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CIBACHROME



 
 
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  #1  
Old November 24th 11, 07:37 PM posted to rec.photo.darkroom
czarnobialykwadrat!
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Posts: 4
Default CIBACHROME

Hi,

I am looking for cibachrome developer formula, as I have some chemistry
but developer turned into brown color and doesn't work anymowe.
Any helpful links?

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  #2  
Old November 24th 11, 08:43 PM posted to rec.photo.darkroom
Howard Lester[_3_]
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Posts: 24
Default CIBACHROME

"czarnobialykwadrat!" wrote

Hi,

I am looking for cibachrome developer formula, as I have some chemistry
but developer turned into brown color and doesn't work anymowe.
Any helpful links?


http://www.ilford.com/en/products/ilfochrome/index.asp

http://www.bhphotovideo.com/c/buy/Fo...6/N/4288586376
(scroll down to Ilford P-30, though I don't know if that's the "Classic"
chemistry or the "Rapid" chemistry. There is a big difference. You want the
"Classic," which is supposedly the same as the original Cibachrome.)



  #3  
Old November 26th 11, 04:07 PM posted to rec.photo.darkroom
czarnobialykwadrat!
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Default CIBACHROME


http://www.bhphotovideo.com/c/buy/Fo...6/N/4288586376


yay, the ship[ping costs to poland are crazy

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  #4  
Old November 26th 11, 05:52 PM posted to rec.photo.darkroom
Claudio Bonavolta
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Posts: 50
Default CIBACHROME

Le 26.11.2011 16:07, czarnobialykwadrat! a écrit :

http://www.bhphotovideo.com/c/buy/Fo...6/N/4288586376


yay, the ship[ping costs to poland are crazy


Well, the name changed to Ilfochrome since the 90's ... :-)

Aside the shipping costs, these corrosive liquids cannot be sent by air.

As you live in Poland, you can buy from some German web shops, ground
shipping is then possible and will cost less.
http://www.phototec.de/Photochemie/P...4000_4400.html
Another shop in Germany but I don't think they have Ilfochrome:
http://www.nordfoto.de

You can also ask directly the producer for their representative in Poland:
http://www.ilford.com

Aside of that, there have been several formulas posted on this forum
years ago.
Find some of them below (note that I tried none of them, this has just
been copied/pasted !)


Claudio Bonavolta
www.bonavolta.ch


Formula 1
--------------------------------------------------------------------------------------------
Ilfochrome developer is b&w print developer with a little bit of sodium
thiosulfate in it to help roll off the contrast. (The dyes are built into
the emulsion, so no color couplers are needed.)

Buy a quart of Ilford Bromophen (which is what the official Ilford formula
probably is), brew up a liter of working-strength soup, and throw a gram
and a half of pure sodium thiosulfate in the working solution (NOT
prepackaged fixer, just thiosulfate) and develop for three minutes at
75deg F. If you can't get Bromophen, Dektol or whatever you can get will
also work.
--------------------------------------------------------------------------------------------

Formula 2
--------------------------------------------------------------------------------------------
I copied this formula from an old issue of Darkroom Techniques. It is a
Two-Bath formula that I use along with Cibachrome P-3 bleach and fixer.
It works well for me.

Two Bath Cibachrome Developer

Solution A
Distilled Water 700 ml
Sodium Sulfite 68 gm
Hydroquinone 18 gm
Phenidone ( 0.7% Solution) 100 ml
Benzotriazole (0.1% Solution) 100 ml
Sodium Chloride (non Iodised table salt) 6 gm
Water to make 1 liter

Solution B
Distilled Water 800 ml
Sodium Carbonate (mono) 55 gm
Sodium Thiosulfate 11.5 gm
Sodium Bisulfite 13 gm
Water to make 1 liter

A 0.7% Solution of Phenidone is made by dissolving 7 grams of
Phenidone into 1 liter of hot water (125 F).

A 0.1 % Solution of Benzotriazole is made by dissolving 1 gram
of Benzotriazole into a liter of water.

For the initial processing run, try one minute at 86 F for
solution A, followed by three minutes in solution B. Save bath A for
reuse, discarding bath B after one use. After development, give the
print a 30 second rinse in water to prepare it for the bleach step.

If Process P-30 Chemistry is used, the rest of the sequence
is as follows; after the 30 second rinse, the print is bleached for
2 minutes and fixed for 2 minutes. Final washing consists of 5
rinses of 1 minute each, allowing 15 seconds for draining of each
rinse. All solution and wash temperatures are at 86 F.

If Process P-3 Chemistry is used, the rest of the sequence is as
follows; after the 30 second rinse, the print is bleached for 3
minutes and fixed for 3 minutes. Final washing consists of 5 one
minute rinses of 1 minute each, allowing 15 seconds for draining of
each rinse. All solution and wash temperatures are at 86 F.
Process P-3 Bleach and Fixer should be saved for replenishment and
re-use.

