Preparati stop e fix

Preparati con acqua minerale naturale e filtrati stop e fix.

530 ml di Stop
Ars imago stop 1+30 = 20 ml + 530 ml (acqua fino a riempire la bottiglietta da mezzo litro)

600 ml di Fix
Ars Imago Fixer = 100 ml + 500 ml

Articolo sul pre-lavaggio delle pellicole

Interessante articolo sul pre-lavaggio delle pellicole, qui sotto riporto solo le conclusioni e il link all'articolo stesso: "Conclusion: while this is not a definitive and exhaustive test it does show that there is a difference between with and without pre-soak. Those without seem to give a denser negative, which suggests that the pre-soak does have a diluting effect on the developer albeit small. This may be offset by the developer holding its temperature better because the pre-soak is building heat into the tank which helps maintain the developer temperature. This should help to improve consistency between films."

http://www.film-and-darkroom-user.org.uk/forum/showthread.php?t=202

2 Adox Silvermax (35mm) Silvermax Developer

Sviluppate 2 Adox Silvermax da 35mm nella stessa tank scattate con la Nikon FM e il 28mm 2.8 AIS e il 55mm F/3.5 micro:
- Una pellicola e' stata scattata a Rocca Calascio al tramonto, alcuni scatti con il filtro arancione montato.
- L'altra pellicola e' stata scattata in Sardegna sulla Spiaggia Berchidda, i primi fotogrammi ad alcuni cespugli di una zona palustre gli ultimi fotogrammi sono delle lunghe esposizioni marine a degli scoglietti sulla spiaggi.

580ml di acqua del rubinetto e 20ml di Silvermax Developer, diluizione 1+29

11 minuti a 20 gradi (bagnomaria a 18 gradi, come indicato sul bugiardino Adox)

60 secondi di agitazioni iniziali e poi 2 lente agitazioni ogni minuto.
Stop di 60 secondi con 500ml acido acetico di Ars Imago in agitazione continua.
Ars Imago Fixer 500+100 per 6 minuti agitando 10 secondi ogni minuto

Lavaggio metodo Ilford 5+10+15+20 con acqua del rubinetto filtrata e lasciando la pellicola a bagno prima e dopo i cicli di agitazioni.
Lavaggio finale di 3 minuti in demineralizzata (no imbimbente)
Asciugatura senza pezzetta

(I negativi sono molto interessanti, sembrano poco contrastati ma quello che ho gia' provato a stampare era cosi' ed andava bene. Ho trovato qualche "cristallo" appiccicato sull'emulsione, molto probabilmente fisx cristallizzato. Da verificare in stampa se la cosa puo' creare problemi)

Acquistato visore 65mm per Mamiya Press

Per 40 euro acquistato su subito.it visore 65mm per Mamiya Press.

 

 

Imbottigliato ADOX Rodinal

La bottiglia di ADOX Rodinal da 500ml e' stata suddivisa in 250ml + 100ml + 100ml...

Una bottiglia da 100ml e' per Cristiana...

Il Rodinal e' stato preparato da ADOX a Gennaio del 2018 come indicato in basso a sinistra sulla bottiglia.

1 Adox Silvermax (35mm) Silvermax Developer

Sviluppata Adox Silvermax da 35mm, le pellicola e' stata scattata con la Nikon FM e il Nikkor 28mm F/2.8 ais e il filtro arancione montato a campo imperatore nel "canyon".

