maxim_muir

<p>K10-11 Kodachrome has a look that has never been equalled or duplicated. Ernst Haas bought bricks and bricks of the stuff, as he did not like the look of K12 Kodachrome II. Kodak discontinued processing it in 1967-I hope Mr. Haas had all of his shot up by then:)<br>

I said in another similar thread on FM that I'd like to see a consortium of people with more money then sense buy the patent/tooling for it, and start making it again, and sell it as a niche product. It would probably cost at least 30 dollars a roll to see, and another 30 dollars a roll to process by the time they had lines running again.:)</p>

<p>Michael Gray of lifeindigitalfilm.com is finishing up a revised Lightroom preset for Kodachrome ASA 10 based on scans that I sent him last May. I can't hardly wait to see what he comes up with this time:)</p>

<p>BTW it is a shame that panchromatic enlarging paper is gone-it gave you a chance to use a yellow or red filter after the fact if monochrome was your goal. You could apply the filters after shooting to darken a blue sky-oh well too late-yet another silver era product that has gone by the wayside. The question is-when do i get employed as an instructor for all the luddite workshops 20 years from now to tell people how we did it in the old days?:)</p>

<p>Filters on the enlarger (assuming using panchromatic paper) only work if you are printing color negatives with a panchromatic paper like Panalure. Since Panalure paper is now bye bye, the only filters of use at enlarging time are magenta/yellow filters in conjunction with multicontrast paper like Ilford Multigrade( in all its permutations)</p>

<p>My apologies-I thought this was a re-introduced version of Adox KB 14:(</p>

<p>Xtol type developers have enough sulfite in them, that if you dilute them enough to minimize the "grain etching" effects of the sulfite, you end up with overly long development times, and a possible loss of Film speed. I think I would reach for a stronger Willi beutler type of developer if acutance with slow film was my goal. See here:</p>

<p>

<p >Water (distilled) 750ml<br />Pinch of sodium sulfite<br />Metol 25 grams<br />Sodium sulfite 20 grams<br />Sodium metabisulfite 5 grams<br />water to make Solution A 1 liter</p>

<p >Solution B<br />Water 750 mls.<br />Sodium carbonate (mono) 25 grams<br />water to make 1 liter</p>

<p >For starters, dilute 1 part A, 1 part B, 8 parts water. Develop for 8 minutes @20 degrees C. I'd do a bracket s</p>

</p>

<p>Back in the 1950's when Adox films were at their peak, the typical developer used was Tetnal Neofine Blue. Today I think I would try a Willie Beutler type developer such as:<br>

Water (distilled) 750ml<br>

Pinch of sodium sulfite<br>

Metol 25 grams<br>

Sodium sulfite 20 grams<br>

Sodium metabisulfite 5 grams<br>

water to make Solution A 1 liter</p>

<p>Solution B<br>

Water 750 mls.<br>

Sodium carbonate (mono) 25 grams<br>

water to make 1 liter</p>

<p>For starters, dilute 1 part A, 1 part B, 8 parts water. Develop for 8 minutes @20 degrees C. I'd do a bracket series to test @ EI 8, 16, 20, 25, and 32 to see where your shadow detail falls-I'd bet you'd end up right around EI 16 with this combo. Should tame the contrast adequately, and give you plenty of acutance.</p>

<p>Verichrome Pan was my all time fav 120 roll film. You had to try awfully hard to get a bad neg with it (it was designed, after all with box cameras in mind), and if you exposed it and developed it spot on, it produced some of the most tonally rich, detailed prints I have ever seen or made!<br>

The sheet film version (characteristic wise, not the same emulsion) was Super XX Pan. Same deal-abuse it and get usable results. Expose and develop it spot on-totally incredible. Combine well exposed, correctly developed Super XX 8x10 sheet film, printed on AZO contact paper, developed in an Amidol paper developer, and finished in a gold toner, you had something special to look at my friends. Ah-those were the days.......................</p>

<p>The days are approaching when Foma and Adox will be the only sources for black and white that are left. After that, it is time to go back to doing wet plate collodion. Me personally, I want to learn how to polish, sensitize, shoot, and develop Daguerreotypes before I die:)</p>

<p>Everyone else pretty much answered your question. The example you displayed on the screen looked more like reticulation to my eyes from temperature shock:)</p>

