Negatives Grey (even around sprocket holes)

<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>T-grains dissolve differently. They dissolve from the thin edges in, which takes longer than ordinary grains, which dissolve from pretty much all sides.<br>

<br />I don't think I ever exhaust rapid fixer. Usually it plates all the silver out on the bottle, at which point I decide to mix more. I believe that is due to pH change that Na fixers don't have.</p>

<p>I've been developing film for 40 years and almost everything about your process seems foreign to me.<br /><br />To start, there is absolutely no need for pre-soak let alone 10 minutes. 30 minutes in the developer? Development times are typically 5-8 minutes (with D-76 for Tri-X or Tmax 400 at 75F). You don't have to use stop th but you should rinse the film for one minute in running water between the developer and fix. Kodak Rapid Fix works in four minutes. Regular fixer can take as long as 10 but some fixers work in five. Film then gets washed in running water for 20 minutes at about the same temperature as the developer/fix not "cold." (You can wash for five minutes if you use hypo clearing agent). Photoflo comes after washing, but rubbing alcohol has absolutely no business anywhere.<br /><br />The part about re-using your fixer and using it for both paper and film is just asking for trouble. In my darkroom everything is used one-shot and goes down the drain. That way all chemicals are always fresh and there's no question whatsoever about them being exhausted.</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>Okay Hello <br /><br />So tonight I developed some film.<br>

Rodinal 1:100 (cause I don't want to waste it)<br>

<br /><br />Tri x @ Winogrand Speed (1250) - Came out perfect <br />Expired color slide film- Ha was expecting nothing out of this. <br />Hp5+ @ 400- Came out perfect<br /><br />So this leads me to believe it's possibly a problem with the neopan? <br />I mean sorry for dragging out this thread, and all of you have provided me with more than enough information on why my film could possibly be foggy.<br /><br />I guess I will just have to see what happens when I shoot off the rest of the neopan 400 I have. <br /><br />I will shoot a roll @ 400 and a roll @800/@1600<br /><br />The only thing It might be is that I get my film shipped to me from NYC.<br />I live in Canada MAYBE possibly the x-ray machines messed my film up when it was shipped here?<br /><br />Well glad that they came out this time. <br /><br />Thanks a ton guys <br /><br />you rock <br /><br />(also winogrand is the best so to who ever said they appreciated my references you also are the best) <br /><br /><br /></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>US airport X-ray is specifically safe below ISO 800. (Though with enough trips, I might be a little more safe. Sometimes I ask anyway not to X-ray.)<br>

There has been some suggestion that post offices might do more. It should probably be labeled "Do Not X-ray" when shipped. I don't know about Canada Post.</p>

<p> Neopan 400 is a strange critter. I am not sure if it is a T-grain or a hybrid. I prefer it rated above Box speed. </p><div></div>

<p>Okay!<br /><br />So this is a shot from the latest batch. <br />(attached Image)<br /> /><br />(Scanned Gelatin Silver Print)<br /><br />The negative was originally a bit foggy and it was hard to get the highlights on the left more defined but I tried.<br /><br />Thanks for resolving my questions and all the info again. <br /><br />Regards Clarke </p>

<p>Change developer. <br>

The base+fog is dependent to the specific developer used.</p>