andrera

Dan,

I agree, but that wasn't a rainbow, rather it was a very light cloud (or a jet trail). If I had used a filter it might have come out stronger, but I'm not sure if that would be better (I was going for the walls and trees). Thanks for the comment, though.

Jay,

The accident wasn't too bad, and I hope to be back to normal by next week.

I did go back to Brazil after going to Japan, but only shot family pics (and most were in between beers with scale focus folders, so the quality suffered). Hopefully I'll get them printed and up on the site soon.

BTW, Dan

I've heard that 9 minutes at 1:100 72F is a good place to start with Agfa 100.

As Jay has already mentioned, don't judge the negs by how they look, as they might look much thinner than they should. Try printing them first.

here's another example of 510-Pyro with Foma 100:<div></div>

I regularly use Foma 100 with 510-Pyro, with a couple of different dillutions.

For normal contrast scenes, I develop my film in 1:100 dillution for 9 minutes at 72F, with 3 gentle agitations every minute.

For low contrast scenes, I develop 1:500 for 45 to 60 minutes at 72F(I'll have to check my notes for the time), with 3 gentle agitations every 15 minutes. This is the time that Jay was referring to. As a side note, although this is expansion development, I have a gut feeling that it can be forgiving to normal contrast scenes (all my 510-Pyro negs have printed with almost-none to none-at-all filtration).

I use a hand held meter set at E.I 100 for both development times, judge the contrast of a scene by feel mostly.

check out the Japan '06 section of my website for examples of both techniques (I doubt that you'll be able to guess which is used on each scene, as cloudy light may look sunny with the 1:500 dev).

I've also developed Arista AHPS (or is it APHS?) for 20 minutes at 72F, for low contrast scenes, at E.I. 3 . Check the still life section of my website for the notebooks/books scenes, as well as the motorcycle in the garage scene for examples of this development. Once again, the contrast is much expanded in these images. Conventional film/development would lead to muddy prints in these conditions.

My website is http://home.comcast.net/~avillez/

I plan on testing contraction development for Foma 100 at 1:200 soon (I remember mentioning this to you a few weeks ago, Jay, but unfortunately a motorcycle accident put a damper on my darkroom work).

Hope this helps,

André<div></div>

Bart,

I'd try rating a sheet at e.i. 1250 or 1000 and souping it in Diafine to see how it turns out. Other than that, e.i. 200 in D-76 could be a good starting place as well. See this link for times and e.i. for tri-x: http://www.digitaltruth.com/devchart.html ,even though the emulsion has changed since then, it could give you some starting times.

I apologize for not having a more specific answer to expired film, but since you are shooting 4x5, I think that you are in a good position to experiment with a couple of sheets before commiting the rest to any specific developer.

hope this helps,

Andre' Avillez

Jim,

Thanks for posting Steve Sherman's advice regarding dillutions. In my experience with 510-Pyro, however, 1:500 is a perfectly valid dillution, both for taming the Arista APHS ortho film (following Jay de Fehr's time of 20 minute semi-stand) and for expanding Foma 100.

I haven't noticed any loss in detail with the 1:500 dillution, although I haven't enlarged my negs too much yet. I'm attaching a print (done in 8x10 RC) where I hope some local contrast can be shown.

It's nice to see more 510-Pyro users around. I heard that Jay de Fehr is posting here, and decided to check it out. Seems that it has paid off.

best regards,

Andre' Avillez<div></div>

My experience with 510-Pyro is extremely good as well, although my negs (mostly Foma 100) tend to *look* too thin, but print extremely well.

Also, I've found that this developer works EXTREMELY well in 1:500 dillution, with stand development. This expands the tones of the neg, making it ideal for flat scenes. I'll post an example when I get a chance (and figure out how, as I'm new here).

Andr� R. de Avillez<div></div>