First attempt at B&W reversal

Nothing works better than Technical Pan for contrast in BW Reversal. I much
prefer it to Scala.

"Peter Chant" wrote in message
...
Hi,

I've made my first attempt at B&W reversal processing using the
Celer Reverser kit with Ilford Delta 100. For a first go I was pleasently
surprised, however things are not quite spot on, not unexpected for
a first go.

Firstly I get some staining on the transparencies, this is a sepia
colour in patches, mainly in dark areas. Am I right in thinking that
this is due to insufficient washing after the blix stage?

Secondly, although the overal I seem to have reasonably good contrast*
the blacks are somewhat muddy and uneven, as also ca be witnessed from the
bit of unexposed film from inside the cassette. Am I correct in assuming
that I need to both increase the second development time a bit with
increased agitation plus expose the film to light for a greater
time / more intensity before the secod development.

* When exposed with a suitable subject!

Thanks.

Pete


--

http://www.petezilla.co.uk

In article ,
"John Walton" writes:
Nothing works better than Technical Pan for contrast in BW Reversal. I much
prefer it to Scala.

A fairly rare film given that I don't often see it available and it is
sitting in the speciallist area of the Silverprint website.

I suspect that it is still a processing problem I am having rather than
a film type problem. I do note from this and a previous roll of
Scala that B&W slides really sort the men from the boys when
taking photographs - the contrast of the scene photographed is plainly
obvious and there is no colour to distract from this.

--

http://www.petezilla.co.uk

In article ,
"John Walton" writes:
Nothing works better than Technical Pan for contrast in BW Reversal. I much
prefer it to Scala.

On a similar note, has anyone tried making slides using Kodak fine
grain release posative? According to the website it is used for makeing
motion picture prints from negatives.

--

http://www.petezilla.co.uk

Peter Chant wrote:
In article ,

On a similar note, has anyone tried making slides using Kodak fine
grain release positive? According to the website it is used for making
motion picture prints from negatives.

I have done it a few times. I found that the method of making contact
prints with a Leitz Eldia is excessively prone to dust problems.
This is too bad because the slides look really good apart from the
dust. Maybe if I could make my darkroom into a clean room, it would be
glorious.

Next time I try, I'm going to shoot the FGRP in camera and use a
macro lens and light table.

Peter.
--

"Peter Chant" wrote
"John Walton" wrote:
Nothing works better than Technical Pan for contrast in BW Reversal. I much
prefer it to Scala.

A fairly rare film given that I don't often see it available and it is
sitting in the speciallist area of the Silverprint website.

Rare film? Besides having a full freezer of the stuff in the kitchen, it is
available at any photo store.



Ah, UK, that explains it. I can't see Bill Brandt shooting TechPan either.

--
Nicholas O. Lindan, Cleveland, Ohio
Consulting Engineer: Electronics; Informatics; Photonics.
psst.. want to buy an f-stop timer? nolindan.com/da/fstop/

"Peter Irwin" wrote in message
...
Peter Chant wrote:
In article ,

On a similar note, has anyone tried making slides using Kodak fine
grain release positive? According to the website it is used for making
motion picture prints from negatives.

I have done it a few times. I found that the method of making contact
prints with a Leitz Eldia is excessively prone to dust problems.
This is too bad because the slides look really good apart from the
dust. Maybe if I could make my darkroom into a clean room, it would be
glorious.

Next time I try, I'm going to shoot the FGRP in camera and use a
macro lens and light table.

Peter.
--


This is the technique I mostly use: making a high-contrast negative of the
original negative, that gives a slide.
You lose something in the duplication but you keep your original negative.

More on this:
http://www.bonavolta.ch/hobby/en/photo/slidesbw.htm

--
Claudio Bonavolta
http://www.bonavolta.ch

Peter Chant wrote:

In article ,
"John Walton" writes:

Nothing works better than Technical Pan for contrast in BW Reversal. I much
prefer it to Scala.


