IanRivlin

I just mixed up some new XTOL, using the 5 liter pack. I poured the contents of packet "A" into 4 liters of water - but didn't fully check to see if it had fully dissolved (I don't think it did). It had a blue tint to the liquid, right from the get-go. Nonetheless, I then went on to packet "B" and carried on stirring (Using a magnetic stirrer). Shortly afterwards, I looked at the container and it became apparent that there was a white solid mass at the bottom. I carried on stirring - filling up the air dead space with Tetenal Protectan, to reduce the chances of oxidation. I let it stir for hours. It's all dissolved now and is clear BUT it's still obviously blue - didn't darken or lighten at all, after packet "B" was used.. Usually, after packet "A", it's slightly orange, then after packet "B" is added, it goes clear. Does anyone have any ideas whether this batch is likely to be useless or is the blue color not too big a deal?

incidentally, I accidentally exposed a Tmax400 at 125asa. I developed it for 125asa (in XTOL) and the results were pretty damn good. Quite similar to the Foma 200 that had been exposed at 125asa. FP4, though, at 125asa still beats both the above films.

It only cost AUD$6.50 (about US$5) per roll of 120 film. That's a pretty good price.

I've been experimenting with this film, developed in XTOL. Long and the short if it.. Great film with a lovely appearance. I usually shoot TMax 400. Also a great film but i wouldn't call it artistic. If it reproduces the shadows well, it doesn't reproduce the highlights well and vice versa. Creative 200, exposed at 150asa, gives a delightful rendition of shadows, highlights and midtones. Grain? About the same as TMax 400, ie, when the speed is taken into account, not as good but the grain pattern is very appealing.Skin tones are excellent. I developed in XTOL 1:1 at 21c for 7 minutes. Initial 30 seconds agitation, then 5 seconds agitation every 30 secs. Scanned by a Noritsu HS1800 and I didn't need to make any corrections. Auto everything suited the film nicely. I highly recommend this film. I suspect it would respond well to a pyro developer.

I tried to download the manual but it required a username and password. I then tried to go to MAGSZILLA | Handcrafted wood goods | to register but it kept diverting to a different named site (and there wasn't the chance to join or register). Can you assist? Thanks, Ian

My Rolleiflex 2.8F now stops at 12 and won't wind on after this (last) exposure. Previously (and normally) after the 12th exposure, the film advance crank becomes free and the film can be completely wound on to the take-up spool. The camera still takes all 12 exposures but now I have to open the back in the dark. This isn't a deal but it's inconvenient if another film needs to be loaded. I'm sure most users will say "Send it of for repair" but just in case there's a quick and easy fix to this, I thought I'd try and solicit some suggestions. The camera is perfect in all other respects and I'm not eager to have it serviced, when it's taking such fine pictures. Any assistance would be very gratefully received. Ian Australia

It was the camera that was at fault. The aperture follower tab was sticking. When I moved it side to side a few times, it worked fine. Thanks for everyone who responded.

Any suggestions re the FEE error message? I still can't get it to disappear. (And the camera still won't fire at all with the message showing)

I have a Nikon D300. I'm getting the FEE ertor with an AF Nikkor 50mm F1.4 lens. (Japanese). It's set to minimum (F16) and I've cleaned the contacts with a cotton bud. It autofocuses normally it just won't fire. (Even on manual). The lens works on a Nikon F100 and the D300 works fine with all my other lenses (including manual Nikkor lenses). I notice rust the Custom menu is showing but I don't know how to get into the custom menu in the camera. Any suggestions? Thanks, Ian

Just out of interest, I developed some Tri-X, T-Max 400 and FP4 in D76, at 6 centigrade (ie refrigerator temperature). I agitated for one minute, then left the tank in the 'fridge for 2 hours. The results were excellent. By excellent, I mean very fine grain, excellent separation of tones and no blown out highlights. All good......... Then I ran out of D76 and used Fomadon P - which is, as I understand, Foma's version of ID11/D76. Same experiment but the results gave ZERO - ie nothing discernable on the film. The exposed leader was barely developed. I repeated the test with heavily bracketed exposures and agitation at the one hour mark - still nothing on the film. I'm not criticising Fomadon P (I suspect it's a very good quality product) but it's interesting how it responds completely differently from D76 at very low temperatures. Of course, these temperatures are not recommended by anyone - and I'm not recommending it either but some might wish to try this development with D76 and see if it's of use to them for special circumstances. I intend to repeat the test with Fomadon but next time, I'm going to leave the tank in the fridge overnight - about 8 hours

But don't use this method just for speed. The results are excellent too. Good is good. (Fast or slow).

