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  1. #11

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    Hi Tkamiya,

    There's an extensive article on the Sabatier effect here: http://unblinkingeye.com/Articles/So...arization.html

    Have fun,
    kevs
    testing...

  2. #12
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    Cross processing, color and Sabattier.

    I have a set of cross processed Sabattier effect prints in my gallery and they are color. Nothing is simpler. Just flash during development. With B&W prints it should be white light and with color it can be white light or colored lights. Use normal development and flash about 3/4 of the way through.

    BTW, I stick to the "real" name of Sabattier effect. This is not to put anyone down, but with the loss of all analog science and scientists looming on the horizon, in the future how will anyone really know what is being talked about if terms are corrupted? In fact, the change (or corruption) in nomenclature that happened in the early part of the 20th century is what causes a lot of confusion here and elsewhere regarding analog photography. I could give dozens of examples of this, but don't worry, I won't!

    And so, Solarization is done in-camera and Sabattier effect is done during processing. They look quite different.

    There is a long thread here that discusses methods in detail.

    PE

  3. #13

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    I've been reading up on this subject.

    Two questions:

    Looks like Ansco 120 is very similar in composition to the developer described by Prof. William Jolly. This will work to get me started, right? I'm not against buying raw chemicals but at this point, I'd like a one package solution.

    Most articles talk about a fixed grade paper by Agfa. Can I get by with any of Ilford's current products? I have MGIV FB and WT readily available.

    (ok, so there are 3 questions) I understand I'd print really contrasty, like grade 4 or 5. But what kind of guideline do I use to expose this? Favor highlight or shadow? (or neither since some of it get reversed?)
    Develop, stop, fix.... wait.... where's my film?

  4. #14

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    I think an article KEVS pointed to answers few of my questions above. Thanks!
    Develop, stop, fix.... wait.... where's my film?

  5. #15

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    hi taka

    i have never seen that article before just now, wow, who knew it was as involved as it is !

    whenever i solarize things ( i don't do it very much ) i just use spent developer so you can control
    the process a bit more than more active fresh developer. ( its like processing a paper negative ) ...
    i don't have any examples of what i did but it involved developing about until the print started to come out
    then squeegeeing off some of the developer, putting it back under the enlargeer ( red filter is great for aligning it )
    and burning in the areas i wanted solarized ...
    then back in the developer, the spent bath and if it needed a boost into regular developer and a water bath
    to slow it down a little ..
    i used to do this sometimes for "hot" areas that just would never burn down, no matter what i did .. this worked pretty well ..
    not really as involved as others , but fun just the same

    just experiment a little and take notes

    have fun !

    john
    im empty, good luck

  6. #16
    Roger Cole's Avatar
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    Quote Originally Posted by tkamiya View Post
    I've been reading up on this subject.

    Two questions:

    Looks like Ansco 120 is very similar in composition to the developer described by Prof. William Jolly. This will work to get me started, right? I'm not against buying raw chemicals but at this point, I'd like a one package solution.

    Most articles talk about a fixed grade paper by Agfa. Can I get by with any of Ilford's current products? I have MGIV FB and WT readily available.

    (ok, so there are 3 questions) I understand I'd print really contrasty, like grade 4 or 5. But what kind of guideline do I use to expose this? Favor highlight or shadow? (or neither since some of it get reversed?)
    Why not just buy the Solarol developer? Expensive, but it's used diluted 1+1 or 1+2, and it would seem the way to get started.

    http://www.adorama.com/CHS.html

    http://www.freestylephoto.biz/151264-Solarol-Developer

    Also he says that Selectol Soft is pretty similar, and a lot cheaper:

    http://www.freestylephoto.biz/750710...lon?cat_id=301

  7. #17
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    Ah I played with this a bit in the past and everything came out terrible lol. I could never get the mackie lines to be very apparent. Maybe I'll do a few this week.

    Also on a relevant note, one of the books I was flipping through suggested to do a test strip grid across first for the main exposure, then crosswise for the 2nd reexposure to quickly help show the various levels of the sabattier effect.

  8. #18
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    If Ansco 120 is Metol agent only and close to the components I listed then I would say give it a go,
    Yes all of my Solarizations are on Ilford Warmtone or Hannamuhle Art 300.

    I favor a grade 4 filter starting point or 100 Magenta. ** I use condenser and diffusion enlargers for this.
    For me the secret is to make a normal looking density on the paper in the first dev.
    I like the print to be lighter by about 1/3 stop. Then I move to the second developer and flash.
    You will get consistent results if you work exactly the same way, and time yourself so the flash is turned on at the right time.
    I use a 2-4 second flash and I make sure the print is fully soaked in the second developer with no bubbles on the surface and flash.

    I like to do the full development as the results are unfolding before your eyes and you will be tempted to pull the print early but for repeatability I do full process.
    basically your whites and blacks start moving towards each other so when you are making your first tests just pretend you are making a light print in your first dev. It will be a grade 4 light print but the dev is softer than Dektol so it balances out that you can determine quite easily the proper starting point with one or two exposures.

    The lighter the initial exposure the more reversal or effect, the darker the initial exposure , the more real the effect.
    There fore with Dodging and Burning you can create some really amazing prints.
    Post some of your results and have fun


    Quote Originally Posted by tkamiya View Post
    I've been reading up on this subject.

    Two questions:

    Looks like Ansco 120 is very similar in composition to the developer described by Prof. William Jolly. This will work to get me started, right? I'm not against buying raw chemicals but at this point, I'd like a one package solution.

    Most articles talk about a fixed grade paper by Agfa. Can I get by with any of Ilford's current products? I have MGIV FB and WT readily available.

    (ok, so there are 3 questions) I understand I'd print really contrasty, like grade 4 or 5. But what kind of guideline do I use to expose this? Favor highlight or shadow? (or neither since some of it get reversed?)

  9. #19

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    I'll have to give this a go....
    Develop, stop, fix.... wait.... where's my film?

  10. #20

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    I am a bit confused....

    All articles talk about the first developer and the second developer. Are these the same developer with Metol? (I think they are?)

    Also, is it that develop in first dev, put it in the second dev, FLASH? Then why two trays? Can I not just keep it in the same solution, bring it up to the surface and FLASH half way through the process?
    Develop, stop, fix.... wait.... where's my film?

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