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  1. #11

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    I remember too my suprise and seeing the colour of the developer as it came out of the tank (I use one-shot). At Christmas time I recall thinking that it was the perfect Christmas film, as the developer came out a bright cheery green, a lovely colour for that time of year :-)
    Nikon 35mm, Mamiya 645 & RB67, Leica IIIb, other bits and pieces

  2. #12

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    I developed a roll of the Arista in DiXatol ( a staining developer) once. The yellow-brown stain on the blue base gave me green negatives. Decided not to try that again.

  3. #13
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by r-brian View Post
    I developed a roll of the Arista in DiXatol ( a staining developer) once. The yellow-brown stain on the blue base gave me green negatives. Decided not to try that again.
    Did you try to print it? I ran some Foma 400 through PMK Pyro, with green stain also, and it printed like a dream on graded paper.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  4. #14

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    The film is dry and beautifull! Lost 2 negatives during drying (see drying streaks) so I DO need wetting agent .

    On stand developing I quote Steve Sherman:

    'Thirty plus years of negative making for the wet darkroom process tells me that the Semi-Stand / Reduced Agitation development is the closest thing to a magic bullet there is. When executed properly, ( yes there is an increased chance of development artifacts) less than 10% in my experience, the technique Maximizes FILM SPEED, Maximizes HIGHLIGHT COMPRESSION and Maximizes MID TONE MICRO CONTRAST. The three most sought after components of negative making and film development.

    This technique will allow the skilled technician to photograph in ANY lighting conditions during ANY time of day and obtain a satisfactory and easily printable negative.

    HOWEVER, the single most important component to the success of a negative, ( I would suggest no matter what means you produce the final positive outcome ) is the quality of the light in which the negative was exposed!'


    But I would also try the normal route in the future.

    Added some of the resulting images.
    Attached Thumbnails Attached Thumbnails BW1-Sneeuw5bk.jpg   BW1-Sneeuw7bk.jpg   BW1-Sneeuw2bk.jpg  

  5. #15
    dehk's Avatar
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    Sometimes you need Stand Development, but most of the time just regular development. I'll leave that for you to experiment
    - Derek
    [ Insert meaningless camera listing here ]

  6. #16
    Mainecoonmaniac's Avatar
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    I used stand development with Arista EDU 400 for a one hour exposure. I used HC-110 diluted 1-100 in stand development for an hour. The negs were OK. Arista and Foma film have very bad reciprocity effects, but the film is gorgeous.

  7. #17
    Thomas Bertilsson's Avatar
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    I know the work of Steve Sherman, and it works great for him. No reason it can't work great for you too. I've done a lot of it myself.

    You will have to find out for yourself which works best, and therein lies the fun of this. Know this, however, most reports on uneven development have something to do with standing development. And, Steve shoots sheet film while you shoot rolls. There's a difference in magnification factor and the edge effects you get from Rodinal. If you're happy with those edge effects in roll film, especially when printed large, then go for it. Don't let me stop you, by any means. I'm just trying to give you both sides of the argument. Kind of like my own devil's advocate of sorts.

    Quote Originally Posted by fbfotografie View Post
    The film is dry and beautifull! Lost 2 negatives during drying (see drying streaks) so I DO need wetting agent .

    On stand developing I quote Steve Sherman:

    'Thirty plus years of negative making for the wet darkroom process tells me that the Semi-Stand / Reduced Agitation development is the closest thing to a magic bullet there is. When executed properly, ( yes there is an increased chance of development artifacts) less than 10% in my experience, the technique Maximizes FILM SPEED, Maximizes HIGHLIGHT COMPRESSION and Maximizes MID TONE MICRO CONTRAST. The three most sought after components of negative making and film development.

    This technique will allow the skilled technician to photograph in ANY lighting conditions during ANY time of day and obtain a satisfactory and easily printable negative.

    HOWEVER, the single most important component to the success of a negative, ( I would suggest no matter what means you produce the final positive outcome ) is the quality of the light in which the negative was exposed!'


    But I would also try the normal route in the future.

    Added some of the resulting images.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  8. #18
    Brian C. Miller's Avatar
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    Quote Originally Posted by fbfotografie View Post
    On stand developing I quote Steve Sherman:

    'Thirty plus years of negative making for the wet darkroom process tells me that the Semi-Stand / Reduced Agitation development is the closest thing to a magic bullet there is. ...'
    You might want to try William Mortensen's technique of refrigerated development. Mortensen would pour in the developer, give the can a good shake, and then put it in the fridge. Time was three to five days, and agitation was, "when I think about it."

    I tried it with Fuji Acros 100, and Ilford Ilfosol 3. I used cold water straight from the tap, mixed it up, poured it in, gave the can a shake, and chucked it into the fridge. I gave it a shake in the morning and evening, for five days. I think I left it in too long. The results were good, but a bit dense. Next time I'll try three days.

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