heavily fogged high speed film (a rescue of sorts)

[David Lyga]

I have about 20 hundred foot rolls of 35mm Kodak 2484 film. Originally, its speed was a mite faster then Tri-X. It 'expired' in 1990. I bought it for $5 a roll about 15 years ago. Being a hoarder of film is sometimes not as prudent as is being a sensible person. At the time of purchase it was somewhat fogged but quite good (but grainy). Then, its speed was about 200.

NOW, its speed is about half the speed of Pan F, or about 12. What to do?

I do the following (and this might be a help to those with similar, unforgiving fast films that become charcoal with time). I expose at EI 12 and develop for three times the time I use for Tri-X. Then stop and fix (for about the same time as Tri-X would need in the fixer.) This delivers true charcoal. But, if held up in front of a lit light bulb there really is a rather contrasty image there. I then place into Farmer's reducer for as long as it takes to bring down the base density to a manageable level. The speed is not REALLY as slow as 12 but I have to overexpose because the reduction in density robs the neg of some shadow detail which overexposure helps compensate for. I end up with a believable and manageable negative that prevents all that film from becoming trash. I have to overexpose and then 'bring back' the density because merely developing for less time gives a very, very low contrast negative. The Farmer's reducer (one solution, not two) preserves most of the contrast that over development has built up.

I am both frugal and addicted to film purchases. - David Lyga

 

[David William White]

I've had more success with 50's and 60's film when I overexpose a couple of stops (as you do), but then shorten the development time, and use an aggressive developer. This seems to stay ahead of the fog, so no need for reducer.

 

[David Lyga]

Yes, David WW, I tried that but this film NEEDS much development in order to attain a believable contrast. - David Lyga

 

[Mike Wilde]

I am more of an old paper hoarder. With it I find that more restrainer in the developer, while bringing down sensitivity of the material, does allow normal development times. For prints you need claenish whites.

If film is fogged, you may need more restrainer in the developer, i.e something that keeps fog in control during developmemnt, while allowing sufficient development to take place to build density.

Your current path, with reducer, really is shaving the fog off after the image has formed.