X and related emulsions, I have had a litre exceed 25 rolls. I use Ilford Hypam Rapid Fixer mixed 1+3 with an addition of Kodak part B hardener for films. I use the same fix for papers at 1+7 with no hardener. The clearing test is not only a foolproof way to tell how long to fix but gives an accurate idea of when that batch has fixed enough films and time to make a new batch.<br> I mentioned a chart to track films fixed, basically a piece of paper with boxes drawn on it and the date the fixer was prepared. Before that it was the masking tape with a series of ticks and slashes like a prisoner would scratch on the wall of the cell...<br /><br />As far as over-fixing is concerned, I would say it is less an issue than under-fixing or trying to use exhausted fixer. I prefer to stick with times I determined from the emulsion I am processing and three times clearing is usually sufficient. Fixing extremely long times will in time damage the image by starting to break down and converting the silver. This can weaken the image but just how this takes will vary. I have not experienced this with Tmax or Delta but it certainly was an issue with more traditional emulsions like my beloved Tri-X.<br> Twenty years ago I was running a darkroom department of a large camera store here in Toronto, and it was a great time while darkrooms were still viable and people used them! A guy I worked with was trying to earn extra money on the side by processing film and prints in his home-studio but he picked a bad habit of leaving stuff in fixer for longer periods of time while he went on to start other things. So I figured a lot of the stuff he did ended being over-fixed by varying amounts. I could have smacked him (but deferred to plain scolding)! </p>

<p>From my first comment:<br />"The fixing time is always TWICE the clearing time, or a little longer, no question about it. Clearing time is determined before you start processing by taking the "tail" of film you cut off to load the reel and drop it in your working strength fixer and time how long it takes to clear or remove the emulsion from the base... if you want the film fixed accurately, then I recommend you determine the clearing time to figure out how long to fix your films.<br />On that note, I would recommend you TRIPLE the clearing time if the film is Kodak Tmax or Ilford Delta as these films are tougher to clear. Three times the clearing time is not too long."<br> I cannot overstate this about fixing films, determine the clearing with a piece of that film as I mentioned, if the fixer is a fresh batch, the emulsion can completely clear in as little as a couple of minutes, I would fix that film for 5 minutes or if it is Tmax/Delta film, 8 minutes. As the fixer dissolves more silver from the films you process, the clearing times will get longer, so you can adjust the fix times as necessary. It is foolproof.<br /><br />No offence Clarke, but sniffing the fixer is not a terribly accurate way of judging the stuff, it will tell you something and perhaps give you a faint buzz as you start your processing.<br /><br />Since I started developing black and white films in the 1970's, I have learned from experience. I have learned that haste makes waste in the darkroom, and also often yields poor results. I almost always use developers at dilutions such as 1+1, 1+3 etc. and discard them as I never trusted reusing developing solutions though I know some people do. Personal preference. I have always used indicator stop bath until it is expired, always made film fixer up a litre at a time, and recorded how many rolls I get (interestingly when I fix more T-grain films my yield drops a bit but 15 - 20 rolls on average per litre). I swear by hypo clearing agent since I built my current darkroom as I'd like my films and prints to hang around a while. My personal archival film processing steps can be posted if you want me to share them. <br> By the way Clarke, I am a big Garry Winogrand fan too as he is in my top ten photographers who influenced me so I enjoy those references. He passed way too young.</p><div></div>

<p>Walter<br> Late adding my comment, sorry...<br> As Michael Howard suggested, you should get the free Olympus Viewer 3 program up and running. This OEM software is an excellent program as costs you only the time to download and install it. I have tried Master when I got my e3 camera. I was using PhotoShop CS4 for a while until I went and tried their free Viewer 2 software again, and realized it did a better job with my raw ORF files. The latest version I am using now, Viewer 3 is great. As Barry said, Total Commander may be a good file manager which might be useful as a PC user, but as Chris said, not an Olympus product.<br> I am a Mac guy running Snow Leopard on a Mac Pro (intel) tower with 13 GB of memory.</p>