javi_l1

<p>I obtained a perfect brown tones with warm tone developer and Agfa Viradon wich was more of a polysulfide toner.</p>

<p>Did you load the cartridges yourself? Is it at the end or at the beginning of the roll? The picture in the fridge shows at least two greasy finger prints too!</p>

<p>If you are on a high mountain the polariser will give you quite dark blue sky, specially if the sun is forming 90º with your camera axe. The elimination of reflected light lows a bit the whole contrast. If you add a red one I guess you will get a black sky and high contrast. I would definitely pull the development.<br>

When I print white snow I feel I need to give it a little burn with the 4# filter. Hope you can figure out the proper exposition though!</p>

<p> </p>

<p>Thomas you should try <a href="http://www.fotosintesis.es/">Fotosintesis</a> their phone and address is C/ Téllez, 17 - 28007 Madrid - telf.(0034) 91 552 70 00 - fax (0034) 91 552 91 05<br>

they are the most professional lab here in Madrid.</p>

 

<p>And you say it happens the same with 35mm film?</p>

<p>from your scans one would say developer is not flowing properly through the central part of film. Borders are lighter in your scans hence more developed (accepting the fixing is ok).</p>

<p>Is film completely straight and each turn parallel when loaded onto the spirals?</p>

<p>hey!<br>

it's tri-x!</p>

<p>You can surely prepare a more concentrated solution since those amounts seem quite below saturation concentrations, at least for sulfite and carbonate. Other issue is how long it will keep, you will have to run some tests but I wouldn't expect a long shelf life. That stock solution will be very basic, you'll need an apropiated bottle. May be it would keep better preparing one solution wth the carbonate and another wth sulfite+glycine like you do with beutler developer.</p>

<p>Check Ilford XP2 publication I think you can expose this film up to 800 iso.</p>

To mix I use a 5 liters jug, I cut the upper part so I have kind of 3-4 liters bowl. To store I've never found better than 0.5 liters Coke plastic bottles, If they can store coke so they can do with developer and fixer. No, seriously, the plastic they use to make this bottles is good to keep mild alkalis.

With Kodad Infrared film I fogged the first film because I loaded at home in subdued light. If I where to load 120 film I would use a dim blueish light with no infrared light at all.

Paul could you explain how water afects grain size during washing?

You will know you used the fixer instead of the developer if your film is absolutely transparent, with out the film manufacturer marks on both sides.

If you have manufacturer's marks then no light hitted the film.

Here goes an advice from a non professional shooter.

 

I give my washed films a 1minute bath in photo flo: 1,5 ml in 1 litre. Then I hang them in a wet shower and pour from the top to the bottom another hole litre of the same concentration photoflow. This pouring drags all dust and forms an even coat. It dryes in 1,5 hours.

 

When I began to use this method I said goodbye to watter marks and strikes.

You will definetly find more grain but you may like white you see anyway. I moved away from Tmax because grain isn't all.

there's nothing you can do to solve the problem on the neg. All you can do is some burn with higher contrast filter but it wont be perfect.

Try to figure out if you exposed it to Xrays or harsh direct light. Film canisters allway say "do not expose to direct light" and some manufacturers insist about it in some of there 120 films, it depends on the spectral sensitivity. The red side of the spectrum penetrates easily and if the film you're using has an extended sensitivity to this wave lenght you get a fogged film. This is very important in infrared film.

 

Sorry about the film :(

Doesn't it look like fogged?

Dan you may need to get used to flm base different colors. I get some kind of blue negs with Ilford fp4 and pinky ones with Ilford panf. You simply print trhough the color.

If you feel you need transparent clear negs try Kodak 125PX or 100tmx.

Neofin is more an acutance one rather than a compensating developer:

 

http://www.apug.org/forums/archive/index.php/t-33929.html

Oh please guys reveal me the secret and tell me how not to scracht film!

 

I use a computrol and take care cleaning the cassettes but it doesn't work!

Hi Jedidiah.

 

I'm the first replyer. I'm no pro here but what I really advice you to improve your shadow detail and medium tones is a traditional 400 film. You wont be disappointed. Just as an experiment try Tri-X in your Xtol 1+1. Spend the full roll with the same landscape bracketing around the incident metering, cut it into three strips and develop 7,5 min/9 min/10,5 min. You will notice differences between exposure and development time.

If you can't find nice grays in your prints you're may be developping too much.

I've been following that path last months and my best advice is a mix of all the above.

Small format, Delta3200 or TMZ in quite diluted rodinal, say 1+50 or 1+100. The more diluted the better, but you must respect a minimum amount of the stock solution of Rodina. If you just want grain and not lots of contrast don't push the film. Diluted rodinal will make you lose a whole stop (regarding the former films you'll be around 400) but you will see nice little balls forming the image. You will have to tune the combination but I do think you will like the results! Try it for portraits and landscapes.

you will notice a little speed increase with Xtol but for the rest they both are solvent, fine grain developers.

If you like D76 you're not loosing a big thing.

thanks Vincenzo!