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  1. #1

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    Oriental Seagull VC fibre, what developer?

    I have some of this paper to try out and will be making enlargements from 35mm negs. The negs have good shadow detail in most cases and I would like, if possibile to hold highlights without to much burning..... What paper developers do you all use/recommend and why?

    Thanking in advance
    David Boyce

    When bankers get together for dinner, they discuss art. When artists get together for dinner, they discuss money. Oscar Wilde Blog fp4.blogspot.com

  2. #2

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    I have been using Sprint developer, which is ok. It gives neutral to cold tones. I think I'm going to switch soon, not because I'm not happy, but because I want to try other things. So I'll be interested in what others say because I know its a very nice paper.

  3. #3
    david b's Avatar
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    I would do this:

    1.5 minutes in selectol soft and then 1.5 minutes in dektol.

    the selectol soft will just do the highlight first, and then the dektol will take care of the midtones and shadow detail.

  4. #4
    Ka
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    david b,

    At what dilution Selectol Soft and Dektol for the Seagull? Also, who sells Selectol Soft?
    K. L. Taylor
    Black and White Studios

  5. #5
    david b's Avatar
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    Both developers are 1 part chemical, 2 parts water.

    B&H sells both developers.

  6. #6
    Ole
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    As long as I still have some Glycin left, I use Ansco130. It's a wonderful developer, and lasts foreve. My last batch was mixed in October. By now it's so dark that it's difficult to find the print in the tray, but it still works. When I get home again in two weeks time I'll mix a new batch - just because of the colour.

    It also happens to work very well with Seagull VC.
    -- Ole Tjugen, Luddite Elitist
    Norway

  7. #7
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    Ole,

    Ansco 130 has hard to beat keeping capabilities, but what is the tone of your prints like in that old developer? I found that my prints became more and more brown in the shadows (Agfa MCC), from the accumlating halide in the Ansco 130 I assume. An effect I dindn't find very pleasing and which turned to an unusual and annoying green cast in selenium. Fortunately the toned prints turned neutral when dry (piuh!).

    Stefan

  8. #8
    Ole
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    Quote Originally Posted by skahde
    Ansco 130 has hard to beat keeping capabilities, but what is the tone of your prints like in that old developer?
    Stefan
    There's been a very gradual "warming" of the image tone all over, but with very big differences between different papers. The Bergger one without baryta layer (can never remember what it's called) is absolutely neutral, and if anything has actually cooled a bit. Fortezo museum is very warm, Bergger Art CB much less so.

    If I remember correctly. I could have told you for certain yesterday, as I have a set of identical prints (as close as possible) made on 12 different papers and developed in (then) four-months-old Ansco130. And now I'm 500 kilometers away.
    But I do rememember that none were greenish except Emaks, which I have other reasons to dislike.
    -- Ole Tjugen, Luddite Elitist
    Norway

  9. #9

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    Photographers Formulary version of Dektol (TD-30) has neutral to cool tone with Oriental Seagull, but regular Dektol imparts an olive brown color to the paper. Sprint Quicksilver has similiar results to TD-30, while PF-130 (Ansco 130) seemed less contrasty. I just use developer, water stop bath, TF-4 fixer, then wash - trying to keep process simple.
    van Huyck Photo
    "Progress is only a direction, and it's often the wrong direction"

  10. #10
    skahde's Avatar
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    Quote Originally Posted by doughowk
    Photographers Formulary version of Dektol (TD-30) has neutral to cool tone with Oriental Seagull, but regular Dektol imparts an olive brown color to the paper.
    D72 made with Bromide (aka grandpa's Dektol) gives the olive tint. Replacing the bromide with 0,2g Benzotriazol leads to a neutral to coldish colour. This is what I use with Agfa MCC right now if the subject asks for a neutral to cold tone.

    Stefan

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