Developer volume according to Anchell

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bluechromis

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Both sets of numbers reference particular developers. You would use different numbers for different developers. As an example, you need to use a minimum of 100 ml of stock X-Tol.
I don't know if the minimum amount of developer varies drastically from one film to another. But we can say that most manufacturers seem to recommend minimal amounts that seem similar to each other for all films. I don't know a manufacturer that recommends a significantly lower volume of developer for particular films. One might hypothesize that purportedly "high silver" content films like Adox Silvermax and Ferriana P50 would need a greater volume of developers than purportedly low silver films like Kentmere. Even if claims about greater or lesser amounts of silver are true I have never heard different recommendations from manufacturers about developer volume. By analogy, there are those that make homebuilt small airplanes. In the US it was hard at first because the homebuilder had to prove their plane met all the same rigorous standards as commercial aircraft. But then it was decided that if the homebuilt exceeded federal requirements in all areas they would not have to go through such an arduous certification process. Commercial aircraft might have needed to push against the boundaries of a requirement to save every penny to be competitive and because they were making many examples of the same design. We know of examples of where they pushed too hard and it was disastrous. But with civil, home-built, aircraft is was different.

Today there are few commercial black and white labs churning out a vast volume where it is crucial to saving every penny and they might want to follow the bare minimum developer recommendations from Kodak. I argue that we are like the area in photography where it makes more sense to overbuild than to push things to the very limit to save pennies. What is the point for the home user of pushing practices to the absolute edge of failure to achieve meager savings? Maybe different modern films do require minutely different amounts of the minimal developer. But to try to scale the minimum developer per film type requires that we become photo engineers and do extensive testing. For what, why would we become so obsessive to save a few pennies on developer? Who cares? If we go with the concept of overbuilding and that is difficult to have too much developer volume then we don't have to worry about the possible subtle differences between different films. We can feel confident that, Pan F, Tri-X, Delta 3200 etc. will all be excellent at 250 ml. per roll. The only reason we would care about the differences in the volume needed for different films is that it is critically important to save every last penny on the developer. I think is rare with amateurs that that should be the primary priority.
 
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MattKing

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I would suggest that the minimum developer required issues arise more often for many people nowadays because they are trying to get the benefits of more dilute developer in small tanks, not just because they are trying to save pennies.
And it is really important to look at this in a developer specific way. D-76 is an example where it seems to be easy to compensate for capacity issues with longer development times. Other developers - not so much.
 

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I normally bulk roll 24 frames 35mm per cassette and process in 400 ml of D76 at 1+1 so 200 ml of D76 in working solution. Rough calcs would show I need 250 ml x 24/36 ml = approx 170 ml of D76.

I'm safe :smile:. Only thing is this costs me $AUD3.00 per film in D76 if I buy 1 litre bags. Not the 'pennies' that our American friends pay for developer. Will have to start making developers from scratch. John Finch's Youtube channel, Pictorial Planet, is full of good material on making developers from raw material.
 

Donald Qualls

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Seems there is no way there could be enough room for the minimum developer volume with something like the 4x5 Yankee tank.

On the contrary -- the Yankee Agitank takes 1.63 L to cover 4x5, whether a single sheet or a dozen. In the latter, maximum density case, this is equivalent to only three rolls, so you're using 530+ ml of developer for each 80 square inches. If you don't load to capacity, you're using more per roll equivalent. You're in basically the same situation (in terms of developer per film area) as developing 120 in a stainless tank or single loaded on Paterson reels.

The usual complaint with these tanks is that they're wasteful (or issues related to not understanding how they're meant to be agitated), not that they don't hold enough developer for consistent, complete development.
 
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Okay some say that the needed volume of developer depends

If I understand your question about "150 of what?". Anchell and Anchell and Troop (and potentially manufacturers) are clear that what they refer to with those volumes it is a developer in its most concentrated dilution per roll of film or 80 sq. inches of film. So for D-76, it would be the volume of stock solution per roll and the same for many other developers. With developers based on a concentrated syrup like Rodinal and HC-110 though, it is usually based on an amount of concentrate per roll.

Do you see the problem? You may well need 150ml of stock D-76 for optimum development of 80 sq. in. of film. You certainly don't need 150ml of HC-110 concentrate per 80 sq. in. of film... The amount of concentrate or stock solution need for a given amount of film varies with the developer formulations and the amount of concentration. Heck, 150ml of PMK A will develop 180 sheets of 4x5 (3.600 sq. in.) at the recommended 1+2+100 dilution.