<p>My fav high acutance developers back in the day were my modified Willi Beutler developer, home brew Rodinal variants, and PMK. I think the Sandy King Pyro-Cat developer would be a nice one for acutance effects, but I was not doing film work when that one was published.</p>

<p>Use benzotriazole at app 1/10 the amount recommended for KBr. I used to keep a 1% solution of it (1 gram dissolved into 90ml of everclear grain alcohol, add alcohol to 100ml) to make spot additions to developers when diluted for use.</p>

<p>Ilford Microphen is pretty much a buffered D76 using phenidone instead of metol (you can find the formula for ID-68, the original version of Microphen on the web easily)<br>

It gives image characteristics similar to D-76, and since it is a more active developer than D-76, you can dilute it 1:3 and use it like 1:1 D76. The buffering stops the ph rise characteristics.</p>

<p>When I used PMK, I ended up doing constant agitation-period. You'll have to decrease the given starting times (I did HP5+ for 9 minutes @20C at EI 200). I didn't have a Jobo, but I used a 4/2 reel stainless steel tank, my my agitation scheme was invert, invert, twist ,bang on table, invert, invert, twist, bang and so on for the entire time. Never had a problem at all.</p>

<p>I would go here: https://www.artcraftchemicals.com/products_1.php</p>

<p>and order enough of the base chemicals for making D-76 for a year, and mix it from scratch, rather than splitting a commercial package. You need sodium sulfite, metol, hydroquinone, and borax to make the developer. The formula is freely available on the internet-my mnemonic for it is 2, 100, 5, and 2 (metol, sulfite, hydroquinone, borax in grams in a liter of water)</p>

<p>A presoak in a bath containing 1/4 teaspoon sodium sulfite in a liter of water for about 5 minutes, and a couple of changes of water can go a long way in removing sensitizing dyes from modern films.<br>

Fixing in non hardening fixer helps as well, and then the washing required in 10 complete changes of water and you should have pretty clean negatives.</p>

<p>I always used to shoot "new technology" films like Delta 3200 and T-Max 3200 at EI1200-1600 because I prized shadow detail I could not recover later. Then you need a fast lens, and a fairly active developer that has enough sodium sulfite in it to keep the grain from golfballing, but not so low to produce a sandstorm.</p>

<p>A combo like Ilford Microphen, diluted 1:3, and a 12-15 minute development time @20 degrees C at those ISO's should give very good results.</p>

<p>I did one last test set for Michael with a version of his preset that made use of input from photo.net</p>

<p>http://anscochrome.zenfolio.com/p9451785</p>

<p>Now, after the Monday free release, we'll see if Michael can get some help from real 1955-1960 slide examples, so he can make this preset an even better match!</p>

<p>The fellow, Michael Gray who runs this site: http://www.lifeindigitalfilm.com/<br>

and I have collaborated (my part was test various builds of the preset from existing material to test it )to produce an Adobe Lightroom/Adobe Camera Raw preset to simulate the look of ASA 10 Kodachrome, circa 1955-the films demise in 1962. The preset will be officially released for free this coming Monday at his site, but we could use the help of some kind souls to make it even better.</p>

<p>What Michael needs are some actual ASA 10 Kodachrome slides processed between 1955-1960 to make the blues, yellows and green of the simulator plugin more accurate. What he does NOT need are precious family picnic/party shots of that time period, as he has the skin tones of that film pretty well nailed down.<br>

What he does need to borrow are typical family vacation shots, that are not too extreme in the under/overxposure department (about + or- 1 stop would be ok) and that are not too faded and with minimal physical damage, shot under different lighting conditions (early morning, late afternoon, overcast etc.) Michael is extremely responsible with irreplaceable objects like these, and he would not be holding them for an unreasonable time. He basically needs to receive them, scan them, and send them right back to you.</p>

<p>Here are samples of what this preset does: http://anscochrome.zenfolio.com/p256478634</p>

<p>As you can see, he has the bronzy looking fleshtones down, and the chalky looking reds in good shape. Yellow, blue (the purple blue skies as of now are fairly close), and greens needs some help from analysis of real slide examples.</p>

<p>If you can help him at all, we would be forever grateful! Contact Michael at michaelatlifeindigitalfilmdot com if you are willing to help out making this project even better!</p>

<p>Sincerely,</p>

<p>Maxim M. Muir</p>