I have a large quantity of EP2 Konica paper in the freezer and am wondering what I will do for chemistry when I get around to resetting the darkroom for color. Any thoughts?
Mix your own developer.
I have a formula for it.
The rest of the process is the same as RA chemistry.
Dear outwest, dear PE !
Maybe adding approx. 30 ml of a 1:1 mixture of benzylalcohol and glycol and adding about 0.4g till 0.5g potassiumbromide to a litre of existing Ra4 developer are enough for a first test ?
Yes Stefan, that would probably be a good starting point. I would use 0.5 g of Sodium Bromide. The concern I have is that at this point that paper is probably over 10 years old. If that is the case, then it probably will have lost a lot of speed and contrast. It may have gone into fog. Good luck.
Thanks! We'll see what happens.
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A similar pursuit - experiment results
I bought up a collection of ep/2 paper as a part of a darkroom closing lot off of another photo buddy who had gone to the D side after many years of wet work. There is a partial pack of type 74 8x10, a partial pack of same, 16x20, a full 16x20 10 sheets, and a full box 50 sheets 16x20 EP/2 Plus (higher contrast)
There was also a partially used ep/2 processing chems kit. This was thrown in as a freebee.
These items have been langishing in my basement (unfrozen - the freezer is full of known good stuff) since late last summer. I have been having a good time goofing with the years and decaes expired b&w paper from this lot, but had yet to get to the ep/2.
Well last night I got to it. I mixed up some RA-4 developer from a partially used kit I started about 6 months ago, and had inrt gassed off prior to re-storing the concentrates, and added in 0.6g/L NaBr, and 13mL/L Benzyl Alcohol, based on Ron's suggestions on this subject from a years ago or more. I left the pH at RA4 strength at first.
I made a 5-strip test exposure at 50M +90Y on a 3.5x5" swatch of the 8x10 paper. No exposure for one part and 4 at progressively 5 seconds longer at f/16 for the other four parts. The results in RA-4 at 2:30 - the EP/2 dev time at 96F or so (I was working int drums using a drift through temperature estimation) were near black (Likely too much development, I thought) So the next pass was run at 1:00 for the developer. This time the results were a yellow cast and over all low contrast. Third exposure was at 50M+110Y, and it brought the yellow cast down. Low contrast still.
For the 4th exposure I used a swatch of RA-4 paper to confirm the developer was up to snuff. Yes it was. The current RA-4 was more sensitive, and had a red cast, so it just needed different filtration. So the developer and blix were ok.
The next step was to add in conc. sulfuric acid to bring thr pH down to around 10 (equated to 20C) (needed about .75mL on the about 800mL of developer remaining)
Processing an ep/2 patch in this further modified RA4 soup did not improve the papers performance.
I decided to experiment full on and gave a shot at using the ages old ep/2 concentrates and mixed up a 'fresh' litre of working stregth developer. The stuff was murky, with globs of tar in it - I wasn't expeciting it to be pretty, and it wasn't, exen after the stirring for ages at different stages that I recalled from mixing this formulation 20-25 years ago.
It developed the next test swatch, albeit with stains from the oxidized developer in the solution. No better results than with the RA-4. So I declared the EP/2 8x10 lot of paper dead.
Next I tested the 16x20 open envelope batch. It looked a fair bit better than the 8x10 on the first pass, and was still tarred by the ep/2, so I dimped that lot , and the rest of the repaining concentrates just prior to the washing machine finishing it's wash cycle so there would be lots of water for dilution. I pH neutralized the alkaline part of the developer before I poured it out.
I tweaked the filtration, and printed a full 'betty' neg at 5x7, and developed it in the ph10 RA4 plus .6g/L NaBr and 13ml/L benzyl alcohol. It has lost a lot of sensitivity. It needs as much light as a b&w print to get anything to build density. I few iterations were needed to calibrate my analyser to this stuff, It develops to a low contrast, but for some subjects the low contrast should work out alright.
Finally, as the midnight hour approached, and I had been at it for almost three hours, (along with a good darkroom tidy along the way) I thought it was time to try a real print. I dug out the second hand 16x20 easel and 20x24 drum for thier virgin run (well at least in my hands). With the enlarger at the top of its column, and a 120 neg of the Toronto skyline from a summer boat cruise, I readied for exposure. f/8 at 12 seconds was the analyser suggested exposure.
I wrestled the paper packet open, loaded the easel, exposed, and got the paper into the tube sucessfully. Developing went alright, in a fashion. I was down to 300mL of developer, and so that is waht went into the tube. The low volume, and a not quite level rotating base meant that the far end was starved of developer. But it the results were enough to know that the paper is not fully dead, and that tonight I will need to print as 20 seconds to get more denisty. Otherwise I think that the 15 sheets of 16x20 that I have left of the type 74 paper can be successfully used a low contrast response suits the subject.
The next experiment will be on the plus paper. Perhaps its higher original contrast will have gracefully faded to a portra like result by now! Well one can always hope.
The RA and EP 2 developers are somewhat similar except for NaBr and Benzyl Alcohol. They both should have a pH of about 10.1 at 20 deg C. So, adding the Sodium Bromide and BZA should bring RA developer up to close to EP2 strength. However, E70, E Plus and etc, were not known for good keeping, even in the refrigerator. Frozen, it could keep about 5 - 10 years with some red speed loss and require a greater red filtration. At room temperature it became foggy.
The process that I have for it was 88 deg F for 3.5 - 4 minutes development.
You are a great resource to all of us who love to play with the chemistry in the darkroom.
I'm not expecting great results. Most of the excercise was to get the workflow run through for working with 16x20.
Most of the time I top out as 11x14. In a small space I thought that a run with something that may only end up half right would be better than screwing up somthing that should have worked correctly if it was all new material.
If the material is all fogged, I still have a use for it. I was going to dedicate two 12" wide slices at a time (one fed upside down) for a trip though my RA-4 roller processor when I start it up as a poor mans substitute for clean out sheets.