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  1. #21

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    Quote Originally Posted by Willie Jan View Post
    I use pyrocat HD at 1:1:100, 20 degrees C 19 minutes when exposed as 100, 15.5 minutes when exposed as 50asa.
    agitation first minute, after that 10 seconds each minute.
    When I tested it with pyrocat hd 1:1:100, acros came out at @ EI80 11mins 20C. Agitation first 30 secs, after that 1 inversion each 30secs.

    Someone else on this forum got exactly the same as I did.

  2. #22
    Willie Jan's Avatar
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    Quote Originally Posted by m_liddell View Post
    When I tested it with pyrocat hd 1:1:100, acros came out at @ EI80 11mins 20C. Agitation first 30 secs, after that 1 inversion each 30secs.

    Someone else on this forum got exactly the same as I did.
    i use a diffusor enlarger and need to extend the development to get a print at grade 2. I tested with a 5 zone black/white and a gray card at .68 to get the right develop time

    And i do a presoak of 2 minutes....

  3. #23
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    Quote Originally Posted by Willie Jan View Post
    Hi,

    With some members of our photoclub we are trying to use the fuji across for making pics in the woods.

    Our goal is to have a print that shows the truth...
    We do not make pics during the day with a lot of sun. We stay withing the range of 4-5 stops.

    What we found out until now is that the across can not register the contrast between dark trees and lighter areas as tri-x does. Rating film as 50 or using pyrocat still does not help. The neg has all the information, but it is not printable.
    When we compair the neg with a tri-x neg, they look the same, but the trix is printable and the across not.

    Looks like the across can not get more than 3 stops of contrast.
    Has anyone got the same problem with this film?

    for studio work it is a very good/sharp film. But we do not go beyond 2-3 stops.
    Try Gainer's PC-Glycol formula (or similar) or just mix it without the glycol to try it with Acros. I use it consistently and get long-scale, very printable negatives. This is similar to Xtol, so if you prefer to buy rather than mix your own, the effect will be the same.

    2.5 g Phenidone
    4 g Ascorbic Acid
    5 g sodium carbonate
    1 liter water

    Try 7:30 minutes at 22C. Adjust times from there.

    If you want even finer grain, use 5 g sodium metaborate instead of carbonate and increase developing time to 9 minutes.

    Overdevelopment is fatal to the highlights in ACROS, however, so you may need to adjust your times according to what you want. I rate it at ISO 64, but that's for my equipment. Yours might be different.

    Larry

  4. #24
    Willie Jan's Avatar
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    "Overdevelopment is fatal to the highlights in ACROS"

    Maybe thats where we go wrong...
    Besides that i will try to give it less agitation.

  5. #25

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    I just developed my first roll of Acros. I'm a Luddite when it comes to developing - my photography class back in 1978 used D-76 and that's all I've ever used. The results are fine, and not overly contrasty. I have some private images of delicate female bits and they show proper areas of light and shadow. I also have high-contrast images and they show up as high-contrast images. The film DOES seem higher in contrast than any other B&W film I've used, but no shadows or highlights are being lost.

    My question to those who have done Acros in D-76 as well as other developers, what do you now use and why?
    In life you only get one great dog, one great car, and one great woman. Pet the dog. Drive the car. Make love to the woman. Don't mix them up.

  6. #26
    Thomas Bertilsson's Avatar
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    I would have loved to continue using Fuji Acros, but I cannot get it in sheet film for a reasonable price, and I want the same film for 35mm, MF, and LF.
    Mind you, that's the only reason. I love the range of Acros, but I have had negatives with blown out highlights more than once due to careless development. I second the notion of John Simmons that generous exposure in the shadows is necessary to get an easily printable negative. I developed in Rodinal 1+100 for 12 minutes with agitation every minute at 68*F and got very helpful negatives.
    One scene was of a dark tree with bark details in the shadows, with a brightly lit landscape in the background. I gave a lot of exposure to render detail in the foreground bark, and held back development a little, and got a negative that printed with a full range of detail from sky in the background to bark in the foreground shade on a grade 2 paper.
    I think the film development in this case is a do-over. I think gainer's advice sounds reasonable. Bracket the exposures until the shadow detail looks right, then adjust development time until the highlights look good. It's a capable film, no doubt about it.
    - Thomas
    "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

  7. #27
    Willie Jan's Avatar
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    Quote Originally Posted by Thomas Bertilsson View Post
    I would have loved to continue using Fuji Acros, but I cannot get it in sheet film for a reasonable price, and I want the same film for 35mm, MF, and LF. - Thomas
    I bought it from http://www.unicircuits.com/shop/
    It's not that cheap as ilford fp4+...

  8. #28
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    Hi,
    after some works in the last months i got further on and would like to tell you guys the conclusion of my work.

    Because I would like to show on paper what we see with our eyes in nature we only start working at 4 stops scene max. I print on matt paper, so 4 stops would be the max (glossy can held somewhat more).

    The darkest shadow area measured was put into zone III.
    Looks simple, but this is where often the whole story goes wrong.
    When you measure a higher value let's say EV6 in stead of EV5, you will loose all the detail in the shadow. Because of wanting to see some detail, i developed longer to get them out.
    But the whole impression of the photo was to dark and did not look like the reality. So be carefull when doing a reading for determining the light conditions...

    Besides that when working under red light and turning the daylight on, your eyes find a zone V print OK. But when looking the next day, it looked to dark.
    So carefully determining the dried print under daylight is also not to underestimate! For a print on the wall a Zone VI impression is fine, Zone V looks to dark...

    I now develop my Across at 10 minutes, pyrocat 1:1:100 tank inversion once a minute and first minute continiously. Film is shot as 100asa.
    My negatives look thin, but in the shadows all detail is available. I print at grade 2 - grade 2.5 (0-10 magenta). Sometimes 5 magenta creates the best print compaired to a grade 2 (0 magenta). So finetuning is very important!

    After that i used Fp4+(shot as 64) and HP5(shot as 200) for 4.5-5 stops scenes. Developed them at also 10 minutes.
    In one pic is still made an error because in a wood scene the sun came at one point through the leaves and hit the ground. I did not see it as a white area, but probably that reflection of leaves causes the area to give more light back as expected. So probably i would have to developed it shorted to get the highlight back in to print properly.

    So i should have shortend the development to get the highlight back at a zone VII so that it can be printed... probably to 8 minutes.
    At a certain point the Zone III will be to much reduced so that is will be gone. But is this at 6 minutes, 8 minutes? We don't know yet but have to find this out...

    So the next step for us is to find the VI,VII,VIII stops scenes development and after that go and shoot...
    Scenes of 2 stops i haven't found in nature yet..... Not even when it rains...

    Be aware that this is all adjusted at nature. What it does for portrait, stillife etc.. i also have to find out...

  9. #29

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    acros

    acros and rodinal @1:100 is the what works for me. 10:20 in a rotary processor
    with a presoak of one minute. I then print on matte grade 3 paper and have never made better photographs. prints like butter....
    Best, Peter

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