These instructions are for drum processing

Mike Sullivan
--------------------------------------------------------------------------------------------

Formula 3
--------------------------------------------------------------------------------------------
Ilfochrome Divided Development

100342.1627 Nov 20 1995, 12:00 am
Newsgroups: rec.photo.darkroom
From:
Date: 1995/11/20
Subject: Ilfochrome Divided Development

My original suggestion to try divided development for Ilfochrome has
generated
so many responses and queries, I've written a rather lengthy reply,
including
the basic concept of divided development. If you already know the concept,
feel free to skip to the part about Ilfochrome.

All single-solution developers contain developing agent(s) and an activator.
Most also contain an anti-oxidant and many contain an anti-foggant as well.
The rate of development is a function of time and temperature. Many years
ago, when I was living in Malaysia and despaired of ever being able to
get my
developer temperature lower than 85 degrees (I used to get grain the size of
basketballs!), I ran across an old Dignan Photographic magazine that had
lots
of formulas and an article about divided development.

Seems as though, if you separate the activator out from the rest of the
chemicals
and put it in a separate bath, several things happen: time and
temperature, for
all practical purposes, cease to matter; overdevelopment is impossible;
contrast
buildup is naturally compensated for. In bath A, which contains the
developing agent,
the anti-oxidant, and anti-foggant if any, the latent image on your emulsion
simply soaks up the amount of the developer it needs for the proper
development
of the exposed silver halides. Nothing visible happens. You can leave
it in all day
if you like, at most any temperature, (though practically speaking,
temperatures below
58 or 60 degrees tend to make the emulsion rather non-absorbent, and you
may end
up with weak grays). Then you flop it into the B bath which contains
the activator,
with no rinse in between, and at normal room temperatures, it will
develop to completion in
about 20 seconds-one minute depending on temperature. Again, no big
deal. Leave it in for
hours, and it won't change. Reason? The activator can only activate
the amount of
developing agent soaked up in Bath A. So you cannot make your print more
contrasty by leaving it in the developer longer. Anything you're going
to do by
way of increasing contrast or density you have to do under the enlarger.
Warmer
temperatures make the process in Bath B a bit shorter; colder
temperatures make it
a bit longer. But it'll get there in under a minute for sure. By
varying the developing
agent(s) in Bath A, you can change the image color from cool to warm,
or from soft to hard.
When I was using graded papers, I used to keep a soft Bath A and a hard
Bath A in
adjacent trays and depending on whether I wanted a half-grade harder or
softer, I'd run it
through one or the other before putting it in the B bath. Plain old
D-72 or Ansco 125 work
just fine with the carbonate separated out into the B bath. Leave out
hydroquinone and you’ve
got something like Selectol Soft.

So much for theory. Hope you're still with me. I'll include my B&W
paper formula as well as the
Ilfochrome formulas, and you can try it. I love it and would never go
back to using single solution
developers for printing. There are even divided developer formulas
around for film (Divided D-76
for instance) which also work well, though with film, time does play a
role. I've worked so
long and well with HC110 at 1:31 with my film, however, that I really
don't bother
concocting my own film developers any more. The divided ones were a
life-saver in
the tropics, however.

Now on to Ilfochrome. I had known that Ilfochrome was essentially a
black & white
developing process, with the color azo dyes incorporated into the silver
halide
emulsion. So, I knew in theory that any B&W developer should work, and
if so,
any divided developer for B&W should work too. I tried it, and, eh,
voilá, sure enough
it worked. Of course it was too contrasty to be believed, but I knew
that was easy
enough to fix. I simply mixed up my usual brew, leaving out the
hydroquinone which is
the contrast builder, and ended up with the equivalent of Selectol soft.
It worked fine,
controlled the contrast in (at that time) Cibachrome and needed no time or
temperature controls. I gave it roughly 30 seconds in each bath just to
make
sure the emulsion had time to absorb the stuff. The Metol-based
developing agent,
however, caused a big color shift toward yellow, which I had to
compensate for
with a heavier filter pack, thus making my exposure times even longer
than they
already were. At the best of times, Ilfochrome paper is very slow.

So I began to search around for a different formula. An acquaintance
was working on it too, and we came up with one. I've since modified it
several times, once in response to an article by Robert Stringer in
"Darkroom Techniques" (Sept/Oct 1990). More recently, there's been
another article arguing for a Metol formula that is an improvement on my
original formula, though I can't find my copy of it at the moment. Needless
to say, there's more than one way to skin an Ilfochrome. I also use
teaspoon
equivalents for chemical measuring instead of a balance. Henry Horenstein's
"Beyond Basic Photography" has a conversion table for all the commonly
used chemicals. What a timesaver, and I've never had any problems with
lack of precision.

So here are some formulas. Try any or all. I assume you'll be doing
rotating
drum processing, but if you're lucky enough to have a Nova or Jobo
CPPwhatever,
it should work there too.