Yes, you need enough developer to ensure that activity in the highlights is not affected with whatever development time you use (unless, of course, you're doing exactly that intentionally for compensation purposes), but that isn't a constant. The amount of concentrate, stock or grams of this or that developing agent depends on lots of things. You can't just pick a number out of the air, like 150ml, and apply it universally. That may be the right amount of D-76 stock, but certainly not the optimum amount for other developers.

That's all I'm trying to point out.

The test to find out if your developer is exhausting before the end of development time and affecting the highlights is easy; double the volume of whatever you're using, develop the same amount of film for the same time and compare. If the negatives are the same, then the initial amount was just fine. If the negatives are noticeably better, then probably not.

Best,

Doremus
 
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But that's where people started getting into trouble, by following the minimum volume written on the tank. If they look at this volume and then use a 1:1 dilution they won't have enough stock. ...

That's because they don't understand what they're doing; a teachable moment for sure. Jobo's minimum volume is to ensure evenness of development. It's up to the person doing the processing to know how to use the developer they choose and how much is needed for a given volume of film.

Doremus
 
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Although Anchell and Troop might say that you can't use too much developer, there is an optimum volume for any given situation. Getting the correct amount of developing agents for the amount of film you're developing is one consideration. This determines the minimum volume. Of course, you can use more than that, but why? Other considerations like economy, sizes of developing tanks, etc. provide us with a practical maximum.

Doremus
 

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Having spent a lot of years working in higher volume color (negative and print) processing, including the operation of a developer regeneration system, I have somewhat different perspectives on things.

In this post I'm gonna set up the basics of the processing, then in a following post talk about the "capacities," etc., based on these "basics."

Fwiw the regeneration system was for EP2/3, the color paper developer prior to the current RA-4. This system, using an ion-exchange resin to remove primarily bromide ion, was based on research done by Kodak scientists and engineers, and published in technical papers. This was the standard way these things were done in the day - manufacturers would publish research, then aftermarket companies, such as CPAC, etc., would manufacture equipment to apply the research. Now, the ion-exchange resin had unwanted side effects, also removing a moderate amount of developing agent, etc. Consequently it was necessary to do a fairly complete chemical analysis in order to calculate the necessary makeup chemicals. And also a knowledge of exactly what needs to be in the mix. (If one looks at the Kodak H-24 motion picture manuals they can get an idea of what was involved.)

Jumping ahead a bit, let me say a few things about what is generally known as "process control" in photofinishing. In the color processing systems the manufacturers can supply "process control strips," a set of exposed, but not processed, test strips. The idea is that a lab will process one of these test strips, and then compare it to an already processed reference strip included with each package. By using a color densitometer the lab can read the ideally-processed reference strip, then with these numbers as a zero reference they can graph their own results. (This is how the graphs shown in Kodak's Z-131, etc., manuals are made.) The manufacturer also sets spec limits for these differences. So these things are the basic way to know if a "process" is "in spec" or not.

A lot of people here are not too familiar with "replenishment" of photo chemicals. Photofinishers generally have a tank of developer, for example, typically inside of a processing machine. As they develop film the developer gradually becomes "exhausted." So they add a certain amount of so-called replenisher to the tank, and this restores the used developer back to the original specs. Two things are involved here: first the replenisher must have enough volume to dilute out the undesired byproducts of development, and second, to replace the used-up chemical components. One can probably see that the amount of replenisher added is fairly critical, and the amounts may need to change depending on the makeup of the film processed, including how heavily it is exposed, or underexposed. So if you have ever wondered why anyone would bother with the trouble of using those control strips and densitometers, this is why. It's more or less necessary with a replenished system in order to keep things in spec. If you only make single use mixes, then discard, you can generally rely on the manufacturer to keep things "in spec" for you.

This post mainly covered some basic ideas that I'm gonna use in a follow-up post, which is gonna be about "capacities" and minimum volumes. At least sort of.
 

Mr Bill

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I'm continuing on from the basis of my prior post. This is gonna be about my views on capacity and minimum volumes of developer.

In color processing the manufacturers set spec limits for "process control charts" (see my prior post). A commercial processor will generally keep their "process" more or less centered within these limits. Now, I'm not gonna talk about WHY the limits are what they are, but rather what it takes to stay within these limits.

