Fixing Fuji Acros 100 and TMax 100

[animesh_a]

Hi,

 

I will be shooting a roll (120) each of Fuji Acros 100 and TMax 100 this

weekend and will be processing it. I need help mainly because I have heard

Acros and TMax being tabular grain films are not fixed in the standard way.

 

1. How should I rate both these films before shooting?

 

2. I have D-76 chemistry. Should I use stock or use 1:1 dilution? (I can take

the dev times from the massive dev chart). Any special instructions I should

heed?

 

3. I have read that Acros and TMax cannot be fixed in the conventional manner.

I have a fixer called -Agifix- that has given good results with conventional

emulsions with 6 mins fixing time. Can I use this for Acros and TMax?

 

4. I have a Yashica 635 whose leaf shutter sounds and looks to be accurate

compared side by side with my Nikon FM. In the event it is in fact off, is

there a safer ISO rating and development time I can use to better ensure good

results?

 

Thanks!

[richterjw]

I use D-76 stock, but I think it's just preference. Regarding fixing, I use Kodafix or Ilford Rapid Fixer with Acros as with any other films, no problems. Just follow the instructions. My only problems are with the person behind the camera. JR

[john carter]

I had to increase my Tmax100 fixing time (2minutes) over my TriX fixing time.

[ted_gofferenger]

There seems to be a lot of, "t-grain," concerns these days. Let me put the questions to rest:

 

You can fix ANY B&W film in ANY fixer.

[ronald_moravec1]

Disagree on any fixer. Regular fixers seem to not go a good job on T films no matter how long I fix and how fresh it is.

 

Kodak Rapid fix or Photographers Formulary TF4 work well on T- films. Fresher the better. Double the time for regular films or just add two min as above.

 

TMax requires lots of water changing washes to get all the red dye out.5/7 min with 10 changes.

[ted_gofferenger]

I always fix for 10 minutes and I always rinse for 30 minutes and I never get a magenta stain

[blarg_.]

I use TF4 - 10 minutes is enough for ANY film. Tmax will turn your fixer funny colors, but it won't hurt it.

[lex_jenkins]

T-Max films (I've used a lot of TMX and TMY) are fixed normally in rapid fixer. Nothing special about them.

 

The only difference is that T-Max films tend to "kill" rapid fixer quicker than other films. So I use separate batches of rapid fixer: one for T-Max films; one for everything else.

 

Typically, a liter of normally diluted rapid fixer is good for 10 uses in T-Max films. I always put a bit of masking tape on the bottle, date it and check off each use. Consistently I get normal fixing for 10 uses*. The 11th gets significantly slower. By #12 sudden failure sets in.

 

*By "use" I mean, typically, a single roll of 36 exp. 35mm or single roll of 120.

 

While it's generally true that any b&w film can be developed and fixed in any chemistry, most films do better with a limited range of developers and there are a tiny handful of notable exceptions where certain films don't do well at all in certain developers. For example, the revised Agfa APX 400 of a few years ago (just before it was discontinued) was not a true ISO 400 film in Rodinal. Agfa's own data clearly indicated this peculiarity, but the data chart wasn't easy to find. A lot of folks who liked the earlier APX 400 in Rodinal were suddenly disappointed by the revised emulsion in their favorite developer, which was now closer to a 200 film at best. So for optimal results it's best to find out which developers work best with a given film, also considering the exposure conditions.

[the world in black white]

"You can fix ANY B&W film in ANY fixer." That is probably true if you don't care about the results. With a little more research you, Ted, will see how ridiculous that statement is. I, however, am not here to educate you. That is really one helluva generalization!

[profhlynnjones]

1. By actual test only

 

2. For Acros or any other high resolution film, D76 1:1, or Rodinal, 76 full strength is a solvent developer that yields fine grain which in thin emulsion films will actually reduce resolution.

 

3. Most of us double the fix time (althoug double the clearing time is just fine) we increase the fix time to eliminate the blue stain which probably doesn't hurt anything, we just don't like it!

 

4. If you question your shutter speed, have it tested by a repair shop. Your brain will never make the comparison between two shutters, especially between leaf and FP shutters.

 

Lynn

[ted_gofferenger]

<i>(Mod. Em. Note: Disemvowelled per Boing Boing paradigm.)</i><p>

 

k smrt gy, gv m n xmpl f bd fxr nd flm cmbntn.

[ted_gofferenger]

<i>(Mod. Em. Note: Partially disemvowelled per Boing Boing paradigm.)</i><p>

 

And remember, this is a B&W film processing forum, so don't try to tell me you can't use fixer used for color film on B&W film. nyn wth hlf brn cn fgr tht t.

[the world in black white]

Ted: the first example that comes to mind is the use of fixers with hardening agents when developing film with PMK. They reduce the image stain. The use on non-hardening fixers allows optimum staining. This is generally true of films processed in pyro. Does that help?

[russ_kerlin]

First, Acros is not a T-grain film.

 

Second, D-76 1:1 is a compromise developer. Use either full strength for better grain or 1:3 for higher accutance. With Acros, the grain structure is already very fine, so I recommend 1:3, especially if shooting medium format or above. The 1:3 dilution is also a compensating developer, which works quite well with Acros' tonality.

 

Third, I tend to agree with Ted. In general, fixers are fixers, and I have never had a problem fixing either of these films. True, there could be some exceptions, such as with staining developers mentioned by Donald, but by and large there isn't much very variation. That said, I do recommend alkaline and non-hardening fixers. PS, use a water stop.