On a similar note, has anyone tried making slides using Kodak fine
grain release posative? According to the website it is used for makeing
motion picture prints from negatives.


Claudio's post is great and he has lots of useful info on his web page.
I have a page with similar information though not in as much detail, I
think: http://web.mit.edu/jwosnick/www/BWslides.html

I've used the Eastman 5302 (fine grain release positive) film quite a
bit. It works well. I use it with a slide-duplicator attachment for my
SLR. The film goes into my SLR, the slide-duplicator mounts on the
camera, the negative to be re-photographed goes in the slide-duplicator
and the whole thing gets mounted on a tripod and aimed at a bright, even
light source (I use a little light-box). The film gets developed in
paper developer. It works fairly well.

As for your muddy blacks problem, without knowing the process in your
particular kit (which I've not heard of before) it's hard to diagnose. A
couple of months ago, I cooked up a reversal process based on a first
developer made by spiking working-strength HC-110 with various
additives. I had a hard time judging the light re-exposure and
eventually went to chemical fogging with an odourless sepia toner (based
on thiourea). The results were great with Pan F Plus -- beautiful
chocolatey-brown tones. With light re-exposure I would often get
solarization (for lack of a better word).

Any more questions, just e-mail me.

In article ,
Jordan Wosnick writes:

Claudio's post is great and he has lots of useful info on his web page.
I have a page with similar information though not in as much detail, I
think: http://web.mit.edu/jwosnick/www/BWslides.html

Auseful bunch of posts, thanks. It looks like investigating
making slides from negs might be interesting.


As for your muddy blacks problem, without knowing the process in your
particular kit (which I've not heard of before) it's hard to diagnose. A
couple of months ago, I cooked up a reversal process based on a first
developer made by spiking working-strength HC-110 with various
additives. I had a hard time judging the light re-exposure and
eventually went to chemical fogging with an odourless sepia toner (based
on thiourea). The results were great with Pan F Plus -- beautiful
chocolatey-brown tones. With light re-exposure I would often get
solarization (for lack of a better word).

I'm not sure what the developer uses, but the blix uses some acid and
potassium permaginate. I think I will try increasing the fogging time,
I assume you cannot over fog. I think I will try to increase the second
development and also agitation and see what happens.

Pete


--

http://www.petezilla.co.uk

Peter Chant wrote:

I'm not sure what the developer uses, but the blix uses some acid and
potassium permaginate. I think I will try increasing the fogging time,
I assume you cannot over fog. I think I will try to increase the second
development and also agitation and see what happens.

Peter -- Technically, it isn't a blix (bleach-fix), it's just a bleach
with no fixing power. The permanganate oxidizes metallic silver to
silver sulfate in acid media. Silver sulfate is water-soluble and
dissolves out of the film emulsion. The undeveloped silver halide
remains and it is this silver halide that the fogging step re-exposes.
If it were a blix, it would dissolve the halide as well and you'd be
left with blank film.

Anyway, you CAN over-fog, and it tends to make a solarization-like
effect (like turning on the lights during film development). I managed
to do this myself. Going to the chemical fogging agent (I use sepia but
there are also ones that give a neutral tone) solved my problem.

Jordan

In article ,
Jordan Wosnick writes:

Peter -- Technically, it isn't a blix (bleach-fix), it's just a bleach
with no fixing power. The permanganate oxidizes metallic silver to
silver sulfate in acid media. Silver sulfate is water-soluble and
dissolves out of the film emulsion. The undeveloped silver halide
remains and it is this silver halide that the fogging step re-exposes.
If it were a blix, it would dissolve the halide as well and you'd be
left with blank film.

OK, the instrucrtions call it a blix.


Anyway, you CAN over-fog, and it tends to make a solarization-like
effect (like turning on the lights during film development). I managed
to do this myself. Going to the chemical fogging agent (I use sepia but
there are also ones that give a neutral tone) solved my problem.

OK, so I will try to increase the fogging but only by a bit.

--

http://www.petezilla.co.uk