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#11
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I print in colour in a darkroom studio but not a much as b&w. scanning colour for me is harder than colour correcting a print in the darkroom. |
#12
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The shorter timings (between 3 and 4 mins Dev, 45s Bleach and 3 min Fix) compared to B&W make it a slightly more intense experience but I’ve now got a good workflow that works for me and apart from getting everything to temperature it’s no more difficult than B&W in my experience. I developed three rolls of 120 and a roll of 35mm one after the other this afternoon and the hardest part was drying the tank between each roll! Hope this helps |
#13
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An update on my original query - chemical loss. For reasons unbeknown to me I chose to use my old System 4 tank today for the four rolls of colour film. I returned each chemical to the measuring cylinder during the process and noted no noticeable loss of liquid.
Before I packed up I decided to get completely up to date with film development and developed a roll of HP5+ I finished yesterday. For speed I used the AG tank rather than wash and dry the Paterson again. It’s my go-to tank and also the one I had developed the first nine rolls of colour film in. Eureka! I use the inversion method of agitation and when I took the lid off to discard the Rodinal I noticed a fair bit in the channel around the top of the tank - sure enough when I tipped the contents back into the measuring cylinder a quantity escaped - multiply this by nine and I reckon it accounts for my loss of chemicals. So to answer my own question I shall use the System 4 tank in future as I find that agitation with the twizzle stick uncomfortable for my arthritic fingers |
#14
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Bearing in mind the present situation in Italy (and the rest of us)the supply of these chemicals may dry up if it goes on for very much longer. Personally I would go with Tetenal, they are about the same price. If you have never developed colour before it is a bit more fussy about temperatures than B&W nut if you have a question get back to us and you will be inundated with advice, some from personal experience and some from books and publications. |
#15
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Thanks, Dave. My query on temperature is that some kits such as Tetenal, Digibase and possibly Bellini, I think, have a range of temperatures within which they say you can develop satisfactorily by varying times
Every time someone does not use the standard 37.8C on another forum the usual range of people give dire warnings of colour crossover in the negs. Essentially as I understand matters, colour crossover is allegedly the result of the different colour layers in the film not being fully developed. This may not affect anyone who scans negatives for prints as the weapons at a scanner's disposal can correct crossover in a way that under an enlarger with RA4 cannot as I understand what scanners can allegedly do When I play "devil's advocate" and ask why crossover does not occur every time at other than 37.8 C all I seem to get is that on that occasion the person was lucky I reply that what counts is how often the incidence of crossover occurs and over what range of temperatures. Clearly if the likelihood of crossover is very low at say 35C and above then that is one thing but if the crossover frequency rises appreciably when the temp drops to say 25 C then that may be something else I also tend to ask why a manufacturer who relies on sales should give a range of temperatures within which it knows there is likely to be problems. This is a bit like say Ilford recommending a dev time and temp that it knows risks getting good negs It makes no sense to do this if you want to sell your product I never seem to get proper answers to such questions and there would appear to be no source of information in which there is any tables of temp v colour crossover So I try to make it my business to ask about the colour temp used and what resulted In that way I may eventually get a feel for the likelihood of crossover at other than 37.8 C If you have a Jobo processor then there may be no reason not to use 37.8 C but for a lot of beginners without the right equipment the "magic" 37.8 C might be very difficult and simply put newcomers to colour film off trying which is not what we want Mike |
#16
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Cross over or crossed curves
This occurs when one or more of the three colour layers develop at different speeds to the others. Using development temperatures other than 38C (Or37.8) then you run the risk of mismatched colours in the final print. This will give you massive problems with colour balance and will be almost impossible to balance out. Say, if the red layer is the one that goes astray, correct that and the other two will change as well change may end up chasing your tail. Even this is not always the certain cure, because if you change one colour the other two may well go off on a different and opposite curve, which makes it even worse.
The only way I have seen 'crossed curves' be satisfactorily cured is using a scanner to input the film image into a computer and then by using software like Adobe Photoshop to change each individual colour back into line. Even that can be a challenge! This why the optimum temperature should be adhered to, anything else and there is a risk. Last edited by John King; 29th March 2020 at 05:00 PM. |
#17
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Like you I tend to stick to one thing I know works although I take your point regarding longer term sustainability of chemicals so will also research the Tetenal. Thanks as always! |
#18
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