290ml di acqua del rubinetto e 10ml di Silvermax Developer, diluizione 1+29

7,5 minuti a 24 gradi (bagnomaria a 23 gradi, tempo bugiardino Adox riporta 11 minuti a 20 gradi)

60 secondi di agitazioni iniziali e poi 2 lente agitazioni ogni minuto.
Stop di 60 secondi con 500ml acido acetico di Ars Imago in agitazione continua.
Ars Imago Fixer 500+100 per 6 minuti agitando 10 secondi ogni minuto

Lavaggio metodo Ilford 5+10+15+20 con acqua del rubinetto filtrata e lasciando la pellicola a bagno prima e dopo i cicli di agitazioni.
Lavaggio finale di 3 minuti in demineralizzata (no imbimbente)
Asciugatura senza pezzetta

(I negativi sono molto interessanti, da verificare in stampa se sono troppo poco densi - Aggiornamento del 30 ottobre 2018: i negativi sono facili da stampare) 

1 Ilford Delta 400 (35mm) Hc-110 1+63

Sviluppata Ilford Delta 400 da 35mm, le pellicola e' stata scattata con la Nikon FM.
I primi fotogrammi alla via degli inferi con il 24mm F/2.8 e il 50mm F/1.8.
Gli altri a campo imperatore e nel canyon con filtro aranzio, 28mm e cpl.

315ml di acqua del rubinetto e 5ml di HC-110, diluizione 1+63

10 minuti a 24 gradi (bagnomaria a 23 gradi, tempo bugiardino Ilford riporta 5 minuti a 24 gradi per 1+31, ho raddoppiato i tempo e dimezzato la diluizione).

60 secondi di agitazioni iniziali e poi 2 lente agitazioni al minuti 4 e al minuto 7 (i bugiaridni ilford in genere riportano tempi per negativi molto contrastati, ho ridotto al minimo l'agitazione)
Stop di 60 secondi con 500ml acido acetico di Ars Imago in agitazione continua.

Ars Imago Fixer 500+100 per 6 minuti agitando frequentemente.

Lavaggio metodo Ilford 5+10+20 con acqua del rubinetto filtrata e lasciando la pellicola a bagno maria prima e dopo dei cicli di agitazioni.
Lavaggio finale di 3 minuti in demineralizzata (no imbimbente)
Asciugatura senza pezzetta

(I negativi sembrano molto interessanti, devo provare a stamparli)

1 Ilford FP4+ (35mm) TMAX DEV 1+9

Sviluppata Ilford FP4+ da 35mm, le pellicola e' stata scattata da Umberto Biancotti con la Nikon F60.

270ml di acqua del rubinetto e 30ml di TMAX DEV, diluizione 1+9

11 minuti a 24 gradi (bagnomaria a 23 gradi, tempo di devchart per 160 asa).

60 secondi di agitazioni iniziali e poi 2 agitazioni ogni minuto.
Stop di 60 secondi con 500ml acido acetico di Ars Imago in agitazione continua.

Ars Imago Fixer 500+100 per 6 minuti agitando frequentemente.

Lavaggio metodo Ilford 5+10+20 con acqua del rubinetto filtrata e lasciando la pellicola a bagno maria prima e dopo dei cicli di agitazioni.
Lavaggio finale di 3 minuti in demineralizzata (no imbimbente)
Asciugatura senza pezzetta

(I negativi sembrano un pochino troppo densi e forse troppo contrastati, la prossima volta provare a ridurre il tempo di sviluppo di un 20%)

1 Kentmere 400 (35mm) TMAX DEV 1+9

Sviluppata Kentmere 400 scattata con la Nikon FM a Ronciglione e finita alle felci della caldara di Manziana. (E' stato riutilizzato lo stesso sviluppo usato per la precedente pellicola!)

270ml di acqua del rubinetto e 30ml di TMAX DEV, diluizione 1+9
10 minuti a 20 gradi (bagnomaria a 19 gradi, tempo di devchart, e' stato complicato tenere la temperatura a 20 gradi, troppo caldo).

60 secondi di agitazioni iniziali e poi 5 agitazioni ogni minuto.
Stop di 60 secondi con 500ml acido acetico di Ars Imago in agitazione continua.
Ars Imago Fixer 500+100 per 6 minuti agitando frequentemente.

