DBI

[Curt]

The Kodak dark green #3 filter that I bought a couple of years ago surfaced so I thought I'd try it out. My question is how many out there are developing by inspection? Since I'm finally developing again using my tanks it should be easier to hold a hanger up in front of the safe light. It's new to me so for those who use the technique I'd love to hear from you. The viewing distance is three to four feet with a 15 watt bulb for a very few seconds close to the end of the "normal" time I believe.

Curt

 

[payral]

All you need to know abot DBI is there:
http://www.michaelandpaula.com/mp/devinsp.html

 

[philsweeney]

I consider the footswitch essential. At the outset you may be inclined to only look for a "short time" but you can probably view the negative longer than you think, say 10 to 15 seconds. I have a 25 watt bulb in mine.

 

[jim appleyard]

More info here:http://unblinkingeye.com/Articles/Inspection/inspection.html

 

[Thomas Bertilsson]

One thing that Michael Smith does not mention is that T-grain films, such as Kodak TMax, Ilford Delta, and Fuji Acros, will have dyes in them that prevents you from developing by inspection. If memory serves me right, the dyes are of a red variety, which means the dark green safelight will render them to look black while inspecting. And black is what you're looking for to judge your highlights.

Tri-X, HP5, FP4 - those are the films you want for this type of development.

- Thomas

 

[Ole]

The dyes are not a problem, even if they make the emerging image slightly more difficult to see.

 

[Jim Noel]

I develop everything by inspection. Don't hold the negative up to the light to inspect it - keep it at least 4 feet from the light source and look at the base side of the film. It takes some practice to determine when development has proceeded enough for the process which will be used in printing.

 

[Thomas Bertilsson]

I've been having trouble with TMax 400. Don't know how you do it. I can't see when the highlights are developed. What's your trick?
I've got a 15W bulb in the safelight, and find it difficult already with standard films.

- Thomas

The dyes are not a problem, even if they make the emerging image slightly more difficult to see.

 

[CBG]

I've been having trouble with TMax 400. Don't know how you do it. I can't see when the highlights are developed. What's your trick?
I've got a 15W bulb in the safelight, and find it difficult already with standard films.
- Thomas

I'd be interested too.

C

 

[Ole]

I don't know if I have a trick...

In the "bright months" from March to October I don't use a safe light at all, but get by with the light leaks. It looks quite bright to my eyes after a while in the dark, but I have proved to my satisfaction that it doesn't fog film (at least on cloudy days). Since the light leaks give white light and not green, it's easier to see the red-dyed film emulsion developing.
The rest of the year I use "safe lights" like everyone else: Green for everything, and red for EFKE 25 and 50.

It's a matter of looking at differences instead of absolutes. And besides it depends on whether I'm looking at the front or back, which again depends on both the intended use of the negative and the developer I use.

 

[Curt]

I'm going to expose some film and start the process of learning dbi, it makes sense to do it that way, time and temp. is great but even with roll film I'm able to look at the last one or two frames on a 120 roll and put them back on the roll so I can see doing it for roll film too.

Curt