Fresh sheet film is hard enough to come by in 3x4 -- there's probably only Fomapan 100, no other choices .
You have the annual Ilford programme (it just has been) and Fotoimpex/Adox might also be able to supply you with their CHS100 II in 3x4"
I exposed some expired GAF pack film, but I have forgotten how expired it was since this was about 40 years ago -- it might have been 10 years out-of-date, give or take another 5. I got one of my favorite early redwood images using it, but I treated it the same as whatever else I was using at the time (Royal Pan, Plus-X, Super XX).I can't comment on 60-year-old Tri-X, but 50-year-old GAF (Ansco) Versapan film packs proved to be amazingly viable:
I did once -- pain in the butt--all that paper and crap in the pack along with the film, which was thin and hard to handle.
Hello everybody,
I just received an extremely clean 3 1/4 x 4 1/4 RB Series D Graflex. Included with the camera was a film pack adapter and ten 3x4 Kodak film packs. Seven Tri-X packs, two Plus-X packs and one Super-XX pack all expired in 1956 or 1957. I'm planning to play with the film to see what happens, but I'm curious if anybody ever did this and got usable negs. I was thinking of developing the film in DK-50, since it's a recommended developer in the data sheet that came with the film. I figured I'd go with with DK-50 since it already contains a restrainer and can produce a good contrast range that I thought might be helpful with old film. I'll start with the recommended and time and film speed and bracket like hell. I don't know if I'll get anything or not, but I thought it would be fun to try. I'm not expecting any miracles here but I thought I'd see if anyone has gone down this road before, and if so, what were your experiences like?
This was my feeling as well. At least it wasn’t wet like the discard from Polaroid peel-apart film. I wonder if before the anti-litter campaigns of the 1970s, people just tossed all that stuff on the ground, or maybe they just let it accumulate in the ample pockets of their trench coats.
the paper tabs that you pull when you take a shot and change film weren't a problem -- I just put those in my pocket.
But inside the damn thing while I was taking the film out in the dark? Paper interleaves between each frame, the paper that was attached to the film so it would pull, the metal frames I had to pull apart ... ended up with a sea of paper on the darkroom floor. Now I stick to grafmatic backs and regular film holders.
I figured I'd go with with DK-50 since it already contains a restrainer
Usually HC-110 is recommended for that kind of job because it's a low fog developer. D-19 also may be quite suitable.
You may find interesting next tutorial: https://foundfilm.livejournal.com/16982.html
Thanks, it looks like lower processing temps are a good idea too.
A low temperature may be suitable when emulsion separates from base, but it may require very long development times, a gentle agitation and handling when emulsion is wet can be necessary.
Benzotriazole lowers fog, but it also may eliminate shadow detail, so it may be important to find the right dose. Of course Benzotriazole can be a nice tool for this job, but some prefer just using a low fog developer like HC-110.
Of course all depends on the particular film and on how it was stored that long time, lower temperature and (if not seled) humidity could make a great difference.
One also may make a calibration, by making a contact copy with an Stouffer T2115 wedge like explained in Beyond The Zone System book, this enlights a lot the film behaviour.
Thanks for the information @138S. Since I can do my own BTZS testing,
I think the reason for cold temperature is to keep development time measurable.
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