People who have worked with process control in color systems know, from experience, that when it is necessary to change a replenishment rate then 10% increments are generally good enough. If your control charts are getting near the lower limit then a 10% boost in developer replenishment rate will generally nudge them back near the center. If you're more critical, say with a C-41 film process, you may go to 5% increments, but there is not much need to go smaller than this. (Anyone with such experience, feel free to confirm or deny, as you wish. )

With something like a C-41 developer, its "activity," from a chemical concentration viewpoint only, relies largely on two things. First, the concentration of the developing agent, CD-4. And second, the concentration of the "restrainers," mainly bromide ion released as a byproduct of development. These two things are gonna track closely, but in opposite directions, with the "amount" of development that occurs. For each molecule of silver halide "developed," some developing agent becomes destroyed, and the halide (mainly bromide) is released. My point is that IT DOESN'T MATTER how many ROLLS are processed; it matters how many molecules of silver are developed. (If you "develop" unexposed film, it will NOT exhaust your developer.) Now, things are generally spec'd in terms of the number of rolls - this is based on an assumption of "average" exposure. But if the "average exposure" is off, then the developer "capacity" is likewise gonna be off.

Above, I specifically referred to C-41 because I know that the developer is sensitive to development byproducts. In contrast to this is the RA-4 paper developer. I also worked with its predecessor, commonly called EP-2 (or 3). EP-2/3 WAS very sensitive to the byproducts, and process control was very finicky. So the introduction of RA-4 was almost like a minor miracle; by comparison it was largely insensitive to replenishment rate. If someone forgot to start up their replenishment it almost didn't make much difference. Why? Well, RA-4 is a silver-chloride based paper, and chloride ion barely restrains that developing agent, CD-3. (The prior system used silver- bromide, and bromide ion strongly restrains CD-3 developing agent.) So when looking at a developer capacity one should consider how strongly the specific developing agent is affected by the development byproducts. As an example, consider the replenished XTOL systems, which are "self-replenished" and relatively immune to replenishment errors. I don't know much about the Xtol makeup, but this performance tells me that the developing agent is relatively immune to byproduct buildup. I could be wrong, it's just a guess. In the opposite direction is another example. I used to wonder why replenishment D76 had fallen so out of favor that Kodak stopped making the replenisher. (I never used it commercially, just observed that replenisher was no longer made.) But when I look up the data sheet I see that Kodak had special instructions for replenishment of D-76 when using the T-grain films. It looks to me like D-76 may be especially sensitive to T-grain development byproducts, which essentially affects the necessary replenishment (or capacity, I presume).

Anyway, back to the C-41 developer capacity. From what I said previously, about using 10% increments when changing replenishment rates, and that a 10% change would likely stay, more or less, within process specs, one can get an idea about the capacity. If you had a C-41 process running near center of a control chart, you could probably reduce the replenishment rate by about 10% and still run, a bit raggedly, near the lower control limit. Doing this would roughly increase the byproduct concentration by about 10%, as well as reduce the developing agent concentration by about 10%. So an in-spec process could roughly run under those conditions. And someone looking at the so-called capacity of the developer could make some estimates based on those ideas. If you can keep those two things within about 10% of aim specs, your development can likely stay within the spec range on a process control chart. If you go further off, say 20%, most likely you will be solidly out of spec.

Regarding single use of C-41 developer, a number of people have observed that Kodak gives a capacity of only about 4 "rolls" per liter. Which might be seen as 250 ml per roll. I made some rough calculations, based on mostly public information, about this. (Disclaimer: I did NOT carefully check these nor confirm with tests, so could be way off.) If one were to develop a single, average roll, in 250 ml of developer, the developer would start out chemically "correct," and end up about 10% off on both CD4 and bromide. Giving an average error, more or less, of about 5%, which ought to be comfortably inside of the process control spec limits. But... consider what happens with an overexposed roll, say between one and two f-stops. This seems to roughly double the development "demand," starting with CD4 and bromide on spec, and ending up about 20% out of spec, for an average of 10% off. If the average is representative of real processing, it's probably on the lower edge of in-spec process control. So it looks like Kodak's capacity is more or less ok for commercial processing. Probably, I think.

A lot of people wanna stretch the use, say to 8 rolls per liter. If they do this in 8 individual batches, 125 ml each, here's what I figure. Your CD4 and bromide start out on spec, ending up about 20% off. So the average error is about 10%, likely running on the bottom edge of a process control chart. But if the film is overexposed most likely it will fall out of process spec limits.

