Start developing it yourself, if you already aren't. Shorten the first developer just slightly, dilute reversal bath by 25% and add 4 mol NaOH to the colour developer. That worked for me. Or underexpose and do a longer first developer, but the shadows could get blocked, depending on the light. I did tests with two grades of 81 filters and there was almost no difference in colour.
Originally Posted by spatz
You're no darkroom rookie with talk like that!!!
Originally Posted by darkroom_rookie
This one popped up in the Classified section: FS Fuji Astia in 220 (not 120) roll film.
I would be interested, but he's only shipping within US.
Maybe some of you folks need to restock and are willing to pay his price?
"Have fun and catch that light beam!"
Bert from Holland
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* I'm an analogue enthusiast, trying not to fall into the digital abyss.
* My favorite cameras: Nikon S2, Hasselblad SWC, Leica SL, Leica M7, Russian FKD 18x24, Bronica SQ-B and RF645, Rolleiflex T, Nikon F4s, Olympus Pen FT, Agfa Clack and my pinhole cameras.
Isn't that 4*(23+16+1) = 160 grams?
Originally Posted by darkroom_rookie
Sounds quite a big quantity.
Wow that's a great price!
Originally Posted by TheToadMen
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Darkoom Rookie - Astia 100 was on triacetate base; 100F was a signficantly improved product on dimensionally stable polyester base, with
distinctly finer grain, but otherwise similar in color balance and contrast. The improved base made all the difference in the world when true
darkroom punch and register controls were in play. The 100F was also, incidentally, the best chrome duping film ever made, if you corrected
it for tungsten colorhead lighting. I've got one box of 8x10 left in the freezer. But the sad fact is, that Astia films sold poorly in general, simply
because people didn't understand how well it reproduced. The average chrome shooter slaps something down on a lightbox and wants something vivid like Velvia, because they don't realize the difference between how a chrome looks backlit and actually printed. Now they just slather honey and jam all over the sugar cube with Fauxtoshop hyper-saturation. So the demise of Astia doesn't surprise me at all, though
it really leaves a void in chrome film versatility, especially since Kodak E100G is also gone, which was the next closest thing.
I have a pretty significant freezer box full of 120 Astia (including a few boxes from what I think was the very last run, just expired), from a time when I found a case in the back of a store's fridge and bought out their entire stock. With the recent discontinuation of Kodak E6 chemistry I'm afraid I might not get to shoot it all before the chemistry runs dry. There's almost no point in shooting color in the PacNW once winter sets in.
Would anyone be interested? I can open up the box when I get home tonight and see what I can do for you guys.
Gianni, you're right, not moles, percent. So 4% NaOH, and just a few ml. Quite the difference, obviously.
Drew, thanks, so the curl has something to do with the base, other than the 2003-2012 expiry dates. I've developed many 100F/100 sheets for an aspiring photographer recently and Astia truly is a gorgeous film.
As I mentioned in the other thread, I spoke with a lab that does a lot of business and is Kodak certified, and he said that he's already hooked up with fuji to start using their chemicals and there would be no interruption in processing of E6 and that he was still a certified Kodak lab because they were ok with it since they stopped producing it. So... it's all good, spring is here and you should use it, that said, if you decide to sell it I'm sure you'll have a few buyers.
Originally Posted by shashinzukuri
Darkrm Rookie - don't confuse what I said about sheet film with 120 roll film, which was always flimsy acetate. But yes, in 4x5 there would be
a distinct difference in behavior between the old and new Astia with humidity changes etc. Working with acetate film is hell when long-term
registration is required. After about a decade it seems to shrink to the point of being relatively stable, but with no guarantee of it. The old
Kodak Graphic Arts guides actually held table to predict such things, but everyone knew that polyester or mylar sheet was the only way to go. 120 Astia sold the worst of all, and I completely gave up on it, since by the time it sold, there was already frequently fog or crossover. I hope others had better luck. But I timed this whole sad funeral for the demise of Cibachrome, since that was my objective with Astia anyway. I'll use the last of it for shots intended for dye transfer printing. But one can only make a few of those anyway, given the labor-intensity.