B&W film developing questions

In article ,
"Lawrence Akutagawa" wrote:

"Richard Knoppow" wrote in message
...

"Ken Hart" wrote in message
...

"David Nebenzahl" wrote in message
s.com...
On 1/7/2008 7:28 PM G.T. spake thus:

I forgot to ask one question. What is the effect of fixing for too
long?

Image degradation, and in extreme cases, silver reduction and image
"bleaching"--but you'd have to leave the film in for a very long time
for this to happen.

Don't sweat it.

And that period of time would be measured with a calendar rather than
aclock!
It depends on the fixer. Ammonium thiosulfate in acid is capable of
bleaching metallic silver in a relatively short time. The problem exists
mostly for the very fine grain silver of printing paper rather than film
but fixing times should not be much extended beyond the time needed for
complete fixing. The bleaching effect is why rapid fixer is diluted more
for prints than film.
The bleaching takes place only when the fixer is acid, neutral or
alkaline rapid fixer does not bleach silver.
A good mild reducer for removing dichroic fog from film can be made by
adding about 15 grams per liter of citric acid to standard film strength
rapid fixer. Dichroic fog is a deposit of very fine silver on the surface
of the film.
Citric acid, in this application, is a sequestering agent for the
silver.

While not exactly on topic as per Richard's post, allow me to point out as
per the main topic of B&W film developing that one of the most important
items in the BW darkroom for both film developing and (especially) print
processing is a good audio system. A plain radio is fine, but a tape deck,
a CD player, and especially a MP3 player (with its long play ability) is to
be recommended. For me at least, such a device makes those long and already
enjoyable darkroom sessions that much more enjoyable.

You sound like John Douglas.

--
Reality is a picture perfected and never looking back.

"David Nebenzahl" wrote in message
.com...
On 1/26/2008 11:43 AM jjs spake thus:

Lawrence Akutagawa wrote:

[...] one of the most important items in the BW darkroom
for both film developing and (especially) print
processing is a good audio system.

I have no audio equipment in the darkroom... except a
metronome.

Same here, minus the metronome. I don't find music to be a
compelling need in the darkroom.

David, did you post a question to me about older Kodak
enlarging lenses? If so I can't find it again.


--
---
Richard Knoppow
Los Angeles, CA, USA

Dnia Fri, 04 Jan 2008 22:04:55 -0800, G.T. napisa³(a):

. The Rodinal says undiluted it will last 6 months. Can I be safe to
assume it will last that long?

Last week I made test - bottle of Rodinal used last time 5 years ago
(so it has 6 or 7 years). 1+25 - still works without any problem.
I tested also D-76 1+1 mixed in Sept 2006 - works not so good, but it's
still ok - without direct comparison no visible difference.

And never ask such questions - shot a few test frames, cut film
and develop it. It costs a few cents, but can save your negative
if something will go wrong with developer after wrong storage.


Can I develop more than one roll of film in my Rodinal?

In low dilutions yes - but I don't recommend it.

2. The stop is the least of my worries, right? It should be ok for a
couple dozen rolls over the next couple of months?

After Rodinal don't use acid stop bath - plain water
works ok - I use 3 water changes in 2 min.

Greetings
Henry

On 1/27/2008 8:44 AM Richard Knoppow spake thus:

"David Nebenzahl" wrote in message
.com...

On 1/26/2008 11:43 AM jjs spake thus:

Lawrence Akutagawa wrote:

[...] one of the most important items in the BW darkroom
for both film developing and (especially) print
processing is a good audio system.

I have no audio equipment in the darkroom... except a
metronome.

Same here, minus the metronome. I don't find music to be a
compelling need in the darkroom.

David, did you post a question to me about older Kodak
enlarging lenses? If so I can't find it again.

Yes, thanks for asking. Here it is:

Forgive me if we've already been over this ground before, but this seems
a good time to ask you about a couple older enlarging lenses I have that
I've used with good results. I have a couple versions of the old Kodak
Projection Anastigmat, all in excellent condition. (This is the uncoated
version of what I guess became the Ektar series, correct?) What's your
opinion of these lenses? They seem to be perenially available on eBay in
any conceivable size, cheap.

I never liked safelights -- used to work entirely in the dark. If you mix
and measure all your chemicals ahead of time, and have the darkroom
logically and neatly laid out, there's no need for lights during the
exposure and developing stages.

Take Care,
Dudley



"Pieter" wrote in message
...
I have a safelight in the enlarger area as well as one over the sink. I
set up the print and focus with the enlager lens wide open for maximim
image light. The last step before printing is to stop the enlarger lens
down to the correct stop.


"____" wrote in message
...
In article , "Ken Hart"
wrote:

It is easier to focus with the safelight off.

Nominally. Most people don't project the safelight onto the easel and if
the light is bright enough to cause that kind of issue = making it hard
to focus the safe light is really to bright.

--
Reality is a picture perfected and never looking back.

I know, I'm more than just a bit compulsive.

I only did a small percentage of my work as BW, most was cibachrome /
ilfachrome colour images.

When my darkroom was in full production, not only was I compulsive, but I
tended to be rather systematic, and tended to keep minute records of
timings, colour balance settings, etc. for camera lens combinations in
addition to film manufacturer / types.

Using a nice little German-made tank processor, I could plan my workflows
and maximize the time I spent in the darkroom fairly effectively.

I guess it was my way of making sure I got as much time behind the lens as
possible.

Take Care,
Dudley

"Pieter" wrote in message
...
There's no reason not to use safelights for printing, unless you are a bit
compulsive. I do ONLY B&W, so my problem is simple in terms of light
color selection.

I am also a "small tank" only guy - I use 35mm and 120 film sizes only.
When processing film, after loading the film in the tank and closing the
lid, all film processing is done in plain old room lighting. The one time
I will do film processing in the dark is when I am processing infrared.
If there is the slightest light leak anywhere, this film will find it! So
I do the whole thing from unloading the camera to loading the tank to
processing all in complete darkness.

"Dudley Hanks" wrote in message
news:fdOvj.36830$FO1.34596@edtnps82...
I never liked safelights -- used to work entirely in the dark. If you mix
and measure all your chemicals ahead of time, and have the darkroom
logically and neatly laid out, there's no need for lights during the
exposure and developing stages.

Take Care,
Dudley



"Pieter" wrote in message
...
I have a safelight in the enlarger area as well as one over the sink. I
set up the print and focus with the enlager lens wide open for maximim
image light. The last step before printing is to stop the enlarger lens
down to the correct stop.


"____" wrote in message
...
In article , "Ken Hart"
wrote:

It is easier to focus with the safelight off.

Nominally. Most people don't project the safelight onto the easel and
if
the light is bright enough to cause that kind of issue = making it hard
to focus the safe light is really to bright.

--
Reality is a picture perfected and never looking back.

Yes you do the same, you undecidedly have other issues- sight relatedly
that make your pursuits a bit more noble than some of us common folk- my
hat is off to you!


In article GZXvj.40482$w57.3435@edtnps90,
"Dudley Hanks" wrote:

I know, I'm more than just a bit compulsive.

I only did a small percentage of my work as BW, most was cibachrome /
ilfachrome colour images.

When my darkroom was in full production, not only was I compulsive, but I
tended to be rather systematic, and tended to keep minute records of
timings, colour balance settings, etc. for camera lens combinations in
addition to film manufacturer / types.

Using a nice little German-made tank processor, I could plan my workflows
and maximize the time I spent in the darkroom fairly effectively.

I guess it was my way of making sure I got as much time behind the lens as
possible.

Take Care,
Dudley

--
Reality is a picture perfected and never looking back.