Dude - remarkable fog is what you are after..... to coin a phrase from my past commercial lab days... that negative looks flat as piss on a plate...

If you do every thing right your negative will be flat and very non promising as a great neg to print from. Once you have the maki lines then you need to print with about a grade 4 paper. Being able to split the tones and create a image is your challenge and for what its worth , I spent 8 years making prints until I got the look I was dreaming of. I have hundreds of prints on the wrong paper with the wrong tone I can sell you ... cheap..

It sounds to me that you are shooting live, which means going out with your camera and then processing later or next day.... If you are doing this then you will need to bracket your exposures as I do not think its possible to hit the sweat spot consistantly.. I am building a trailor to pull behind me when I travel to process on location,, much like my hero Bill Schwab and his wet plate trailor.
As stated earlier in this thread , I shoot a series of negatives with a lighting setup in a makeshift studio, then immediately process and flash to see which fstop and shutter speed is correct for getting good maki lines, and even then I bracket two sheets of film, and I do not change my lighting for the duration of the shoot so I have some consistancy.

I think 7 min development is too long btw , I use 5 min and flash half way.

Don't give up , it may take you 8 years but it would be worth the journey down the worm hole.

before you blast through all types of film I suggest one thing..

practice on paper set at grade 4 until you can get a white maki line every time within two tests.
Use only one film, they are all good in my opinion and FP4 works very well.
Follow Jollys formula to the letter,,, until you are so shit hot good you feel compelled to make your own variation.

also have fun or give up as it is very ass backwards process and can confuse the best of us.


Quote Originally Posted by luxikon View Post
As far as now my experiment results in a complete reversal of image tones on my negatives, as well as beginning Mackie lines at EI 200. I exposed 6x9 sheet film Fomapan 100 (ASA 100) at EI 125, 160, and 200 with lower contrast at higher EI after development. But the negatives show remarkable fog. Normally the base and fog on this film has a density of 0.02 but these negatives have a b&f of 1.90 to 1.55, decreasing with increasing EI.
I developed for 7 min in Dr. Jolly's developer with intermittend light (2 sec.) at 3,5 min.
To get better results I intend to keep all variables constant and only change the intensity of the second exposure. Or would you suggest a better approach?