Recent content by psfred

Next time you have it apart, paint the areal between the lens and film with Tesstor's Flat Black. The factory painted them wil SHINY black paint, and flare from internal reflections can be terrible. Makes the image appear "foggy and flat" due to greatly reduced contrast. Also make sure the...

No, what I was saying is that oversaturated prints is what a lot of people ask for, and that's what will get produced. I suspect a lot of the low wage operators of package units (drug store, Walmart) type operations don't adjust anything. If the equipment is set up to produce high saturation...

A bit late here, but I have modified the Thingiverse cassette and it works fine (added a light trap to the spool and tapered the bottom. ESun matte black PLA+ is very opaque and prints well (I tend to use a 0.2mm nozzle on this sort of project), and there is another opaque black I've found that...

I believe the offset in 110 is to prevent the pressure marks from the indexing pin from showing up in prints -- that area is pre-flashed in factory loaded cassettes. I find that most 110 cameras produce images larger than the flashed "window" on re-loaded film. Kiev 30/303 images are centered.

A few notes: Use ESun matte black PLA + filament printing with a 0.2mm nozzle, and you will get opaque light tight cassettes. Should be some models out there that work. The one you have needs to have the "lobes" moved a few tenths of a mm apart, it's too small. Adjusting the %printing size...

Scanned and LED printed onto RA4 paper is the standard now for commercial lab prints I think, gives good results and produces what most people what -- bright saturated images (like cell phones). Not natural, but who wants accurate reproduction anyway, lol? "Art prints", don't get me...

Photo Engineer discussed this issue many years ago in this forum, might or might not be able to find it. CD-3 and CD-4 are different chemicals (although related in structure) and will form dyes with different absorption spectra if used in place of one another. Similar, but not the same, and...

I suspect that acetic acid doesn't stop the developer activity completely quickly enough for machine processing. There is a risk of continued base fog development as the remaining steps in machine processing are not light tight. Any remaining CD-3 needs to be completely inactivated as well and...

The objections to ferricyanide bleach for ECN films is purely environmental, it's somewhat hazardous and in large amounts is a disposal problem. Kodak listed alternatives for it for many years (40 at least), and still lists it as an alternative. I don't know what the current recommendations...

There is definitely a reaction as the solution heats up some, and I've had good results with it, even with ancient film. I have no way to determine whether it's actually the sesquisulfate or not, and to my mind it really doesn't matter. The old PQ formulas work well, have been using them on...

ECN-2 using CD-3 requires strong sulfuric acid with sodium sulfite as the stop bath, acetic acid is not strong enough. Acetic is fine for C41, but it needs to be at least 2%, so maybe 1:1 grocery store white vinegar (which is now 4% and not 5% acetic acid!). If you are not using the usual C41...

From what I've gathered over the years, EDTA bleaches work but tend to be very slow compared to DTPA. A small excess of EDTA might fix that issue, I may try it sometime. Ferricyanide bleaches work very well, but you MUST buffer them to avoid pH related issues with red stains, something that...

There are a lot of formula for E6 color developers out there using CD-3, probably best to use one of those since they are designed to be used for development to completion, not primary development to a contrast standard (that is done in the first developer in reversal film). The correct formula...

In a nutshell, this is what happens: the first developer is a black and white developer that produces a negative image of whatever the film was exposed to. Since E6 films are "substantive" films (meaning the dye couplers are in the film, not the developing solutions) the sliver negative image...

Back when one had to fight off dinosaurs whem walking to school (up hill bothways) Agfa color films and papers used a different means of immobilizing the dyes in the gelatin and didn't change opacity or color when wet. That changed in the 70's I think, when Agfa also started using resin beads...