Varying off the topic a bit more, some people are probably still wondering about that idea of replenished systems, and why would anyone wanna go through those headaches of using a densitometer, etc? Well, if you start out with a little developer, say a liter or two to process with, and you do your development directly in that tank, here's what happens. If you use Kodak LORR replenisher you add about 26 ml for each roll, and the control chart stays on the money. In other words each liter of LORR replenisher is good for about 38 rolls. That's about 10 times more capacity than the Kodak 4 roll per liter spec. And... every roll is on spec. Got a roll 3 stops overexposed? No problem, the tank size of a liter (or more) will easily swamp out the effect of a single roll. A bunch of overexposed rolls? You'll have to increase the replenishment rate. Anyway, this is why commercial labs work that way. You just have to process enough film to be worth it.

Anyway, that's my take on things. Different developers, different situations.
 
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Dani

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That’s so interesting! Thank you for that insight. I have a question, how about rotary and C-41? I use a jobo and use a little more than 100ml per roll as a one shot developer. Would I need to add more developer if I know I overexposed the roll or would it not matter since the developer is done for already? I’m curious of the quality of my C-41 rolls and if more developer would make them better due to that extra developer.

Thank you everyone! I’m so glad I asked.
 

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Sorry Matt but your post makes no sense. The OP was simply asking if the total volume of developer mattered. I normally use 500ml of developer in a Patterson tank but I could use 1000ml or 1500ml I suppose, as long as it has at least 250ml of stock, I'm good to go. You mentioned a scenario of a highly dilute developer, if you used so little HC 110 syrup, agitation would be the least of your worries, your developer would quickly exhaust itself.

Concentration does matter. If we put 500 ml in 500 liters of water rather than 500 ml, the development time would increase substantially. So we may be "good to go" because there is enough capacity, but would have to go a very long time, and we would become very strong if we hand-agitated that big tank with inversions. If we did not agitate, development would take "forever", and we could become very agitated.

In Mees' book : "From Dry Plates to Ektachrome", he presents the following equation and explanation:

Y=Yinf*(1-e-kt)

where Y is the slope of the characteristic curve, Yinf is the limiting contrast obtained under infinite development time, e is the natural log, t is time, and most relevant here, k = a velocity constant of development.

K depends on the concentration of the developing agent, temperature, solution alkalinity, and emulsion type. (he does not mention the type of developing agent, but one would assume that there would be a different curve for each one).

The various developing charts reflect this curve in that developing time for a given emulsion varies with temperature and concentration.

If 6 ml of HC 110 in 594 ml is enough developing agent, we would have to develop the film for many minutes or hours, but the agent may not be truly exhausted. The low concentration and developing by-products would make for a very long time though. Exhaustion could be where the time is so long to be impractical, but there is still some developing capacity left. Eventually, the developing agent would be truly used-up, but interference from developing by-products and low concentration is probably more important than absolute amounts, unless we are using very tiny amounts of agent, because modern film has so little silver in it.

Agitation increases the concentration at the solution-film boundary. When still, the developer is "exhausted" at the boundary, and fresher developer migrates in via Fick's first law of diffusion, but his second law diminishes the concentration near the boundary as this fresh solution migrates into the emulsion, thus reducing the flux involved with the first law. Agitation removes most of the boundary"exhaustion", so the developing time is much shorter as compared to stand development because the local concentration at the boundary increases.

This is all off the top of my head, and the wet emulsion is sort of a solid, and the developer is of course a liquid. Fluid dynamics around the boundary layer (due to friction) further complicate things. The basic laws of physics helps us understand what could be happening, but apparently, most if not all of Kodak's and other company experiments were empirical (like the equation above), as this was probably a faster, more practical way of getting at the answer then using first principals alone. The fluid dynamics part, and the semi-solid nature of the emulsion would make a first-principles solution very difficult, especially in Mee's days.

Those with a physical chemistry background would probably provide a much more accurate description, but my main point about concentration should still hold.
 

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That’s so interesting! Thank you for that insight. I have a question, how about rotary and C-41? I use a jobo and use a little more than 100ml per roll as a one shot developer. Would I need to add more developer if I know I overexposed the roll or would it not matter since the developer is done for already? I’m curious of the quality of my C-41 rolls and if more developer would make them better due to that extra developer.

