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  1. #101
    Photo Engineer's Avatar
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    The reversal process being discussed here seems to be a bit less subject to temperature variations. At least, that is the way it seems to me. As for Fuji, I have read many reports that CA paper does not do well in this reversal process. However, since I first published this process, there have been two or three different versions of CA paper, and as many versions of Endura, so who knows what is best now? Not me. I have been busy making emulsions and mixing up new developers and fixers.

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  2. #102
    RPC
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    Quote Originally Posted by Roger Cole View Post
    That's interesting. I know you can use Kodak RA4 developer without the starter at room temperature, but also read some difference of opinion here with some saying Kodak paper worked well with this and Fuji not as well - I believe you have good results with Fuji CA? More important is the question of consistency. Do you vary the development time with temperature?
    I have not used Fuji for RA-4 reversal but for RA-4 in general I have gotten results almost identical to Endura except the Endura had better shadow detail, at least when they were both used with Kodak RA-RT Replenisher. I see no difference in results when either are used between 68-75 degrees. I have tried RA-4 reversal with Endura and gotten results similar to what others have shown and described but due to the difficulty in conquering the problems of high contrast, crossover, and mottling, I think I will turn my efforts to trying internegatives unless someone can significantly improve the process. I would like to experiment further but don't have the time. Good luck to those who do.

    BTW, to those use it, I have found I can get more parallel curves form Kodak RA-RT Replenisher by adding about 1-2 ml of Glacial Acetic Acid per liter of developer. YMMV.
    Last edited by RPC; 05-28-2012 at 12:05 PM. Click to view previous post history. Reason: typo

  3. #103
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    Quote Originally Posted by Photo Engineer View Post
    The reversal process being discussed here seems to be a bit less subject to temperature variations. At least, that is the way it seems to me. As for Fuji, I have read many reports that CA paper does not do well in this reversal process. However, since I first published this process, there have been two or three different versions of CA paper, and as many versions of Endura, so who knows what is best now? Not me. I have been busy making emulsions and mixing up new developers and fixers.

    PE
    Digression because he mentioned it WRT regular RA4. At least, I took HRST's comment about developing prints over a period of two years to refer to regular neg-pos RA4.

  4. #104
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    Quote Originally Posted by Roger Cole View Post
    That's interesting. I know you can use Kodak RA4 developer without the starter at room temperature, but also read some difference of opinion here with some saying Kodak paper worked well with this and Fuji not as well - I believe you have good results with Fuji CA? More important is the question of consistency. Do you vary the development time with temperature?
    For normal RA-4, I always develop for about 2:15. My temperature doesn't drift so much. I have just missed printing in hot summer days. If I did it at, say, 30 deg C (there is no decent air conditioning in the darkroom I use), maybe I would shorten the time to, say, 1:30 to 1:45 or something like that. But, I haven't seen ANY difference in my range of 21...26 deg C with constant development time.

    I have tried varying development time between 2:00 and 3:00; the difference is only in contrast and density, not color balance, and is VERY MINOR.

    I cannot see any difference in how Supra Endura and Crystal Archive behave in normal RA-4 process. They produce almost identical results at 22 deg C. Fuji CA is a very little bit more contrasty and has a little bit more saturated look, and filtration differs a few units from Kodak -- similar to how much there can be variation even between the batches of the very same paper! IIRC, there was just one APUG user reporting difficulties with Fuji CA in room temperature; and this one experience gets quoted over and over again. Whatever the reason for the problems was, we need more data points.

    Color development step in reversal RA-4 is practically similar to one in normal RA-4, so this information goes for both processes. I usually think about them as one process, with reversal version just having one extra step at the beginning!

    However, the way the First Developer acts is more dependent on the paper; as I have stated before, Fuji CA needs and can tolerate higher levels of both thiosulphate and bromide in the First Developer.

  5. #105
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    Very interesting, thanks. I'm almost talked in to getting back into (regular neg-pos) RA4 - now if you could just tell me how to keep getting my paycheck and spend half as much time at work so I have time to print!

    Seriously and back on topic, this reversal looks simple enough, with essentially a black and white first developer and a light for reversal exposure, that if you already have the RA4 stuff it's simple to experiment with reversal as well.

    I went through several gallons of chemistry and several hundred sheet boxes of type 2203 paper back in the day - Cibachrome was cheaper than it was later but still twice the price or more as 2203, so I used what I could afford. I miss that stuff. (Ok, I miss affordable Ciba more...)

  6. #106
    RPC
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    By all means, Roger, get back into RA-4. Color negative printing is easier now than ever before. It is surprising how many stay away from it because they think it is difficult.

  7. #107
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    I've done it, but first with drums (PITA cleaning and drying, IMHO) and later with trays using the Tetanal RA4AT that gave yellow whites/highlights - that's been hashed out here before. I'm not afraid of it, other than wanting to either not need temperature control or have a way to do it that doesn't involve drums and my Jobo - love it for film. I never even had a colorhead and still don't - CP filters in the filter drawer worked fine, and I daresay they still will.

  8. #108
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    Quote Originally Posted by Roger Cole View Post
    Tetanal RA4AT that gave yellow whites/highlights - that's been hashed out here before.
    Yeah, that's was probably not a developer nor temperature issue; I got those yellow highlights / paper borders too, and it was purely because of the faulty blix that stained the paper. Extending the blix time, the stain became worse, and changing the blix to the Kodak version solved the problem, even with Tetenal developer.

  9. #109
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    If that is the case, there was insufficient auxiliary sequestrant in the blix. It can sometimes be fixed by soaking the print in Dequest 2010 or Dequest 2000 solution at about 10%.

    PE

  10. #110

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    Quote Originally Posted by hrst View Post
    Yeah, that's was probably not a developer nor temperature issue; I got those yellow highlights / paper borders too, and it was purely because of the faulty blix that stained the paper. Extending the blix time, the stain became worse, and changing the blix to the Kodak version solved the problem, even with Tetenal developer.
    Here of that I always use fresh developer and stop bath in processor. I always have brilliant white highlights and white borders. Yellow fog occurs when colour paper was kept in a warm and humid place, or in the emulsion after final rinse become components of the BLIX. Also I did some experiments with slide printing on RA4 and first think I understand is that in this process acid stop bath is not necessary. It is really hard to completely fog paper after acid stop bath. 3 min rinse on 0.5 l fresh water in processor is enough. Second think was about colour developer. I don't know anything about Tetenal RA4 chemicals but life of modern Minilab RA4 Fuji chemicals is not so big actually if You develop something in it.



 

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