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  1. #1
    Pfiltz's Avatar
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    I need some input

    from you folks if you can.

    I bought some un-opened Kodak Panalure II RC 8x10 of an ebayer. Can't remember what the exp. date is on it.

    Anyway, I'm rather new to DR printing, but have been kind of holding my own, until today.

    I'm using Arista as my developer BTW.

    I can't get a good print so far from this paper. I did read on the paperwork that came with it, and it mentioned having a Kodak Yellow Safelight.

    But even loading up the paper in pitch black, and a 2 second exposure at f45, it comes out over exposed and/or dark/muddy.

    Chemicals were fresh. Just made today.

    I stopped until I can figure this out, with some help.

    Do I have to have a different type of developer for this paper? The insert within the package also mentioned that developer is also mixed in with the emulsion, if that makes any sense to anyone.

    My first test wedge strips came out all black even at 5 second exposures. I did see here on page 2 under light source, http://www.kodak.com/global/en/profe...bs/g27/g27.pdf
    that I need tungsten light source, which all I have right now is just a household light bulb. Even my white border around the print is greyish.

    Think I just found my answer.

    http://www.apug.org/forums/forum37/8...ure-ii-rc.html

    Any thoughts?

    TIA
    Last edited by Pfiltz; 12-16-2012 at 06:13 PM. Click to view previous post history.

  2. #2
    MattKing's Avatar
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    That linked to APUG thread has most of the answer you need - it is for printing from colour negatives, and essentially should be used only in total darkness. The appropriate safelight is incredibly dim.

    Panalure isn't available any more, and is excellent for its designed purpose, so I would suggest you put it aside and either use it for colour negatives, or pass it along to someone else who needs it for that
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2

  3. #3

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    What happens if you process a strip with no exposure?

    BTW, since the paper is panchromatic (for printing color negs), unless you have a Kodak 13 Safelight filter, handle only in complete darkness.

  4. #4
    Pfiltz's Avatar
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    I have some of this on its way too...

    Polycontrast III RC F. Is this paper for printing from color neg's as well?

    I'll try to develope an un-exposed test strip tomorrow as well..

  5. #5

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    Polycontrast is a variable contrast B&W paper for B&W negatives. As mentioned Panalure is for B&W prints from color negatives.
    It's been mentioned in here that developer incorporated papers don't keep very well, so your paper may well be age/chemical-fogged.
    The way to test would be to take two sheets or two partial sheets, develop and fix one, and only fix the other.
    Mark them in some way first so you know which is which. After both are fixed compare them, if the paper isn't fogged they should look quite similar. If there is fogging it will be obvious.
    As noted, you'll need to do the entire process in total darkness.
    You may want to do the same test with the polycontrast, though you can use safelights for that.

    If the panalure is only partially fogged, it may be a good candidate for paper negs in a camera.

  6. #6
    MattKing's Avatar
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    Anyone who has participated in the last few Postcard Exchanges and received a card from me will have a postcard printed on Polycontrast III RC paper. I was given an unused box of 500 4"x6" sheets (thanks dances with clouds).

    It is quite old, and has probably lost a little dMax and contrast, but it continues to serve me well
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2

  7. #7
    Pfiltz's Avatar
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    Quote Originally Posted by bdial View Post
    The way to test would be to take two sheets or two partial sheets, develop and fix one, and only fix the other.
    On the one that gets run through the developer and fix, does it get placed into the stop as well, or just developer/fix solution?

  8. #8
    MattKing's Avatar
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    Quote Originally Posted by Pfiltz View Post
    On the one that gets run through the developer and fix, does it get placed into the stop as well, or just developer/fix solution?
    Stop will extend the life of your fix. Otherwise, not necessary.
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2

  9. #9

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    I didn't mean to imply you shortcut the processing on the one you develop. You should develop it for the full time you would a regular print, then stop (to neutralize the develper and extend the fixer life) then fix, also for the normal time.

  10. #10
    RalphLambrecht's Avatar
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    Quote Originally Posted by Pfiltz View Post
    fEven my white border around the print is greyish.
    Any thoughts?

    TIA
    that makes me suspectthat the paper is fogged(ruined)
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com



 

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