Lavaggio metodo Ilford 5+10+15+20 con acqua del rubinetto filtrata e lasciando la pellicola a bagno maria prima e dopo dei cicli di agitazioni.
Lavaggio finale di 3 minuti in demineralizzata (no imbimbente)
Asciugatura senza pezzetta

(i negativi sono molto "leggeri", non saprei se per problemi relativi al tempo di sviluppo troppo breve o se per il fatto che il TMAX DEV diluito 1+9 era gia' stato usato poche ore prima per sviluppare un'altra pellicola. Aggiornamento del 03/10/2018: ho provato a stampare uno dei fotogrammi, purtroppo anche con filtro 5 e' impossibile ottenere dei neri mantenendo i bianchi)

1 Ilford HP5+ (35mm) TMAX DEV 1+9

Sviluppata Ilford HP5+ da 35mm, le pellicola e' stata scattata a 400 e 200 asa con la Nikon FM
alla via degli inferi, alla tenuta del presidente e alla chiesa all'infernetto.

270ml di acqua del rubinetto e 30ml di TMAX DEV, diluizione 1+9

14 minuti a 24 gradi (bagnomaria a 23 gradi, tempo di devchart).

60 secondi di agitazioni iniziali e poi 5 agitazioni ogni minuto.
Stop di 60 secondi con 500ml acido acetico di Ars Imago in agitazione continua.

Ars Imago Fixer 500+100 per 6 minuti agitando frequentemente.

Lavaggio metodo Ilford 5+10+15+20 con acqua del rubinetto filtrata e lasciando la pellicola a bagno maria prima e dopo dei cicli di agitazioni.
Lavaggio finale di 3 minuti in demineralizzata (no imbimbente)
Asciugatura senza pezzetta

(I negativi sono molto interessanti, ho provato a stamparne uno dei piu' complicati e sembra essere facile da stampare. Combinazione rivelatore pellicola da prendere in considerazione)

Preparati stop e fix

Preparati con acqua del rubinetto e filtrati stop e fix.

530 ml di Stop
Ars imago stop 1+30 = 20 ml + 530 ml (acqua fino a riempire la bottiglietta da mezzo litro)

600 ml di Fix
Ars Imago Fixer = 100 ml + 500 ml

Xtol and perceptol compare

https://www.photrio.com/forum/bookmarks/?type=post&id=1059704

I have tested and used both developers extensively. I have detailed tests on Perceptol at various dilutions with TMX 100, Delta 100, Acros and PanF+. Perceptol is my primary developer.

These are not the same type of developer so comparing them in terms of "better/worse" doesn't make sense. XTOL is a Phenidone/Ascorbic acid, well buffered solvent developer. It gives full film speed and actually up to about a half stop more, so it can be classified as a speed enhancing developer. At stock strength, it is both slightly sharper and finer grained than D76, with similar tonality. As you dilute it, behaviour is typical of dilute solvent developers - ie increased acutance and increased grain both due to reduced solvent effects. Indeed at 1+3 XTOL is quite sharp, and the grain increase is comparitively small due mostly to XTOL being well buffered. Also typical of dilute general purpose developers, macro contrast decreases with dilution due to controlled exhaustion in the highlights. This can be further managed with changes in agitation. It is an excellent developer, probably the best all around general purpose developer out there at this point when evaluating the balance of tonality, graininess, sharpness and speed in totality.

Perceptol is different. It is an ultra-fine grain developer based on metol and high solvent activity at a relatively low pH. In addition to sodium sulfite it uses sodium chloride for additional solvent action, making it extremely fine grained, but noticeably less sharp at stock strength than standard fine grain developers like XTOL at stock strength. Further, there is a speed loss, usually of around 1 stop compared to most general purpose developers. Dilution of Perceptol increases sharpness and grain (as is the case with any solvent developer, but the differences are smaller due to its initially high solvent action. At 1+3 (my preferred dilution), it has good sharpness, not as sharp as XTOL, but not as grainy either. In addition, being a metol only developer, dilution makes it very effective at controlling high contrast. It is pleasantly soft working.