Thank you everyone! I’m so glad I asked.

Again you need to have enough developer and other chemicals to develop the film. That means when one used the Jobo processor one must fill the machine with more chemicals than the bare minimum. I mix the C-41 1 liter kit and fill the tank with 0.5 liters of chemicals for each stage. The chemicals go back into the bottles so that each chemical fully mixes back into the solution. That way, following the instructions, the chemicals are good for developing twelve to sixteen rolls of film or equivalent and do all the development as quickly as I can in two to three days. Playing games with using the tiniest amount of chemicals leads to poorly developed film, streaks and stains. If your photographs were worth taking, fill the tanks or drums up most of the way or completely or just do not bother to develop the film because to do less is equivalent to throwing the film in the trash which could be done more efficiently by trashing the film directly and dumping the unmixed C-41 kit into the trash.
 
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Dani

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Yes, because my photographs are worth taking I don't reuse the developer and follow the instructions of the manufacturer. Also I have CPE2+ so the maximum I can do is 600ml and I want my motor to last. I think you're not quite getting it. My question is about exhaustion of overexposed film and what I have to work with, not about if I value my photographs or if I should or should not bother developing my film because "to do less is equivalent to throwing the film in the trash..."
There are published charts by jobo about quantities and what can be used where and when. The CPE2+ can do 5 rolls of 35mm, 36exp with 600ml.
 

Donald Qualls

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I hear "if you value your photographs" so many times here...

Valuing your photographs doesn't mean selecting one of the four holy methods to process them. It doesn't mean taking no risks (which would have you never loading the camera). All it means (to the people who throw that phrase into a "how do I do this" thread) is that someone thinks you're doing it wrong, compared to their own sacred process methodology.

The level of variation between a push +2 roll and a pull -1 roll processed in minimal volume high dilution chemistry is well within what can be controlled in printing or scanning. What can't be controlled in the negative to positive process is having no negatives because you're stuck in analysis paralysis. Follow manufacturer instructions, shoot more film, and process to positives by your preferred method. And don't nitpick over whether you can use D-76 1+1 because you're running a roll of 135-36 exposed 2 stops below box speed in a single reel stainless tank. Millions of users over close to a century say it'll be fine.
 

Sirius Glass

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I hear "if you value your photographs" so many times here...

Valuing your photographs doesn't mean selecting one of the four holy methods to process them. It doesn't mean taking no risks (which would have you never loading the camera). All it means (to the people who throw that phrase into a "how do I do this" thread) is that someone thinks you're doing it wrong, compared to their own sacred process methodology.

The level of variation between a push +2 roll and a pull -1 roll processed in minimal volume high dilution chemistry is well within what can be controlled in printing or scanning. What can't be controlled in the negative to positive process is having no negatives because you're stuck in analysis paralysis. Follow manufacturer instructions, shoot more film, and process to positives by your preferred method. And don't nitpick over whether you can use D-76 1+1 because you're running a roll of 135-36 exposed 2 stops below box speed in a single reel stainless tank. Millions of users over close to a century say it'll be fine.


+1

"if you value your photographs" means do not skimp of using the absolute minimum volume of the chemicals, use enough volume to completely cover the film and if diluting use enough active ingredients to do the job.
 

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After all this hubub, is there a central location that lists minimum developer per roll according to developer type?
 

Donald Qualls

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do not skimp of using the absolute minimum volume of the chemicals, use enough volume to completely cover the film

But if you're using a Jobo rotary machine (or a Labbox, from what I read, or Zone VI tubes or imitations thereof) you pretty much can't fully cover the film; you're using less than that and keeping the film moving to ensure even development.

FWIW, for the past year and a half I've used Xtol stock, with replenishment, but several years ago, I used Parodinal 1:50 and even 1:100, with no extra working solution volume. I say again, D-76 1+1 or Xtol 1+1, 1+2 or even 1+3 will produce results close enough to normal to cover in printing/scanning, whether your film is a couple stops overexposed or a couple stops underexposed. If you find your negatives are coming out low contrast (a typical result of exhaustion), either develop longer (may not help much if it's actually developer exhausting during processing) or use a stronger working solution. Just don't spend so much time trying to figure it out that you don't shoot or develop or scan/print.
 

Sirius Glass

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But if you're using a Jobo rotary machine (or a Labbox, from what I read, or Zone VI tubes or imitations thereof) you pretty much can't fully cover the film; you're using less than that and keeping the film moving to ensure even development.

