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  1. #1

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    Ilfochrome Classic: startup costs?

    I'm interested in printing with Ilfochrome Classic. I see the chemistry ($$) on B&H, but I have no way to know what capacity they offer.

    Also, what additional equiptment do you recommend for an already well equipted B&W darkroom?

  2. #2
    David A. Goldfarb's Avatar
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    I've done Ilfochrome in print drums on a roller base, which is a fairly economical way to use the chemistry and avoids issues of fog due to light leaks in the darkroom (if that's a potential issue for you).

    You need a set of color printing filters for your enlarger, if you don't have a color head.

    I recommend a set of color print viewing filters, which will allow you to judge filtration from dry prints. I find these more useful than a color analyzer.

    If you want to get sophisticated with Ilfochrome, or if you like to shoot high contrast, saturated films, you'll want a pin registered masking setup for contrast control.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
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  3. #3
    Petzi's Avatar
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    Quote Originally Posted by MMfoto View Post
    Also, what additional equiptment do you recommend for an already well equipted B&W darkroom?
    A Jobo processor. Makes life easier with Ilfochrome, and can also be used to process films in C-41 and E-6 properly.
    If you're not taking your camera...there's no reason to travel. --APUG member bgilwee

  4. #4

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    Quote Originally Posted by David A. Goldfarb View Post
    ...... if you like to shoot high contrast, saturated films, you'll want a pin registered masking setup for contrast control.
    Ahhh. Yikes. That takes things to a whole new level doesn't it. I hadn't considered that. I shoot mostly moderate to high contrast films.

    A pin regristration system often requires fabrication, right?

    I print on a Focomat Ic for B&W, and would likely use a V35 for color. I have absolutely no idea of what would be required to use pin regristration on either of these. But it doesn't sound cheap!

  5. #5
    David A. Goldfarb's Avatar
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    Well, you could get started, see how it goes with ordinary dodging and burning, and take it from there. When I was doing a lot of Cibachrome, my favorite film was Agfachrome 100, because it had a low contrast pastel kind of palette that didn't require masking. If you're shooting Velvia and Provia, though, it gets trickier.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
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  6. #6
    Photo Engineer's Avatar
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    Just watch out for the bleach. It is very acidic and harmful to skin and some drains.

    Use the neutralization kit before dumping any used bleach.

    PE

  7. #7
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    The bleach neutralizes fine with ordinary baking soda (as per Ilford instructions). Dumping used bleach into used developer will also partially neutralize it. It foams a lot during neutralization - I use a 2 gallon paint bucket ($2 at Home Depot) to do this process so there is room for expansion. Keep the exhaust fan running and you will have no problems.

    You can also stretch the chemistry by mixing half used and half new for each run for several runs. Good temperature control is important - as long as you are consistent, you should have no problems with color shift.

    Printing this stuff is not as hard as it might sound - once you establish an idea of your enlarger factor - that is how much filtration shift seems to be common form the starting point given on the paper box - you can usually get close to the final on the first pass. As with any color print process - nail exposure first, then balance color. Ilfochrome material is quite slow, has a wide exposure latitude but sufffers reciprocity on exposures longer than 1 minute as well as requiring increasing yellow filtration as exposures get longer. Since my enlarger has a 2-stop attenuator, I set it on low and establish the parameters for an 8 x 10, then changing f-stops and/or attenuator setting, use the same exposure time for any larger prints and get it right the first time.

    What is hard about the process is learning to shoot transparencies that will make good prints. You will find that those that look great projected on a wall will make lousy prints. You need a bit more exposure at the camera (as much as you can without blowing out the highlights) to get good prints. Contrasty films like Velvia will give you good prints from soft light, when you shoot in harsh lighting you need less saturated films.

    Good luck.

    Bob
    "I always take a camera, That way I never have to say 'Gee, look at that - I wish I had a camera'" -Joe Clark, H.B.S.S.

  8. #8

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    You can make your own pin registered negative carrier. I made one when I fooled briefly with contrast masking Ilfochromes. I cant find the instructions on the web now but I'm sure they are there somewhere. But first I would just try the process and see if you like it before worrying about that.


    Wayne

  9. #9
    davetravis's Avatar
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    B&H will not ship the chemistry.
    Adorama, Calumet, Rainer Photographic will.
    Start with 1 P3.5 liter kit, and some 8x10 in the CLM1K.
    Always start with their recommended filter pack.
    To decrease exposure times, process at 96 F, for 2 mins in each step.
    The polyester based paper will dry flat on any screen.
    PM anytime for further advice.
    Good luck.
    DT

  10. #10

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    Dave,

    How many sheets of 8x10 will the kit process?

    Tom.

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