Petraio Prime
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- May 17, 2009
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There's maybe a misconception here, as editor of the BJP weekly magazine and also the BJP Annual he published formulae contributed by other people and that includes Ilford & Kodak as well as the alternative colour developers (and others steps) from a German chemist Ernst G* (almost certainly working for one of the larger photo companies) as the formulae all worked well.
What most mean by the Crawley formulae are his own FX series of B&W developers first published in 6 articles in the then weekly BJP at the end of 1960 and January 1961, and only a few were revised. These were in the BJP Annuals into the 1990's.
As to the Perutz formulae, when Crawley started editing the BJP Almanac they were on the cusp of being taken over, still making their own films and the formulae stayed in the Annuals while the older films were still around. Then in 1964 Agfa or rather the newly merged Agfa Gevaert took Perutz over and their Perutz brand films used the regular Agfa processes.
Ian
I said 'his' formulas, didn't I? Those are the 'FX' formulas.
Crawley revised his formulas over the years. Some of the ones optimised for Perutz films, for example, were dropped.
See post 395 and the following here regarding sugars:And here comes my final question. Does anyone know about aldoses, such as glucose, galactose or other, being used as developing agents? Thank you again and I am going to ask my remaining questions in the films section or in a new thread, anyway.
Just finished Michael Axel's "Iridescent Light: The Art of Stand Development" which was published by something called "Leicaglow.com" - a site my network can't reach at the moment. Short text, but as an ebook, price wasn't bad at $7. Link to the book is here: http://www.blurb.com/bookstore/detail/533375 . Book focuses on its subject and gives an account of 30 or 40 years with the technique. As one of the two "au currant" popular blog subjects on development (the other some form of pyro), it adds a little rationality to the usual buzz that often runs much shorter on details than it should.
I would think one of the least covered subjects on development but perhaps one of the more useful would be a short book on common failures, how to identify them, their effects on your images, their causes, and how to redress and/or avoid them. I've made a few ;0. Most of the time they've been less catastrophic than expected (or deserved). The process is far more forgiving than it sounds.
Making a book such as you recommend, on common errors and failures in the DR is harder than you might think. Each example would have to be visually shown and some combinations of errors as well. This gets expensive fast and the ROI is low.
PE
Big money????some publisher who whant to make the big money
Big money????
Ok perhaps this is a special interest theme but who not - not the very big
money.
I know some who write a book...
never beliefe if that could be possible
but they did.
with regards
Ok perhaps this is a special interest theme but who not - not the very big
money.
I know some who write a book...
never beliefe if that could be possible
but they did.
with regards
Trendland, I have already written one book. It has a special audience and its sales are slow and low. No one wanted to publish it so I went with самизда́т, but not really clandestine. It was just self published. So, I know the difficulties. And, my up-front investment was high. I am now writing a second book. My friend, Bob Shanebrook, has also written two books.
PE
Trendland, I have already written one book. It has a special audience and its sales are slow and low. No one wanted to publish it so I went with самизда́т, but not really clandestine. It was just self published. So, I know the difficulties. And, my up-front investment was high. I am now writing a second book. My friend, Bob Shanebrook, has also written two books.
PE
How many books have you published??
I published one. Until you have walked in the shoes on the path, do not be quick to criticize.
No, what you actually said is:
That's why I clarified, Crawley's articles "Notes on Present Day Monochrome Emulsions and their Development" (1960-1961) make no references to developers optimised for Perutz films, nor do subsequent précis versions of the article in the B&W processing sections of BJP Almanac and later annuals. Perutz B&W films are only mention in Grain categories and lists of development times.
Geoffrey Crawley never worked on Colour formulae, they were mainly contributed by C. L. Thomson and Ernest. Ch. Gehret and first published as articles in the weekly BJP before being added to the next Almanac/Annual. Ernest Ch. Gehret was a photo-chemist.
Ian
In the descriptions of the early 'FX' formulas in the BJP annuals, reference was made to specific film brands (Perutz, Agfa, Ilford, Kodak). This involved slight changes in the alkali systems (FX-4 vs FX-7). I never said anything about Crawley working on colour processes.
Crawley revised his formulas over the years. Some of the ones optimised for Perutz films, for example, were dropped.
How many books have you published??
I published one. Until you have walked in the shoes on the path, do not be quick to criticize.
I published some special interest Video Films in cooperation with a french company (F.L.O.) "Flying Legend Organisation" in the middle - late 90th.
The theme was a part of my hobby therefore I don't saw this as a kind of work (Oldtimer Aircrafts).
Well - publishing the films and the costs
of this weren't the problem but the production costs of the films with Sony
BETACAM and the mastering etc. was
a little more expensive.
But I got a big part of my money back
with regards
Well, in a world of "alternate" facts, maybe "alternate" universes are a coming thing!Publishing videos in not even in the same universe as publishing a book.
The reference is not really to specific brands, there is longer more specific list in one BJP Almanac, it's to what Crawley calls "Grain structure groups" but then he states that "The contrast groupings A, B, C indicate the relative tendency of certain emulsions to build up contrast rapidly; the Grain Structure Groups divide the available films according to the way they respond to different types of alkalinity and developers: this can affect definition and in some cases quality."
Actually his grouping makes little sense, in earlier 1960/61 articles he also has a "Contrast Group" which is different but more logical.
The by 1967 there's no mention of Perutz B&W films in the BJP B&W Processing section as production stopped in in 1963, and FX7 was still listed in 1968. Crawley lists Pertutz films in Grain Structure Group 1 and states that FX7 was better optimised for Group 2 & 3 films than FX4. I wouldn't use either FX4 or FX7 there's no point in Metol as well as Phenidone along with the Hydroquinone.
Sorry I just don't read it that way as I can't see a link, which is why I assumed you meant the colour processing for Perutz.
Ian
There is more than Iodide content. There is Iodide position. Many films have a core that contains Iodide, while other films have it at the surface. A third type has it both ways more or less and another type has it graded up or down in the crystal. All of these behave differently wrt development.
PE
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