So in summary, compared with XTOL, Perceptol will exhibit:

-Lower film speed
-Finer grain
-Lower acutance
-Lower contrast

I have two critical (in my humble opinion) recommendations for the best use of Perceptol (or Microdol), both concerning getting minimum grain, which is presumably one of the key reasons for using it. These developers are finicky about speed and contrast. If you want fine grain, you need to accept the speed loss, and the enherently lower contrast nature of the developer:

1. Determine your effective film speed at stock strength (probably around 1 stop lower than normal), and continue to use that EI when diluting 1+1 or 1+3. Usually instructions and guidelines indicate that when diluting a developer, there is an effective film speed increase due mostly to compensating action. So you'll often read that at say 1+3 for Perceptol, you can use your regular speed. I advise you not to do that. Getting anywhere near normal speed in Perceptol, regardless of dilution, amounts to an effective "push" - and it must be noted based on my tests that graininess in Perceptol is exceedingly sensitive to development time. As development times are extended, the extra fine grain properties are quickly lost.

2. Related to (1) above, same goes for contrast. Extrenely fine grain is maintained only when development is to normal (actually slightly soft normal) or reduced contrast. Do not attempt expansions. Grain will increase dramatically and you therefore gain nothing versus using a general purpose developer. I consider the lower contrast nature of Perceptol to be one if its excellent properties, but if you are interested in higher contrast work, XTOL will be just as fine grained, with significantly higher film speed.

Notes on specific films in Perceptol, developed to normal contrast, as compared to Ilford DDX (a general purpose developer):

-TMX 100 is exceedingly fine grained. Even at 1+3 the increase in grain is very small, and graininess is still noticeably finer than in DDX. I would highly recommend TMX in Percepto 1+3 for anyone looking for soft or minus development, pretty good sharpness and extremely fine grain.
-Acros is slightly grainier than TMX, but even at 1+3 still slightly less grainy than DDX
-Delta 100 is slightly graininer than Acros, and at 1+3 graininess is approximately equivalent to DDX
-Pan F+ is similar to Delta 100 in terms of the overall impression of graininess, although the grain structure is different and it looks subjectively sharper to me.

Agfaphoto APX 100 developed in Kodak HC-110 two-bath

Ruediger Hartung - Agfaphoto APX 100 dev. in Kodak HC-110 two-bath
https://www.flickr.com/photos/53687643@N04/42701505105/

Two bath Kodak HC-110 compensating development
(Bruce Barnbaum- modified)

Diluted Kodak HC-110 developer, e.g. 1+119 of syrup, is strongly compensating (covers the highlights). Also shadows and lower midtones show good texture but the shadows have too little contrast.

Eduardo Almeida has already shown examples of how this can be improved using Bruce Barnbaum's method.

First a pre-development in a stronger HC-110 developer (1+43) is carried out and the remainder is developed in diluted developer (1+183). Please use at least 500 ml of the diluted developer per film!

->Dilutions based on syrup, not stock solution<- p="">
But I have changed the INVERSION rhythms a bit, following Ansel Adams.

The method works with any film according to the following procedure:

First, the development times from e.g. the app "Film Development" are obtained for the complete development of the respective dilution for the 3 (!!!) minute inversion rhythm.

If, for example, dilution 1+43 is not available but only the 1+47 time, then this time is divided by 47 and multiplied by 43. The same for 1+183, here the 1+151 time is divided by 151 and multiplied by 183.

So, now we have the respective development times (if necessary with temperature correction) with 3-minute inversion rhythm for the complete developments.

But now we only want to develop the shadows and lower mistones more pronounced (1+43) with 1/3 of the development time and the remaining 2/3 with 1+183 to cover the lights.

