Uniform color cast, like the silde was lightly toned.
Uniform color cast, like the silde was lightly toned.
I find a proprely developed and printed negative sharper than a slide
This shouldn't be surprising - all the manufacturers' data for many decades firmly backs up your observation.. it's pretty clear what impact reversal processing has on perceptible sharpness.
I've only really seen very mild shifts, usually only slightly warm - apart from Adox CMS 20 ii, which was close to absolutely neutral.
I haven't seen a brown/olive cast in the 2 rolls I've developed. Which film types were they?All films look about equal when reversed, imho, in terms of grain structure (all fine grained) and in terms of general "look". I feel it's much more difficult to tell which film is when you look at them in slide form.
It's inherent in the process: the levelling action of the reversal process will flatten many characteristic of any film. Think of the grain of Delta 3200 that can be used at an advantage.
Plus there's that annoying (at least for me) color cast (brown - sometime olivine - sometime yellowish) to the final slide that seems cannot be avoided.
I FULLY agree with you, Lachlan!!I've only really seen very mild shifts, usually only slightly warm - apart from Adox CMS 20 ii, which was close to absolutely neutral.
Same here.
This shouldn't be surprising - all the manufacturers' data for many decades firmly backs up your observation. Compare the Agfa MTF curve for APX 100 and the MTF curve for Scala 200x (they are essentially the same emulsion) and it's pretty clear what impact reversal processing has on perceptible sharpness. And the grain isn't finer either - though it may be less obvious.
The bigger problem is the easily mislead (and those doing the misleading) making all sorts of error ridden claims about the supposed superiority of transparency films - they're useful and offer some interesting aesthetic possibilities, but they aren't the magical panacea that some apparently want them to be.
The comparison, imho, is bullshit!What do you make of this comparison of DR5 with XTol?
http://web.archive.org/web/20041205004754/http://dr5.com/filmtests.html
Custom made process, Agfa Apx100, eFKe 25 and Fomapan 100.I haven't seen a brown/olive cast in the 2 rolls I've developed. Which film types were they?
Do you have any images of how those film look like on a light box? I want to compare them with my Fomapan 400 as I think the base film is still too dark/not completely bleached.Custom made process, Agfa Apx100, eFKe 25 and Fomapan 100.
Also the Foma kit with Fomapan 100 R has a slight warm hue to it.
I use permanganateIt could be related to bleaching and light exposure. According to Haist, some dichromate bleaches leave a residue of chromium and silver on the film which is not cleared by the sulfite bath. This residue is light sensitive and redevelops post light exposure as yellow-brown stain.
Unfortunately I don't have any light table (I wish I have it).Do you have any images of how those film look like on a light box? I want to compare them with my Fomapan 400 as I think the base film is still too dark/not completely bleached.
To me it's not the base color, but the grain type and structure that imparts those color hues...here is a small pict of my light box with 4 different films all done in my reversal process. you can see that the film base plays a large part in the slide film base color.
1) RR 80
2) tri-x
3) hp5
4) xtreme 100
To me it's not the base color, but the grai type and structure that imparts those color hues...
To me it's not the base color, but the grain type and structure that imparts those color hues...
I feel b&w reversal strips the character out of any film, making them look almost identical one to another.
There's no contradiction. You forgot to add "in terms of grain structure (all fine grained) and in terms of general "look"If this is true then it contradicts the other claim you made:
here is a small pict of my light box with 4 different films all done in my reversal process. you can see that the film base plays a large part in the slide film base color.
1) RR 80
2) tri-x
3) hp5
4) xtreme 100
I'd like to see the leader. Can you post it?Looks very nice!
Well I had a go with KMnO4 bleach this time (for 5 min) with Rollei Superpan 200. Microphen as usual for 1st (15 min) and 2nd (15 min) developers. The film seems way darker than it should be and the leader portion looks almost brown. Also the film edges weren't as black as before. I don't know if this was due to incomplete bleaching or that 15 min for the first developer was way too long than the 7.5 min recommended time on MassiveDev. The film's drying now and I'll update it here tomorrow.
I still have parts of the Fomapan 400 @ 800 roll (I accidentally cut the film short while putting it in the reel last time) and will give it a try with the same settings as before but with the permanganate bleach.
The film seems way darker than it should be and the leader portion looks almost brown. Also the film edges weren't as black as before. I don't know if this was due to incomplete bleaching or that 15 min for the first developer was way too long than the 7.5 min recommended time on MassiveDev.
I still have parts of the Fomapan 400 @ 800 roll (I accidentally cut the film short while putting it in the reel last time) and will give it a try with the same settings as before but with the permanganate bleach.
Will do first thing in the morning. I did use metabisuplhite even with the chormate bleach (just to mention again I used potassium chormate and not dichromate).I'd like to see the leader. Can you post it?
You need metabisulphite clearing bath with permanganate bleach. You can't just use the clearing bath for the dichromate bleach.
Yea I definitely think a strong silver solvent is needed in the first developer. I will try adding 0.5% sodium thiosulfate to Microphen next time.In reversal, film too dark means either underexposed or first dev was too short. However, you might gain something by adding a little silver solvent to the first dev. I've used Dektol, 2 parts stock to 1 part water, plus 8 g/L sodium thiosulfate (clears highlights) and 4 g/L potassium bromide (prevents fog from reducing Dmax), though nearly any one-shot film or universal developer can be used with added thiosulfate and sufficient time. This first developer is the sole determinant of the quality of the final slides (all following steps should be run to completion, and based on times, the first dev might be to completion as well); it determines contrast, effective film speed (via the silver solvent), and to a large extent grain in B&W reversal (by developing the larger halide grains, those are bleached away and only the finer, harder to develop grains left to be fogged and redeveloped).
Raghu I don't think it's possible to take the film out after each step, I can post a pics of the steps after reexposure though. When I took the film for reexposure it definitely looked white and clouldy.Please take a pic of the film (with emulsion side facing the camera) after each step of the reversal process and post the pics here. It helps in debugging your process. For example, if your first development is not adequate, it's easy to figure that out by looking at the emulsion side of the film - it will look too white/cloudy.
Raghu I don't think it's possible to take the film out after each step, I can post a pics of the steps after reexposure though. When I took the film for reexposure it definitely looked white and clouldy.
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