Times past developer

[andre_wright1]

<p>Sorry.... Newbie to developing medium format or any format beyond digital. Lucky enough to be thrust into it with a Hasselblad 500C/M. But, if your basing off a recipe that is beyond the standard 20c Developing temp, and standard dilution do the rest of your chemicals (fixers / perma wash / Photo-flo) do those ratios / times change as well???<br>

Any thoughts and guidance would be appreciated..... if not I would hate to burn through film testing to figure it out...... I'm an avid OCD learner and would love to know..... but if I have to test myself I will but would rather be successful early on.... (especially because the camera is used... bought through an antique store) and I would like to try and eliminate my process of development as a cause for a mis-development.</p>

<p>Again thanks...</p>

[dave_s]

<p>You can keep use the same stop, fix, and wash with different developers. Hold the temperature the same as the developer though.</p>

[rick_jones5]

<p>While your developing times can change significanlty with temperature changes your dilutions and processing times for stop, fix, PermaWash and Photoflo will remain unchanged. I try to carefully control my developer temperature and times but have found no problems whatsoever when remaining processing steps vary by as much as 5 or 6 degrees. But truth be told it is very easy to keep all processing temps very close.</p>

[Alan Marcus]

<p>As you know, higher temperatures promote accelerated chemical reactions. Thus the time in the developer reduces. 20⁰ (68⁰F) was chosen early in the last century because this was about average room temperature. Modern processes, especially the color film and color paper processes are set quite high. Best advise is to keep all the fluids at the same temperature. As to the secondary chemicals of the process, they too are affected by temperature however the need to adjust time based on temperature is moot as unlike the developer stage, these reactions go to completion. The fact that they complete sooner at elevated temperatures is desired. The time in solution is also governed by infusion time. The light sensitive goodies are bound in gelatin. Gelatin is chosen because it swells when wet allowing the chemicals of the process to enter and percolate about. Gelatin swelling is greater at elevated temperatures allowing faster admittance. The gelatin shrinks to near normal as the material dries. Best advice: Try to keep all fluids at the same temperature</p>

[peter_mounier]

<blockquote>

<p>... and I would like to try and eliminate my process of development as a cause for a mis-development.</p>

</blockquote>

<p>What sort of problem did you have with development? What do the negs look like?</p>

[AJG]

<p>A large plastic tray or tub can make a good water bath to keep your other chemicals close to the same temperature as your developer. In my experience teaching a lot of introductory classes over the last 15 years, film is remarkably tolerant of small (5-6 degree) temperature changes between developer and the rest of the sequence. I'm certainly not recommending sloppy work, as when done properly the quality of your negatives will certainly be better, but for your initial testing and familiarization with the camera, I wouldn't obsess over this particular issue. Loading film on to a stainless steel reel is likely to be a lot more daunting...</p>

[JDMvW]

<p>In color work, and for the very highest quality B&W, temperature control is extremely important.<br>

However, I confess that my approach of "D-76 (stock), Tri-X, and 8 minutes at whatever temperature the developer happens to be at" does more than well enough ('good enough for government work', is what we used to say). Any variations in negative quality are pretty much easily fixed in post-processing after I scan the negatives.<br>

Like Andrew's experience, I find B&W film is remarkably resistant to minor variations in "room temperature".<br>

pdf of D-76 instructions from Kodak : http://www.kodak.com/global/en/professional/support/techPubs/j78/j78.pdf </p>

[ken_kuzenski]

<p>Andre, let me endorse Andrew and JDMvW's comments; black-and-white film can provide excellent results even with a fairly casual approach. Try developing a few rolls of 120 B&W film yourself, you'll be delighted at the results, even if the developer isn't at the exact temperature the spec sheets say. :-) You'll see that it's really easy to get great results. And that 500c/m is a GREAT "starter camera." :-) You're in for a world of fun, Andre! </p>

[glen_h]

<p>You should be slightly close to the times given for the film, developer, and temperature combination.<br>

(Though I like to use Diafine, as specfied from 70 to 85F, with one time.)<br>

<br />Older films were done at lower temperatures, as the gelatin wouldn't survive, maybe 50F or so. <br>

Modern B&W films, and even back to the 1970's, seem to be good to 80F or so, maybe 85F.<br>

C41 and E6 are close to 100F (about 38C).<br>

If you wash at lower than 68F, it might take longer than the specified 68F time. If you use a wash aid, such as perma-wash, follow its directions.</p>

 

[Bill Bowes]

<p>Hello Andre, and welcome to film! You might consider the Igloo Cooler scheme that I have used for years to hold the chemistry I need for b/w film. Temps can be raised/lowered to maintain consistent developing. Inside this cooler is enough chemicals and water for one 450ml Nikor tank processing, (2) 35mm or (1) 120 film roll. Hope you have fun with your film efforts ! Bill</p><div></div>