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  1. #11
    Michel Hardy-Vallée's Avatar
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    Quote Originally Posted by streetshot View Post
    Hi DF...

    Your response has me wonder if I am out of line here? Your contributions in the past have been among if not the best of all that I've read...I am in your debt. My only intent is to have one place where as much that is known about agitation can have a home. If this is troublesome to you and the community I am sincerely sorry.

    Michael
    If I may chime in: you said that the archives of APUG are full of interesting information; then you ask other people to post that information.

    If it's already in the archive, why ask people to post again the same information?

    To get things started, you should just make a summary of what you have learned, what you understand about agitation, and this will help get the ball rolling.
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  2. #12
    streetshot's Avatar
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    Quote Originally Posted by df cardwell View Post

    By offering a context for the thread, you can guide the discussion,
    and by setting some of your own findings on the table,
    help somebody who could use a hand.

    d
    Fair enough brother...though I thought I had set enough context through the specific problem agitation in Rodinal presents. And yes, my own search through this incredible archive indicates there is wide variation in practice with each film.

    In my experience specific to Tri-X 35mm (exposed at 250-320 iso) I've found harshness at 1+50 and 13 minutes with the traditional, D-76 style agitation (30 secs. in the first minute then 5-10 secs. each minute thereafter). And I have tried full stand versions at 20 minutes, 1+100 dilution with results so unlike the agitated version I double checked to make sure I had actually used Rodinal. The stand version had an amazing range of middle tone and highlights with lots of detail...nice but not exactly what I'm after.

    And so my direction with Tri-X as I learn this developer will be to back off the time to 12 minutes, 1+50 and try much less agitation...like 5 seconds every other minute. I'm expecting the cement mixer style agitation has robbed much of what I have been looking for. We'll see.

    I'm open to hearing more from the group, how you've delt with your agitation practice with 35mm (and 120/220) Tri-X. It would also be great to know how some of the Eastern European emulsions respond to changes in agitation.

    Thanks!

    Michael

  3. #13
    streetshot's Avatar
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    Quote Originally Posted by Michel Hardy-Vallée View Post
    then you ask other people to post that information.

    If it's already in the archive, why ask people to post again the same information?
    Michel...Thanks for your input. If you research the archive, and I'm sure you have, you will discover the conversations regarding Rodinal and agitation are all over the map. There is a piece here and a piece there. I've done this work and its very difficult to get more than a sense of the issue and much of what is there is confusing...that is why I created this thread, as an attempt to put this in one place. Is it so much to ask the group to comment on this specific topic?

    I'd be interested in your agitation experience with Rodinal.

    Michael

  4. #14

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    FWIW, I love Rodinal; cheap and very flexible. I like it best on slow films, even with 35mm. It seems to pull out all the exposed silver in a neg; the neg just looks good!

    It is not my favorite for films faster than ISO 50 in 35mm or 100 in MF. It does give me great tonality on s a film like TX, but the grain is just a BIT much, although you have to stand right in front of a 16x20 to see it; I prefer something like D-76, 1+1 for faster films. We are however, talking about degrees here.

    As for agitation with Rodinal, I'm down to one inversion/minute.

  5. #15

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    Lately I've been using Rodinal 1:200 and stand development - agitate first minute, let stand for the remainder of 2 hrs. For me this has been the ultimate in consistency - I've devved Tri-X @ 250 ISO and 400 ISO, APX 400 @ 250, Fomapan 400 @ 400, Neopan 1600 @ 1600, and Delta 3200 @ 3200. I'm going to be trying some Plus-X shortly as well. All 35mm so far, but I have a couple of 120 rolls pending. (I also previously did some Tri-X @ 3200 in Rodinal 1:100 for 1.5 hrs with somewhat more agitation, but now I don't think that was necessary.) All done @ 20 degrees C.

    Some people don't like the way stand dev turns out, others love it, and I'm in the latter camp now - all my negs look great (haven't had a chance to scan/print any yet, though). I will say that a lot of info on doing this isn't formalized (eg, how much time in the developer is really necessary - some do it for 2.5 hrs, others for 2, some maybe shorter), and some of it seems to be trial-and-error, so in that respect I don't mind sharing my own experiences
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  6. #16
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    A person who shares the communal darkroom with me showed off some prints made from Neopan 1600 at EI 1600 using 1:100 stand development at 20C. Agitate gently for all of the first minute, let sit, two inversions at the 25th minute, then let sit until total time reaches 55 minutes. The prints all had a distinctive, exquisite glow with rich midtones and surpisingly little grain. Amazing shadow detail, whereas highlights may have been blown out here and there... then again, burning might fix that.

    Anyone with experience for 1:100 stand development for Tri-X?

  7. #17

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    I can't speak for Tri-X, but HP5+ and PanF+ look nice in Rodinal 1:100 for an hour. They seem to imporve with less agitation. I'm down to agitation for thefirst minute and nothing else for the balance of the hour. It's hard looking at a tank of film & devloper and not touching it. Old habits die hard.

    However, exposure is critical. My underexposed negatives looked better than my overexposed negatives. The overexposed negatives were still useable. I also suspect that with some dodging and burning they would print better than they scan.

  8. #18

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    For Efke 25, Rodinal 1 + 100 at 20C, constant, slow agitation for the first 30 seconds then five inversions every two minutes.

    Jim B.

  9. #19
    Colin Corneau's Avatar
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    Is stand/semi-stand with Rodinal a good way to handle scenes with a lot of contrast between highlights and shadows? The example that comes to my mind is a window-lit room, to keep the windows from blowing out completely.

  10. #20
    Thomas Bertilsson's Avatar
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    Colin, it is one of the best ways to deal with such range of brightness in a scene. Try it. If you look in my gallery you'll see some neg scans from inside the St Paul Cathedral. Sharp window light and dark indoor illumination in the same scene in good harmony. Couldn't have done it without the Rodinal / semistand regimen I used. I would have blown the highlights.
    - Thomas
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