Didier, I sent a lengthy reply to your request but it hadn't down up, somehow. In essence, I said that the temperature itself isn't an issue. What is an issue is the short time (at 37C) and how pour in and pour out times become more critical than if the development time were very long. Just be very meticulous with the timer. Probably start it *after* pouring in the fluid and stop it as your pouting out the fluid. Take note of how many agitations per minute you're doing, as this will be important.

<p>Recently, I've started developing my TMAX 400 in XTOL stock solution - at 27 centigrade - for just 3 minutes with vigorous continuous agitation. I'm very pleased with the results. Using a densitometer, the base fog gives 0.70 and highlights give 1.24 - giving a contrast ratio of 0.58.<br> These negatives are easy to scan and post process. The blacks are coming out jet black and the highlights sparkle. Just very nice results that are reproducible and suit both interior and bright daylight outdoor scenes. I get excellent results rating the film at 250, 400 or 640 asa, with 400 as a probably being the best.<br> I don't use filtered or distilled water. There's never a problem with air bells or streaking provided the agitation is done "figure of eight" and is vigorous and constant.</p> I've done direct comparisons with Tri-X. TMAX is "better" in terms of sharpness, grain, shadow details and general texture. The grain is fine enough to make 12"×16" prints (from a 35mm negative) that appear grainless at normal viewing distances. Some people prefer the appearance of Tri-X and I can understand differing opinions on this. I used to be a die-hard Tri-X user myself but I believe TMAX has improved, in all quantifiable respects, on Tri-X. (I also believe TMAX is substantially more pleasing than HP5 - again, just expressing a personal opinion. <p><a name="pagebottom"></a></p>

PS. I should add that I've done direct comparisons with Tri-X. The TMAX is better in terms of sharpness, grain, shadow details and general texture. The grain is fine enough to make 12"×16" prints, from a 35mm negative, that appear grainless at normal viewing distances.

Recently, I've started developing my TMAX 400 in XTOL stock solution - at 27 centigrade - for just 3 minutes with vigorous continous agitation. I'm very pleased with the results. Using a densitometer, the base fog gives 0.70 and highlights give 1.24 - giving a contrast ratio of 0.58. These negatives are easy to scan and post process. The blacks are coming out jet black and the highlights sparkle. Just very nice results that are reproducible and suit both interior and bright daylight outdoor scenes. I get excellent results rating the film at 250, 400 or 640 asa, with 400 as a probably being the best. I dont use filtered or distilled water. There's never a problem with air bells or streaking provided the agitation is done "figure of eight" and is vigorous and constant.

It's the holy grail of black and white photography. The only way to master it is to do the hard yards and go through the dreary process of hugely bracketed exposures and variable time, temperature and processing techniques. Eventually, ;you'll hit on the formu k a - and everyone will take their hats off to you. Cartier-Bresson's wise words... The first ten thousand photographs are your worst. Get back to me when you've done 10,001.

The latest APX 100 is extremely impressive and goes with XTOL like peaches go with cream. Fine grain, high accutance, beautiful tones, deep blacks and creamy smooth whites. 80asa. XTOL 1+0. 2 mins 45 seconds at 26 centigrade. 5 secs agitation every 30 seconds. The film dries in 10 minutes. Seriously - 10 minutes. It's easy to print or scan.

I've played around with every developer under the sun. Unfortunately, pyrogallol and "pyrocat" are poisonous. Take the easy way out. Use XTOL. It's safe, fine grain, high accutance, cheap, reliable, versatile etc etc. Used as a replenished developer, it costs just 10-20 cents to develop a roll. It's simply not worth risking your health with anything else. If you can't get a really good result with XTOL, it's your capabilities that are the issue, not the developer.

I've used caffenol extensively. It's fun to develop with household stuff. You can buy food grade 100% pure caffeine crystals (about $20 for 250gms) and it does a much better job than instant coffee *BUT* caffenol gives (IMO) far coarser grain than conventional developers. Caffenol will tame the contrast but there is a distinct lack of sharpness. Since CMS is all about squeezing every last drop of fine grain and sharpness out of a negative, why not use a developer that facilitates that aim? Just my 2 cents worth.... Ian