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  1. #21

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    I don't know if you realize it but Ralph Lambrecht (who posted few posts above) is one of the authors of the book "Way Beyond Monochrome" and with very serious credentials. I tend to trust his opinion and that's not just because his opinion matches mine in this thread.

    We are all working with limited information and doing our best to help you out.
    Develop, stop, fix.... wait.... where's my film?

  2. #22

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    Well, aside from the occasional slight tint, Microdol/Perceptol are not staining developers, nor are they really compensating developers, even at 1+3.

    To original poster: There is no reason to switch developers in this situation. HC-110 will not give you appreciably different results than your current D-76. Develop normally in D-76. I don't know why people are expecting bulletproof negatives from Tri-X overexposed two stops in low contrast light. In fact under low contrast conditions, a small amount of "overexposure" can actually be a good thing as it ensures the lower values have maximum local contrast. Pulling will decrease local contrast throughout, which is usually not what one wants when shooting a low contrast subject.

    This situation is being needlessly overcomplicated.
    Last edited by Michael R 1974; 01-22-2013 at 09:08 AM. Click to view previous post history.

  3. #23

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    Quote Originally Posted by lhalcong View Post
    wow, Many different opinions and solutions for the same problem. Since any of them may potentially be the correct solution, I think the best learning experience for me would be to try them all, although I like the perceptol idea with no pulling. I think it would be good idea to run some test exposing a couple of more rolls emulating the same problem best possible. Then decide based on results. I will store this important roll on fridge in the meanwhile.

    Thanks all.
    do you have access to instant coffee, vit c and washing soda ?

    you might consider processing your film in caffenol c if you are in the mood to experiment.
    and / or half the time in caffenol c and half the time in whatever developer you might have lying around .... ( or mix them together )

    don't be afraid to mess around with your film, if it isn't an extremely important roll you shot, you might stumble upon
    something useful for the next time you accidently mis-exposed a roll ...

  4. #24
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    90% of responses say develop normally, don't pull. I suggested Perceptol, which is what I would use, but I expect you would also get perfectly satisfactory results for analog printing with D-76 or HC-110. I think that's about as close to a consensus as you'll ever get in a forum

  5. #25

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    I respect Ralph and everyone's opinions very much. I am fairly new and learning and appreciate everyone's response to help me. I will go with the concensus. !

  6. #26

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    It's off topic I guess, but I've done a lot of testing on Microdol and Perceptol at various dilutions with various agitation routines. When the curves are plotted, even at 1+3 compensating action is minimal. As for speed, my advice to anyone wanting to fully exploit the image characteristics of these D-23-based extra fine grain developers has always been the same, which is to determine your working EI at stock strength, and use that same EI for 1+1 and 1+3 (ie accept the speed loss regardless of dilution). I've found graininess increases very quickly if you try to get more speed - even at 1+3, and it doesn't take much until you are gaining nothing grain-wise versus D-76, XTOL, and other developers that will give you better speed. This behaviour is consistent with a developer that is not truly compensating, and is weakly alkaline.

    The other point is that I still wouldn't consider OP's Tri-X "badly" overexposed. We're talking 2 stops over ISO, probably closer to 1 stop over the working EIs people often use. And since this was a low contrast scene, there is plenty of room on the curve to accomodate the luminance range. OP could use Perceptol, but I don't think there is anything to be gained in this particular situation vs D-76. As for pulling, that will decrease local contrast in an already low contrast scene. A compensating developer would also flatten local contrast.

  7. #27

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    It must be very close to Microdol if not identical. It is very likely ~5g/L Metol, 100g/L Sodium Sulfite and ~30g/L Sodium Chloride. We know from the current MSDS and packaging these ingredients are in there. The exact concentrations are of course proprietary. Microdol-X contained one or two secret ingredients, one of which was an anti-silvering agent which may or may not have made it slightly sharper than Microdol. Some people say it was a Mercapto compound but other sources such as Anchell/Troop claim it was a weaker type. PE knows what it was but he won't disclose it. Perhaps Perceptol contains something like it, perhaps not.

    All I can suggest is that you try Perceptol and see for yourself if you like it. It is certainly a fine developer, but in the end it always comes down to one's subjective evaluation. I certainly couldn't tell the difference between it and Microdol-X, but that's only my opinion!

  8. #28

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    Sorry about that - PE is Ron Mowrey aka Photo Engineer.

    The business of making proprietary formulas public is complicated as far as trade secrets go. It's not just the formula but even the compounds themselves that may be proprietary. In that case it might not even help us to know because we wouldn't be able to buy the ingredients anywhere.

    A few years back there was a discussion like this regarding Ilford's Cooltone print developer when they discontinued it. People on APUG etc were begging for Ilford to make the formula public and my understanding is Simon Galley even took the proposal to the Ilford/Harman board of directors but in the end they could not disclose the formula because it contained a proprietary chemical.

    Interesting stuff.

  9. #29
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    I have to agree with Ralph Lamabrecht and Michael R 1974. Change nothing in film development and then print them well.

    I make your "mistake" all the time, since I rate my 400 speed film at 200 and place the shadows on Zone IV. Ansel Adams would therefore say that I'm shooting it at 100. Indeed, when I take incident meter readings that's the ISO I use.

    All the photographs on this Tumblr blog page were exposed in this manner. The first one contains only 2 zones of contrast, the last one about 12 zones. So in the final analysis not even the tonal range makes that much difference when it comes to exposure.

    There are only two ways to make a two stop exposure mistake. You picked the right one.
    Jim

  10. #30
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    welcometo APUG;i'm glad to see that the florida crowd is growing. as to your issue, dev normallyand use the highest contrst filtration you can get out of your darkroom. good luck
    Regards

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

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