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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? -- czarnobialykwadrat! http://www.czarnobialykwadrat.pl |
#2
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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.) |
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CIBACHROME
http://www.bhphotovideo.com/c/buy/Fo...6/N/4288586376 yay, the ship[ping costs to poland are crazy -- czarnobialykwadrat! http://www.czarnobialykwadrat.pl |
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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 -------------------------------------------------------------------------------------------- |
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CIBACHROME
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#6
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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
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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 -- czarnobialykwadrat! http://www.czarnobialykwadrat.pl |
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