No, I have not since, to this point, my contact printing has been strictly limited to Azo. When I get my darkroom rebuilt, after my move to Phoenix, I may give this a try. I agree that a collimated light source does make a difference...at least in enlargements. Thanks for the suggestion.
Originally Posted by gainer
Yup Rodinal 1+200, agitate the first minute and let it work for 2 hours or so. Works great in APX100, FP4, and others that I have tried.
It's great in this march-madness time You can watch a full basketball game while developing.
Originally Posted by Flotsam
Mama took my APX away.....
The unblinking eye
Go to Sandy King's website the unblinking eye. He has a wonderful article on Pyrocat Hd using regular, semi-stand and stand development with Pyrocat HD.
I must say that during 40+ years of photography I have never been as pleased with a developer as I am with Pyrocat HD. Easy to compound, easy to use, the best sharpness characteristics that I have ever experienced, fine to moderate grain, extremely flexible, wonderful shelf life and extremely economical.
THANK YOU MR. KING!
It is not King's web site....the web site was created and run by Ed Buffaloe. Which BTW has some great articles worth reading.
Originally Posted by Claire Senft
Originally Posted by Donald Miller
This is my method when I want full film speed - A little more grain than the 1:1:100 Pyrocat but this works well
My photos are always without all that distracting color ...
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Originally Posted by Claire Senft
Thanks for your comments about Pyrocat-HD and for the reference to the unblinkineye web site. But I can not claim credit for unblinkinkingeye. That site was created by my friend, and one hell of a nice guy, Ed Buffaloe.
BTW, if you like Ed's site consider buying some of the featured books from the links on his page. He makes a slight amount on each sale, which allows him to support the site.
Ok, so this has me wondering about extreme compensation and just how much is possible to achieve with this method. How many stops of compression have you guys been getting?
I read this over in the writings at Michael and Paula's site;
Amidol is the only developer that does not need an alkaline environment in which to work. It is generally a neutral-tone developer used for prints, but it can also be used to develop film. Because it can work in the absence of alkali, thereby avoiding the swelling of the emulsion that takes place when other developers are used, it can be used as a tropical or high-temperature film developer.
Has anyone tried it as a film developer?
Last edited by waynecrider; 03-18-2005 at 09:18 AM. Click to view previous post history.
There is no compression, unlike doing compensating development where you dont agitate for the time you develop the film, with stand and semi stand development you agitate at long intervals and leave the film to develop for long times, like 45 mins to an hour. When you do this you get full range negatives.
Originally Posted by dfloeter
I dont have the patience to do this.....but it works....
I , like Peter De Smidt above, have had very nice results with Formulary FX 2 diluted 1-1. The only reason I don't use this method more is simply because I usually prefer to proceed more quickly and can get similar results (in most cases) with conventional agitation. One case where it seems to work better than any other method I have found is in developing 35 MM Pan F+ which has been shot in harsh light. For this situation I have found nothing that equals it for keeping a nice range of tones from highlights to deep shadows.
Just my 2 cents.