Therefore we only take 1/3 of the 1+43 time set above for the 1st bath and 2/3 of the 1+183 time for the 2nd bath.

Both times added give the total time.

Let's go.....

Bath A (1+43):

Bad A time, of which

half of the time is continuous inversions at the beginning, the other half stand development (important)!

Then immediately replace bath A by bath B. The clock remains running!

Bath B until the end of the total time.

Initial inversions for 30 seconds (so the remaining bath A developer is replaced), then every 3rd minute (important - not shorter!) inversions for 15 seconds.

Stop and fix.

In this case Agfaphoto APX 100 (= Kentmere 100)

Articolo dal sito ADOX.DE: "Keeping Properties of Developers"

url: http://www.adox.de/Photo/keeping-properties-of-developers/

We are repeatedly being contacted by analog newcomers “how long does your developer lasts” or “how long does the developer lasts after I opened the bottle”.

So we felt it is time to write a little paper about it.

Photochemisry is organic chemistry and can somehow be compared to the expiration dates on a food product.

It slowly degrades from super fresh and awesome to very well usabel, well usable, quite well usable, usable, still usable, probably still usable, possibly gone bad to “dead”.

Your joghurt does not turn bad on the day which is printed on the cap and you may possibly enjoy it even weeks later.

If we were forced to give a guarantee date, we would need to be very conservative or tolerant.

Something like:

“After purchase please use up our developers within 6 months”

or

“Our developer XY lasts in the unopened bottle between 6 months and 100 years”.

Does this help? No, it does not.

You need to find out yourself if you do not want to constantly replenish your chemistry stock.

Keeping expectations of the unopened bottle:

• Make a judgement how long the respective product has been stored on the shelve of the dealer before it got into your hands.

If you have purchased from one of the large suppliers like Freestylephoto or Fotoimpex you can assume that every standard product has had a very short run through time. A smaller, local shop probably stored the chemistry a bit longer. In general we expect our products to arrive with the customer within 12 months after the production date at the latest.

ADOX bottles show the production date (not the keeping date) next to the barcode (exept for very small units where there is not enough space to print this information) to make this easy and transparent to our customers.

From the date of purchase we expect our products to keep at least another 12 months in the unopened, cold and dark stored original bottle.

• Storage conditions affect the keeping time.

Ideally chemistry is stored in a cool and dry, dark place at around 8°C. This is cold enough to slow down chemical processes and warm enough to keep the usually highly saturated dilutions from crystalizing out. When crystals form needed substances are missing and deterioration is accelerated. This is why photocemistry may not be frozen. If freezing happened during transport and crystals were formed redissolve your developer as quickly as possible by gently heating and gently shaking it. Check the color. It should still be quite clear. If brown sludge (tar-like) remains do not use this developer anymore.

• The bottle plays a key role

The gas diffusion capability of your bottles affect the keeping properties. ADOX is using very expensive and highly gas-blocking bottles since about 2015. These bottles have the shape of PE-HD bottles but they are as good as PET bottles.  Regular PE-HD bottles are inferior and no longer used by ADOX for chemistry which is subject to oxydisation. In general you can check if your bottle is made from:

• Glas = the best option. Cat.A
• PET or ADOX PE/PA  = very good. Cat. A
• PE-HD or other materials which are non blocking = inferior for developers. Cat B

In a Cat. A bottle with at least 500ml of liquid the outlined keeping properties of 24 months after production should be reasonable and easily acomplishable.

• Surface to volume equation

The larger the surface of a bottle in relation to the content inside the more important is the oxygen blocking capacity of the bottle. Small units have a by far inferior relation than large containers. On top comes that a large container has thicker walls which protect better. So to make it simple: The smaller the unit, the lower the keeping time until it spoils. 5 Liter buckets are the best in this respect. On the other hand we sell the small units so they are used up after opening. This countercompensates the keeping problems.