FWIW, for the past year and a half I've used Xtol stock, with replenishment, but several years ago, I used Parodinal 1:50 and even 1:100, with no extra working solution volume. I say again, D-76 1+1 or Xtol 1+1, 1+2 or even 1+3 will produce results close enough to normal to cover in printing/scanning, whether your film is a couple stops overexposed or a couple stops underexposed. If you find your negatives are coming out low contrast (a typical result of exhaustion), either develop longer (may not help much if it's actually developer exhausting during processing) or use a stronger working solution. Just don't spend so much time trying to figure it out that you don't shoot or develop or scan/print.

For film development the maximum of my tanks and drums is over half a liter. Using half a liter is more than the minimum and less than the maximum, thus using the Jobo machine the film will be properly immersed in the chemicals. The Jobo engineers did the analysis and design so that I do not have to sweat the details. So I do not overload the motor by fully filling the tank or drum but still do not use the absolute minimum. Since I do not dilute the chemicals I am not risking skimping of the reactive components.
 
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Dani

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I hear "if you value your photographs" so many times here...

Valuing your photographs doesn't mean selecting one of the four holy methods to process them. It doesn't mean taking no risks (which would have you never loading the camera). All it means (to the people who throw that phrase into a "how do I do this" thread) is that someone thinks you're doing it wrong, compared to their own sacred process methodology.

The level of variation between a push +2 roll and a pull -1 roll processed in minimal volume high dilution chemistry is well within what can be controlled in printing or scanning. What can't be controlled in the negative to positive process is having no negatives because you're stuck in analysis paralysis. Follow manufacturer instructions, shoot more film, and process to positives by your preferred method. And don't nitpick over whether you can use D-76 1+1 because you're running a roll of 135-36 exposed 2 stops below box speed in a single reel stainless tank. Millions of users over close to a century say it'll be fine.

Exactly and not to mention also misinformation and misguided advice, that can sometimes happen because… “I’ve done it for so long, hence it’s right.”

I like your approach.
 

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If there is it is probably wrong. :D Every formula is different so it is best to follow the manufacturers' guidelines.
I was thinking of a list of manufacture's suggested minimums. I didn't expect that there was one, but was hoping to be pleasantly surprised.

Also, with the understanding that this will probably cause a whole new round of arguments, each manufacturer may not use the same gamma/CI standards to determine what is "acceptable" development at (I assume is) box speeds for each stock.
 

MattKing

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I just extrapolate the capacity numbers for un-replenished, not time adjusted development in each developer's data sheet.
It has always worked well for me.
 

mmerig

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Adrian was kind enough to share the info. about his experiments in developer volume. This is empirical information.

https://www.photrio.com/forum/threa...s-iso-and-dilution.174217/page-2#post-2269015

In this thread:
https://www.photrio.com/forum/threa...ip-between-dev-times-iso-and-dilution.174217/

Thanks for the reference to the graph- very interesting.The concentration is the same for both, and there was plenty of developer in both solutions for just one roll of 24 exposure 135 format, so I am surprised that there was any noticeable difference. The similar slopes (similar contrast) is also surprising, as concentration affects contrast, according to Mees. Could it be that the densitometer measures were a little different because of bulb-warm-up or something like that? Different bulb brightness would give two parallel lines spaced apart.
 
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After all this hubub, is there a central location that lists minimum developer per roll according to developer type?
I'm not aware of one, but my post #12 in this thread at least addressed the two types of interest to the OP:
The class of developer that requires a minimum of 250ml stock solution includes D-76/ID-11, D-23, Perceptol, etc. Scene brightness distribution will determine whether full development can take place with less. If it's a low-key scene, i.e. less negative density to develop, one might squeak by with less solution. If it's high-key, i.e. a fully developed negative would have lots of density throughout, less than 250ml will result in less than full development. Player's choice: confidence or crap shoot.

XTOL is a different kind of developer. The same situation I just described applies to XTOL too, but that minimum stock solution number is 100ml, not 250ml...
:smile:
 

Bill Burk

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I always forget this but it’s pretty simple.

My development time, for TMY2.

To reach ASA parameters.

Is 13:30.

In D-76 1:1 at 20C.

In a small 1 quart tank. With Kodak agitation.

With four rolls of 36-exposure rolls.

And every development chart and specification sheet says different. This all could be part of the explanation for my longer development time.
 
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