Effects of washing in (hot) tap water

So, here in Tucson, Arizona, USA, tap water comes out of the faucet at about 90-100 degrees (32c). I've been developing my film in 68 degree distilled water, fixing at room temperature (about 72 degrees), but my stop bath and wash are with tap water. I've been noticing that even ISO 100 film looks grainy. Might this be a bit of reticulation from the heat? Does the temperature of the bath really matter?

 

Thoughts?

the water temp matters a lot. I keep 20l of water in jugs, keeping it at room temp. I just replace what I use, when I use it. Good for summer and winter.

 

I just picked up some water jugs from Walmart with spouts.

Once again, my Igloo system. Water & chem's inside an Igloo cooler stay at the same temp's. Add hot or cold water to bring temp's into 68-70f range. Neg's are washed to Ilford standards. Cooler contents are for one roll l of 135-36 or 120 film. Aloha from the Mainland, Bill

You should switch to color film, it will be much easier.

 

For us in colder climates, keeping the chemistry (both C41 and E6) at about 100F isn't easy at all.

 

We put the bottles and tank in a tray of water that is supposed to be close to 100F, but maybe isn't.

But with 100F air and 100F tap water, it should be easy.

 

The usual higher temperature for most black and white films is 85F, with the development

time adjusted appropriately. With a hardening fixer, as well as I know, you are safe

a little above 85. Hardeners are less popular than they used to be, though, as

the films are better than before.

 

Also, as well as I know, reticulation most often occurs from warm to cold, when

the emulsion contracts. Cold to warm it expands, and isn't so bad.

(Someone can say if that isn't right.)

 

If you used acid stop bath, at the same as fixing temperature, you might

do better.

 

I most often use Ilford rapid fixer, which doesn't have a hardener.

 

Kodak Rapid Fixer has a little bottle of hardener, that you add as appropriate.

 

If you make the transition gradual enough, it is fine.

 

I pour water at the same temperature as the rest of the chemicals into the tank,

then take the lid off and put it under the tap, on low. Even if the water coming

in is somewhat different temperature, it will mix and slowly change.

 

In most places, the underground pipes are deep enough not to follow the air

temperature. Maybe not where you are, though.

You could also use XP2, which is a C41 process black and white film. Again, designed for 100F.

I had the same problem in the summer, not as bad, but like peter & bill said, keep jugs of water handy to wash your film with. Check out the Rollei RPX 100 film dev data sheet & recommended washing cycle- no reticulation with nice & flat negs : https://www.freestylephoto.biz/pdf/product_pdfs/rollei/Rollei_RPX_100.pdf (page 4) or if you don't feel like going there, here's the jist of the archival washing regimen

 

Washing

The film remains in the reels. Don’t take it out of them. ***yada yada*** Rather often, tanks are connected to hoses by which fresh tap water is injected into the tank. A very daring method! Over- and under temperature are possible, emulsion peeling or reticulation may be the consequence.

For archival results, use the following washing procedure:

Prepare a bucket of water, as much as you may need, the day before you process a film. Often, the water will then have the right temperature when you need it, and if not, this larger quantity is much easier to get to, and hold at, the right temperature How much will you need? Let us assume 260 ml of solution for one 35-mm film. The fixer working solution having been poured out of the tank, swiftly fill in 260 ml of the water prepared the evening before. The tank is then inverted regularly for one minute. Pour out the water, refill. The tank is then invert ed regularly for two minutes. 8 changes followed by 2 minutes of regular agitation each ensure optimised, i.e. archival washing.

I have a few 2L soda (club soda, so I don't have to worry about any sugar) bottles filled with water.

 

I suspect in the summer, tap water here is close to 68F, but it is colder in the winter.

If you have such a big temperature change when going to wash or any other step the film reticulates and looks a lot like grain. If you can't complete the process without having such a large temp change then just don't process it at all. There's not much alternative.

 

Rick H.

Well, you can have a large change if you do it slow enough.

 

There is then a limit based on emulsion hardness. There are pre-hardeners that can be

used if needed.

 

C41 and E6 films are designed for 100F processing.

 

As well as I know, 85F for black and white films for some years now.

The film consists of salts of silver suspended in a gelatin binder. This by tradition is called an emulsion. It’s actually a suspension, too late to change the name now. Exposure to light weakens the bonds that hold the silver metal to its salt, a halogen (Swedish for salt maker), The developer is a reducing agent, able to liberate metals from their salts. The developer is selective, it is able to differentiate exposed vs unexposed silver salt crystals and split only the exposed. Those not exposed remain as is, those exposed are reduced to metallic silver and a water soluble halogen. The metallic silver is in the form of filamentary tuft. Theses tufts of sliver tend to clump. It is a clump of tufts of silver that makes its appearance as grain. Thus the finish film consists of tufts of metallic silver imbedded in a gelatin binder.

 

Believe it or not, the tuffs of silver are not completely immobile. If left wet for a prolonged period, they clump. If the fluids of the process, including the wash or rinse, are elevated in temperature, this promotes the dancing about of the tufts of sliver. In other words, such will promote clumping and this exhibits the grain you likely abhor.

 

Fine grain developers contain silver solvents that wattle away at the tufts of silver clumps, reducing their mass.

(snip)

 

Fine grain developers contain silver solvents that wattle away at the tufts of silver clumps, reducing their mass.

 

I believe it is silver halide solvents (even though many films say not to use developers with such), which partly dissolves them at the same time that the developer is developing them.

 

In any case, yes, it makes them nicer looking.

@ glen_h --

 

A tip of the hat from Alan Marcus – Fine grain developers contain a trace of a chemical capable of dissolving a part of the silver halide during the developing step. Typically sodium thiocyanate is this solvent.