Dye covers the surface of the grains. When the unexposed/undeveloped grains are dissolved by the fixer the dye is released. If dye is retained in the film it is inversely proportional to the level of exposure. The fresh fixer speeds up the needed time. The retained dye does not influence printing. When considering the need for a good fixer the thought was that the improved grain/speed relationship position and other improvements was well worth additional fix time. Fixing is an easy step. Reactions go to completion. It is unlikely film can be over-fixed.Is that why the T-Max B&W films seem to require extra Fixing and washing to get rid of the colour cast that sometimes remains. Also the mention in the data sheets that one should only use fresh fixer?
I think this is a nice example of how myths emerge. There are two parts to it: genesis and perpetuation.
Genesis: someone observe that (1) Agfa papers have a high silver content and (2) Agfa papers don't have expiration dates. They conclude that these characteristics are related. Note that no evidence is offered of this supposed causality, so we can't really assume it holds true.
Perpetuation: someone recounts something they've heard long ago. They may or may not have full recollection of all the relevant details, but the gist of the argument remains (at least, we assume it does...) Whether they themselves actually believe it or not, they offer the information they obtained in a matter-of-fact way: this is what I've heard, make of that what you will. Then, someone else comes along, remembers it and recounts it...etc.
Nobody in this chain is lying, purposefully trying to distort reality or otherwise play tricks on the rest of us. It's for all we know all in good faith, and why shouldn't it?
Before you know it, internet lore has it that silver-rich papers last longer. That silver-rich films have better tonality or somehow 'hold more tones' or whathaveyou.
Before you know it, people like Bob Shanebrook have gotten so scarce that nobody is in a position anymore to separate the wheat from the chaff.
PS: among amateur photographers I know, the story is that the longevity of papers like Portriga derives from the presence of cadmium. Make of that what you will. I don't know and have never looked into the matter, but I have no reason to doubt that cadmium was used in the manufacture of papers. AFAIK that's an established fact. What I do not know is why it was there, and I don't expect that it was included to make the paper last longer. I honestly don't know if it had that (unintended) effect.
PE explained that high silver contents on 1950-1960's films were related to poor efficency of silver halides sensitization, as this process improved so the silver content decreased. Only slide film needs higher silver contents.
Oh, yes it can. Ask a 9-year old who got called to dinner when the film was in the fix and didn't remember it till the next day.It is unlikely film can be over-fixed.
thank you all for the nice discussion full of information.
There remains only one question which is probably marginal and which perhaps will not have a scientifically accepted answer.
Technically, what could a film with more silver give back to negative film in general terms? (more/less sharpness, more/less soft, etc etc)
Ultimately ... could it generate old-style results?
Many thanks to all !
Why did photographic manufacturers use CADMIUM, MERCURY etc? Because they worked!
If they even had high silver content...
I mean, manufacturer #2 of the western-world of course had a huge silver consumption, the same time a lot of R&D resources.
That such a manufacturer would be behind their competitors (as "high silver-content" in this context means just this) and loosing money by this, would be surprising.
Well, one then could argue that they lost money on an other activity, just to stay in that market and to feed the sale of their consumables, a activity thus cross-financed. But would then they willingly loose money on their main, consumables market?
You had it about myths. Well, part of the coming into life of a myth is unwillingness to question ideas. That questioning not necessarily then would yield truth, but at least would not let myths emerge.
I managed the design and manufacturing of T-MAX Films
thank you all for the nice discussion full of information.
There remains only one question which is probably marginal and which perhaps will not have a scientifically accepted answer.
Technically, what could a film with more silver give back to negative film in general terms? (more/less sharpness, more/less soft, etc etc)
Ultimately ... could it generate old-style results?
Many thanks to all !
I can understand how increased silver content might result in a higher D-max - and how that might be a benefit if reversal processed and projected as a positive transparency.
What is it about the dedicated Silvermax developer that allows it (and only it) to unlock the full 14 zones? It would take someone smarter than I am to explain it all.
But I never did understand the part about "reproduces up to 14 zones in our dedicated SILVERMAX Developer"? What exatly are these "zones" and how are they measured? How many zones can other films reproduce? What is it about the dedicated Silvermax developer that allows it (and only it) to unlock the full 14 zones? It would take someone smarter than I am to explain it all.
To an extent, yes. You could debate how much DMAX you need exactly in a slide film.
I've witnessed such a debate a few years ago on LFPF I think, you should be able to find it. Or perhaps it was here, I don't recall. It didn't end in a very pretty way. The results were inconclusive, in any case.
Zones = Check out the Ansel Adams Zone system.
The "dedicated silvermax developer" probably is tailored to the emulsion in a way that it gives good shadow detail and it's also able to fully develop the darkest areas. This is my guess. Probably other developers can do the same, but maybe the most common developers (D76, Rodinal) do not, thus the encouragement to use Silvermax.
The "Silvermax" film, as many Adox films, was made with reversal processing in mind. If you're going to project your slides, then it makes sense to have high contrast and a wide density range.
Does this requires 'increased silver content', i don't really know. Of course it sounds good for marketing your film. "SILVERMAX" sounds far fancier than "CHS".
Zones = Check out the Ansel Adams Zone system.
Sometimes, when comtemplating the obscure, it is easy for me to miss the obvious
Reading the data sheet, I thought I saw several instances where someone seemed to be struggling with the German-to-English translation.[...] The only meaningful interpretation I could give is that the film was capable of capturing a 14-stop scene brightness range. By calling this "zones", they only made things confusing and unnecessarily obscure.
What would be an application where recording a 14-stop range on the negative would be a practical benefit?
Sorry, I was not trying to put you on the spot for an answer. I should have directed my question to the forum in general.You tell me...I honestly don't know and if I'm very honest about it, I think that the value of the datasheet/sales ad for this product relies heavily on the benevolence of the reader. If you happen to really like Adox and/or this particular product, I think the document is a great support for your preference. If you happen to be quite critical of the added value of the product, I suppose it gives all the ammunition you need to declare it utterly useless. I haven't tried it, so I can't comment...
[...]
Oh, yes it can. Ask a 9-year old who got called to dinner when the film was in the fix and didn't remember it till the next day.
Sorry, I was not trying to put you on the spot for an answer.
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