Are You talking about Adotech I or II?
Originally Posted by DarkMagic
I never had issues with any of them.
Neofin Doku / Tetenal Dokumol works too, as it worked with Tech Pan back in the days, now with ATP.
IMHO, Neither Rodinal nor the Tetenal could squeeze as much as the developer that SPUR made for those films.
However, I sometimes like to use Rodinal or Dokumol with CMS20 or Copex, If I am in mood to shoot at ISO 3
Rodinal gives some interesting sparkle with any film, even at a cost, hands down.
It would be interesting to see a roll of tech pan 120 in technidol compared to CMS 20 and the like.
Thanks for the info, I'd like to play with this film as well and the Rodinal looks doable. Beautiful picture! Wow.
Originally Posted by DarkMagic
Sensitivity is different (superpan vs orthopan), speed as well.. as for granularity CMS20 wins, no chance for Tech Pan.
Originally Posted by EdSawyer
I liked the extra sensitivity in Tech Pan, very interesting film...
Originally Posted by georg16nik
Hi George! It's Henning I've been talking to about this and has provided lots of advice :-) Might try the Spur developer next..
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Hi Tim, good to hear You got in touch with Henning!
Originally Posted by timparkin
CMS20's, Copex and ATP got lots of admirers in Europe.
Originally Posted by timparkin
as always, excellent work from you! Congrats. And thanks for sharing!
I know this film very well: In combination with the dedicated developer, it is a league of its own.
I am using high resolution BW films since 1985. At that time Kodak Technical Pan, developed in Tetenal Noefin Doku.
During the last years I've intensively tested this film (it is current Agfa-Gevaert HDP microfilm) and its brother, the Agfa Copex Rapid.
And I've tested all the special developers from Spur (photo engineer Heribert Schain in Germany).
The Adotech developer is also designed and produced by Spur / Heribert Schain for Adox.
With the Agfa HDP / Adox CMS 20 film I successfully reached the physical diffraction limit at f5,6 with both my Zeiss 2/50 ZF and my Nikkor AI-S 1,8/50.
240 Lp/mm, clearly separated lines, and that at an object contrast of only 1:4, two stops !!
That is simply breathtaking!
I've projected these 35mm images at about 4,5 meter x 3 meter with a slide projector. And you can see every tiny detail when you put 'your nose on the projection screen'! There is no real enlargement limit for this stuff.
Dominique Ventzke ( www.high-end-scans.de ) and me have compared this film (and Copex Rapid) in 35mm with medium format 6x6 and large format 4x5".
35mm CMS 20 surpassed 4x5" Adox CHS 100 film! More detail with the 35mm CMS 20.
We needed Acros to get a little more detail with 4x5" compared to 35mm HDP / CMS 20.
Agfa Copex Rapid 35mm, developed in its dedicated Spur Modular UR New developer, outperformed 6x6 FP4+, 6x6 APX 100 and 6x6 RPX 100.
Some test results from our resolution tests (Nikon F6, MLU, MC-30, 1/250s, focus bracketing, Zeiss ZF 2/50, f5,6, object contrast 1:4; the first resolution value represents the number of clearly separated lines, the second one the resolution limit where still a contrast difference can be seen):
Adox CMS 20 / Spur Orthopan UR developed in: Spur Nano Edge, Spur Nanospeed UR, Spur Modular UR, Adotech: 240 - 260 Lp/mm
Agfa Copex Rapid; ISO 40/17°; Spur Modular UR New: 165 180 Lp/mm
TMX, developed in HRX-3: 135 - 150 Lp/mm
Fuji Velvia 50: 110 125 Lp/mm
Fuji Sensia 100: 120 135 Lp/mm
Fuji Provia 100F: 120 135 Lp/mm
Fuji Astia 100F: 120 135 Lp/mm
Fuji Velvia 100: 125 140 Lp/mm
Fuji Velvia 100F: 125 140 Lp/mm
Kodak E100G: 120 135 Lp/mm
Kodak Elitechrome 100: 120 135 Lp/mm
Fuji Provia 400X: 105 115 Lp/mm
Fuji Superia Reala 100: 105 115 Lp/mm
Fuji Pro 160 C: 100 115 Lp/mm
Kodak Ektar: 90 105 Lp/mm
To get the best tonality (ideal characteristic curve) with CMS 20 I recommend (same as with every other film-developer combination) to do the classic zone system exposure series to evaluate the characteristic curve.
At ISO 20 and normal development times CMS 20 show a very strong S-shaped curve with loss in shadow and highlight detail. This film is not a real ISO 20 film.
To get a much better, more linear characteristic curve and both better shadow and highlight detail reducing the exposure (lower ISO) at reduced development times is the way to go.
Then you get very good tonality with good shadow and highlight detail with this film.
Agfa Copex Rapid is much easier to handle in this respect:
With its dedicated Spur Modular UR New developer you get excellent tonality (linear characteristic curve like normal films) already at ISO 40/17° (with 35mm) and ISO 50/18° (with 120; the current roll film charge has 1/3 stop more speed).
Grain of Copex Rapid is comparable with T-Max 100, developed in a fine grain developer (maybe Copex is even a bit finer grained, depending on the developer used for TMX, but the difference is small). But resolution and sharpness are much better with CoRa, compared to TMX, Delta 100, Acros.
Agfa Copex Rapid (CoRa) is also very good reversal processed as a BW slide. Photostudio13 in Germany www.photostudio13.de is offering that in their Scala reversal process.
CMS 20 can also be reversal processed in the Scala process. Results are a bit contrasty, with less detail in the shadows and highlights compared to CoRa.
Thanks for that Henning. Have you made darkroom prints from 35mm CMS and compared them with same size prints from 5x4? I'd be interested to know if CMS has greater sharpness and better tonality than the large format in a print.
Originally Posted by Bruce Robbins
yes, I always make darkroom prints from 35mm CMS 20. With excellent APO enlarging lenses you can print this film as big as you want, the sky is the limit. The bottleneck for big enlargements with this film is not the film itself, but more the printing capabilities of the photographer / printer. Exact focus, optimal flatness of film and paper are of course essential to fully exploit the outstanding potential of this film. But as I always work very exactly in my darkroom, no matter if I print from PanF+, Delta 100, TMY-2, CMS 20, CoRa or any other film, at least for me there is no significant difference in printing workflow with these films compared to conventional films.
35mm CMS 20 prints compared with CHS 100 4x5", then CMS 20 is the winner. Compared with 4x5" Acros, Delta 100, TMX, I give the conventional films in LF the higher rating.
That's quite incredible Henning. I have shot a couple of rolls of CMS 20 but my darkroom went out of commission around the same time (long story) and I just scanned a few negs to see what they were like. I ddn't like the tonality but then I hate scanning. That was rating the film at 20 ISO and developing in Adotech. I might try again, rating it at 10 ISO and using my Zeiss lenses with the camera on a tripod to see what it's capable of.
Originally Posted by Henning Serger
Sorry to keep asking questions but have you tried CMS 20 in any other developer? I was wondering how Barry Thornton's two-bath might work. I've also read that some people get god results with Diafine.