Keeping expectations of the bottle after opening it:

The most important question is “how much oxygen has gotten into my bottle”. The oxygen caught in the bottle reacts and uses up parts of your buffering system. When the buffer is exhausted it keeps on reacting with the developing substances and the developer starts jumping the cliff.

Influencing factors are:

• The amount of openings of the bottle- the more, the worse.
• Have you used protective gas or glass marbles to push oxygen containing air out of the bottle again? (plastic bottles can be squeezed within limits in the beginning to press out the air)
• How fresh was my developer when I first opened it? The younger the better.
• How much concentrate is left? (An almost full bottle keeps very well, a puddle on the bottom does not).

My head is spinning! How do can I tell now if my brew is still OK?

We are sorry for being so detailed but we sometimes have a hard time explaining to people why the answer cannot be a straight number.

Key indicators for a developer having gone bad are:

• Cyrstalizations. If large crystals have formed and rattle around on the bottom it does not look good for your developer.
• Decoloring. The fallout of crystals will be often acompanied by a noticeable darkening of the developer. Most developers are bad when they have turned darker than ice tea. However this is a relevant information only in comparison to the look of the developer when it was fresh. Rodinal in its many variants may come dark brown from the beginning on and still works perfectly even when it has the color of coffee. X-tol on the other hand should not be used when even a slight color change has occured (in relation to it´s color right after mixing). Ascorbic acid paper developers turn dark yellow to reddish but often still work. It really depends on the individual developer and this can only be one factor out of many to base a judgment on.
• When sufficent indicators are met (age, storage conditions, crystals, decoloring) you should perform a test with a film developer to simply check if it is still usable. This is a little work but it gives you security and helps you get the most out of your developer concentrate. The only problem is: This only works if you have made the first test when your developer was still OK. Here´s how you can do this:
  • Make a mix of your developer like you would to process your next roll of film. In daylight hang in a sniplet of film (for example a piece of the tongue sticking out of a 35mm cartridge).
  • Note the time it takes to completely blacken the film.
  • Repeat this test with seasoned developer. If the time is off by more than 15% do not use the developer anymore. Below extend the developing time acordingly (5%, 10%..)
• With paper developers it is not that critical. You see when the developer is bad. Most paper developers should develop to full Dmax in light within less than 60 seconds. If it takes longer, blacks do not come fully and/or the color shifts to brown your developer has gone bad.

Additional hints:

• Do not buy a large amount of chemistry if you do not intend to use it. Buy only as much as you need. ADOX is offering more than 3 package sizes in most products to make it easy to buy the right amount of chemistry.
• Consider refilling chemistry to glass bottles if it was sold in a PE-HD bottle.
• Use protective gas, squeeze the bottle or throw glass marbles into glass bottles to completely remove all air trapped above the developer
• Keep the cap/thread clean from dried developer. Dead developer (brown powder) works like a catalyst and speeds up the degrading of the remaining fresh developer. Avoid bottles with horizontal rings for this reason.
• We do not recomend squeezing-bottles (the bellows shaped foldable bottles you can buy). Inside the bellows you cannot really reach to clean and old developer might reside. But most importantly the soft plastic lets oxygen pass through. These bottles are OK to keep paper developer from one day to the next but to not buy them for long term storage of concentrates. Keep the developer in the original bottle if it is a PE/PA or PET bottle. Refill developer sold in a PE-HD bottle to a glass bottle.
• Do not use any food bottles. We did have the hospital call us up one day for a fellow who had filled Rodinal into a CoaCola bottle! Always mark chemical bottles properly!
• Last but not least: This paper is on DEVELOPERS. Do not refill your stop bath 

Tempi pellicola Ilford Delta 400 da 35mm

All'interno della confezione di cartone di un rullo da 35mm di Ilford Delta 400 ho trovato indicazione dei tempi di sviluppo a 24 gradi che invece non sono riportati sul bugiardino in formato PDF distribuito da Ilford sul suo sito...