Robert Stringer's formula:
Solution A

Water 700 ml (125 degrees)
Sodium sulfite 68 grams
Hydroquinone 18 g
Phenidone 0.7g or 100ml of 0.7% solution
Benzotriazole 0.1g or 100ml of 0.1% solution
Sodium chloride 6g
Water to make 1 liter

Solution B

Water 800 ml
Sodium Carbonate 55g (Arm & Hammer Washing Soda
or Swimming pool PHPlus work just fine)
Sodium Thiosulfate 7.2g
Sodium bisulfite 13g
Water to make 1 liter

My Homebrew Formula for Ilfochrome

Bath A

Water 750ml 125 degrees or as hot as your tap will run it.
Sodium Sulfite 2 Tbs.
Ascorbic Acid 1/2 tsp. (This is crystalline Vitamin C
available in any health food store)
Phenidone 1/4 tsp. or 100 ml 0.7% solution (dissolved in
rubbing alcohol)
OR
Metol 2 tsp
Hydroquinone 1/2 tsp. (or leave out altogether if still too
contrasty)
Benzotriazole 1/8 tsp. crushed Kodak tablets or 10 ml Edwal
Liquid Orthazite
Potassium Ferricyanide 1/8 tsp. or 10 ml of 10% solution
Water to make 1 liter

Bath B

Sodium Carbonate (Washing soda) 3 Tbs.
Kodalk Balanced Alkali 1/2 Tbs.
Sodium Bisulfite 1/2 Tbs.
Sodium Thiosulfate (hypo) 1/4 tsp.
Water to make 1 liter

I found Stringer's quantity of hydroquinone too much for my liking. I
was still getting
too much blocking in the very light values for my taste. Otherwise, it
works
very well. I've made many Cibas (sorry, Ilfos) that have lovely detail
in the
delicate highlights and lots of depth in the shadows using these formulas.
Occasionally, in a shot without much contrast to begin with, where the
divided
approach subdues things too much, I've actually mixed 60ml of A with 30
ml of B and
run it as a one-solution at 75 degrees for 3 minutes or longer to
increase contrast.
Now if someone would just make printing Ilfochromes less boring. I
usually take
a novel into the darkroom to read while the little drum is going round
and round on its motor base. You probably won't be able to use the
recommended
filter pack for your Ilfochrome paper. I usually start with a test
print with nofiltration,
and then go from there to establish my basic pack. I usually don't have
to change
it very much from print to print as long as I'm still on the same box of
paper. My
current pack is about 5M and 10C. Speaking of paper, I haven't bothered
trying the
special low-contrast paper. With divided development, I don't need to.
I just use
the "Classic."

Here's the B& W formula as well which works beautifully with all papers,
including the VC papers. It gives cool to neutral blacks.

Bath A

1 1/2 liters (quarts) of water at about 125 degrees
2 tsp. Metol (Elon)
3 Tbs. Sodium Sulfite
3 tsp. Hydroquinone
1/4 tsp. Potassium Bromide
1/2 tsp. Ascorbic Acid (Vitamin C in crystalline form)
10 ml Liquid Orthazite (benzotriazole) or 3 Kodak tabs crushed
additional water to make 2 liters (half gallon)
The A bath doesn't get exhausted; it just gets physically used up as the
emulsion absorbs it. A half gallon will last me six months or so at
normal use.
Shelf life is good if not stored at high temperatures. Slight yellowish
discoloration over time is normal--just oxidation and doesn't matter.

Bath B is just Sodium Carbonate (Washing soda or PHPlus) about
1/2 cup to 1/2 gallon of water will do fine. It's not critical. A lesser
concentration will act a little slower, and vice versa. I usually mix this
fresh for each session in quart sized batches. One quart of it will
process about 20-25 11X14's before becoming exhausted. It really slows down
as it nears exhaustion. If you're in the middle of a session, and just
want to
throw in a little fresh stuff, it rejuvenates it. All it does is
activate the stuff from Bath A.

So there you have the divided developer saga narrated at great length.
Aren't you sorry you asked!

As an added thought, I've recently been doing split filter printing on
VC paper
(one exposure at full yellow and one at full magenta on my Beseler
Colorhead,
and then developing in my usual divided stuff. I have been extremely
pleased with the increased luminosity of the tones which results from an
increase, not in overall, but in local or interior contrast.
Theoretically,
it shouldn't make any difference if one uses a single continuous exposure
at a certain level of filtration. But it does. The tones "sing." I
make one test
print at full magenta and one at full yellow, with repeated 3 second
exposures across the print, and pick the time of each which looks best.
It takes a little getting used to mentally, but well worth the effort.

Happy printing,

Larry Kalajainen
--------------------------------------------------------------------------------------------
  #5  
Old November 26th 11, 09:00 PM posted to rec.photo.darkroom
czarnobialykwadrat!
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Posts: 4
Default CIBACHROME

[...]
thanks!

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  #6  
Old December 1st 11, 06:17 PM posted to rec.photo.darkroom
Russell D.
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Posts: 307
Default CIBACHROME

On 11/26/2011 01:00 PM, czarnobialykwadrat! wrote:
[...]
thanks!


Sir,

I took a peek at your web site. You have some very nice photos there. I
especially enjoyed the Monochrome Squares gallery. Thanks for posting
that link.

Russell
  #7  
Old December 1st 11, 06:24 PM posted to rec.photo.darkroom
czarnobialykwadrat!
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Posts: 4
Default CIBACHROME

I took a peek at your web site. You have some very nice photos there.
I especially enjoyed the Monochrome Squares gallery. Thanks for
posting that link.

Russell


thanks

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