Recent content by devecchi

In the 90's I used Oriental Seagull fixed graded. I consider it the best photographic paper of those years, followed by Kodak Elite. Nothing to do with the current paper.

Ilford FB Classic is more difficult to deal with. I have used Fomabrom III for many years, both Glossy and Matt, it is a good paper, but Ilford Glossy and Matt I consider them superior in terms of results compared to Foma: more intense black and purer whites, more contrasted, and I use more...

My question was related to what they also say about D.76 where they suggest using it the next day because it stabilized. But in my case I don't think it changed much. The reason is more dictated by the rush and curiosity see the results of the Cinestill used today. But I can do it tomorrow...

Today I prepared the D. 96 developer myself, standard. Can it be used immediately or is it better to wait until the next days?

Io use the normal D.96 for develop Cinestill 200, IT work well but I would like to know if using the replenisher guarantees consistency in the result.

Tomorrow I will prepare ID-68 ( Microphen). I suppose at 1200 Asa develop 9 minutes and 30 seconds it can work.

Simple: portrait with ambient light very beautiful but.....poor.

Io have to expose two 4x5 sheets of Hp5 + at 1200 Asa. I am thinking of Microphen or D. 76 1+1 with rotary slow process with Ilford Cibachrome motor. What development time do you recommend?

IO received about 2 months ago Adox fx-39 ii 500 ml.The color was slightly straw yellow, I only use 80 ml. and it works fine. The bottle is tightly closed with no air inside. Reading your post I went to the darkroom to check and now the liquid is more darker...I hope it's not dead already.

I didn't feel satisfied to still have small residues of OF3 in the print, so I insisted with a further treatment: Edta disodium 30 gr. Sodium sulphite anhydrous 25 gr. Demineralized water 1 litre Print treatment 40' Washing 40' This treatment repeated 2 times. Final result: no...

Thanks everyone for the replies.

I share your observation. The print was framed in contact with the glass and without a passpartout, and on the back the framer had put a vulgar cardboard. In recent years I have framed my own prints by placing a sheets of 100% acid free cotton paper a sheet of mylar on the back. Let's hope so...

No, l notice the yellow spot after removing print from the frame, they weren't present in 2002. After most 30 year's of the PtPd process l stopped practicing it 2 year ago, l sold all the materials, salt's and papers and therefore l could not the printing again... which today is much improved...

Thanks, l know this site, but my problem is now a bit complex as it is an intervention that for me represents an unknown factor given that it is restoration for which l do not know the correct procedure. I'm going by trial and error.... hoping that a favorable result, as well as making me...

The Yellow spot is extended almost everywhere, if l remember correctly l had made a double coating, therefore more Pt/PD but above more iron present. An hour ago l removed the print from the clarifier bath because the seal washing "collapsing": excessive swelling. Washed and hung to dry...