Everything affects everything. That is nothing new.
Question is: what real life effects does it have? Are your negatives ruined if you mess up with one degrees of celcius? Two? Five?
These things don't even need noting for your own use, they are your habits and they work, problems can arise if you assume your habits are everybody else's' habits.
Personal habits indeed. I'm sure there are people who start their timer when they start pouring the developer, others when it is poured, and others when they have closed the lid on the tank.
Guess if you end up adding or subtracting 15-20 seconds to your development time to get the negs you like with a particular film/developer combo, you should make your method clear before giving your timing as advice to someone else.
I play the intro to Major Tom. As soon as he's gone through the countdown, I start my timer, then turn my body to the left once, then to the right twice. By that time, all the developer is in the tank. My 8-track player ate the tape, so I'm looking for a new song. Any recommendations? Doesn't have to be on 8-track...
I wouldn't know. I either do semi-stand timed to side two of Meddle, or full stand development timed to Tubular Bells, full album, three inversions right after flipping the LP.
They aren't ruined, but they will be different.Everything affects everything. That is nothing new.
Question is: what real life effects does it have? Are your negatives ruined if you mess up with one degrees of celcius? Two? Five?
Robert Pirsig would probably write: “Development of film require great peace of mind."I wonder if anyone has ever published "Zen and the Art of Film Development"?
I wonder if anyone has ever published "Zen and the Art of Film Development"?
I wonder if anyone has ever published "Zen and the Art of Film Development"?
I would suggest that the variability that arises because of the inconsistencies inherent in a replenishment regime and time-temperature adjustment are both very small, and of the same magnitude as the variability that arises because of the variabilities inherent in a one shot not at ambient temperature regime. But most importantly, those variabilities are quite small, if care is taken with either one of them.@MattKing you preach all the right things (eliminating as many confounding variables as possible), but your own routine is not a good example of it:
I use your routine BTW (switched to Xtol-R last year, and to ambient temp this summer), so this observation covers both of us. A much more consistent approach would be one-shot D76 at exactly 20C.
- Use of replenishing. Replenished solutions are never as consistent as mixing one-shot.
- Ambient temperature development. Any time adjustment is always an approximation, and the results cannot be as consistent as using the same temperature between runs.
- Use of replenishing. Replenished solutions are never as consistent as mixing one-shot.
- Ambient temperature development. Any time adjustment is always an approximation, and the results cannot be as consistent as using the same temperature between runs.
.Purposefully injecting an element of chance within set and controlled parameters is actually quite interesting, and doesn't at all contradict the principles of how the process is controlled and what is controlled within it. Not at all the same as adding inconsistency..
I had a guy from the university come out with a stop motion camera. He worked with me for a week or so to make sure I got to 180 degrees when I inverted the tank during agitation. It was basically muscle memory after that....Trampoline agitation...
The foregoing is a good example of the logical fallacy of slippery slope. It sort of reminds me of the classic 1936 film Reefer Madness.Here's my take : people who get sloppy with one variable might get away with that, but otherwise tend to get sloppy with another variable, and yet another, and soon it all adds up to a serious visible quality loss, and they end up blaming the film or paper or equipment manufacturer for their own lack of discipline.
It makes a lot of sense if it is all you can afford and you need to get to work so you can earn enough money to pay the rent, buy food, and start saving for three good tires.But going out and buying a used car with three bald temporary spare tires on it doesn't really solve much.
So lets see, faberryman .... The typical beginner I encounter goes out and spends several thousand dollars on a camera and his mandatory wish list of top notch lenses, then jumps in their Lexus to drive to a shoot location, or on some plane to an exotic destination, but then gripes about spending ten bucks on a thermometer? Yep, that is typical. Then they come back screaming how lousy the film is. Also typical. You're only as good as your weakest link. Save some of that money for the darkroom, and learn how to use that kind of equipment well too. Otherwise, it's false economy.
Only in special circumstances, such as processing for b/w slides. Otherwise my notes go no further than "Pentax LX Feb 2021" or whatever.I hope that most of us keep notes of how each film is processed.
I would suggest that the variability that arises because of the inconsistencies inherent in a replenishment regime and time-temperature adjustment are both very small, and of the same magnitude as the variability that arises because of the variabilities inherent in a one shot not at ambient temperature regime. But most importantly, those variabilities are quite small, if care is taken with either one of them.
My wife owns a junk store and has sold a bunch of old cameras, including folders, to students, for under $50. They drive old beat up cars and live in the student ghetto. They are fascinated by film and soak up all the advice I can give them, which includes, be consistent in your processing and keep the developer temperature consistent from roll to roll. None of them drive fancy cars or have Blads.
There is nothing, I repeat, nothing, more boring than rich old white guys who own fancy cameras and Lexuses, and look down on the rest of us. Those kids are the future. Respect them!
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