What do you intend to use to agitate the paper in the slots? The Nova uses a clip that has a pin that grabs the paper (and leaves a slight mark about a mm from the edge) and allows the chemicals to fully cover the paper.
Nova Processor for FB B&W printing
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I've got this Nova clip from the washer and intend to order another one as a spare.
I think a separator with a rounded top profile would be a better choice than a sharp edged piece of acrylic. One typically drags the print across the top of the separator when moving it between slots. Even though it's the back of the print that would come into contact with the separator I think a sharp edge like that shown in your drawing could potentially damage the wet paper and/or make it more difficult to move the paper between slots.
Another thing you may want to consider is the strength of the separators and the processor as a whole. Nova advises to fill the slots of it's processor incrementally (eg. 500 ml in each slot in turn until the slots are filled up) rather than completely filling one before moving onto the next one. This is done in order to balance the forces of the liquid evenly as the processor is filled.
I don't know how critical this really is, but I've been following their directions just in case.
I don't know how critical this really is, but I've been following their directions just in case.
I enquired about that and the Nova tech rep said it is OK to have an empty slot chamber along with full ones, as long as it is not for too long (an hour?). The reason I had asked is I did not want to have to drain all the chambers if I just needed to change the developer. Of course, the dynamics of a larger 16x20 slot would be different. How this is the acrylic you are planning to use? The Nova 12x16 doesn't seem to be made with anything more than 3mm thick material, accordion-folded to make 3 slots. I think it has the waffle surface to increase strength among other purposes.
Logan - good point - I’ll ask if it is possible to make it round edged
Stability - I based my design on Nova 16x20 washer which can endure 40 kgs weight of liquid once filled. 5mm and 8mm acrylic will do the job. Accordion slots is a different story, but they have done it like that for heating purposes - the whole assembly is sunken in heated water in external chamber and mounted on top of it - if you top-up the first slot and leave others empty, the whole weight goes against one point of mount instead of two, so it can brake. My design is invulnerable to that.
Stability - I based my design on Nova 16x20 washer which can endure 40 kgs weight of liquid once filled. 5mm and 8mm acrylic will do the job. Accordion slots is a different story, but they have done it like that for heating purposes - the whole assembly is sunken in heated water in external chamber and mounted on top of it - if you top-up the first slot and leave others empty, the whole weight goes against one point of mount instead of two, so it can brake. My design is invulnerable to that.
hi, made a new - slanted project and I think it will make the first prototype...
Just curious, what would be the advantage of the slanted slots over vertical slots?
Wrt the edges of the slot divider wall, I use the non-rounded edge as a wipe by gently pulling the paper (non-emulsion side) over the edge and thereby minimizing the carry over of chemicals to the next slot.
Wrt the edges of the slot divider wall, I use the non-rounded edge as a wipe by gently pulling the paper (non-emulsion side) over the edge and thereby minimizing the carry over of chemicals to the next slot.
I tried B&W developing in a Nova but was very disappointed with the lifespan of the developer. I was recommended to try one of those which are used in processing houses where the developer is replenished at a given rate so I tried one from Photospeed which did work sort of, but still the developer didn't last nearly as long as RA4 colour dev. I still dish develop because I have much more control over the developing image.
spijker - handling of FB paper and preventing to stick with processor wall. Paper lays on the special tray supporting its weight.
Maybe it's different with sheets of 50 x 60cm, but I have no issues with 28 x 35 cm (11x14 inch) FB paper in the vertical slot processor. The textured walls on both sides of the slots prevent the paper from sticking to the walls.
To me, the slanted design and paper carrying trays seems more hassle. And in the end you still need to get those sheets in your vertical slot washer. I suspect that using two clips and vertical slots is easier to use. You can simply lift the paper from the fix slot and then lower it in the washer slot. Compare that to getting a big wet sheet of FB paper from the tray and into the washer. Since you already have the washer, I'd suggest you try what it's like to move wet paper with 2 clips from slot to slot in the washer. You can flip one divider panel in the washer so that you have the texture on both sides of the slot.
The slanted design will be more difficult to build and takes up more space.
To me, the slanted design and paper carrying trays seems more hassle. And in the end you still need to get those sheets in your vertical slot washer. I suspect that using two clips and vertical slots is easier to use. You can simply lift the paper from the fix slot and then lower it in the washer slot. Compare that to getting a big wet sheet of FB paper from the tray and into the washer. Since you already have the washer, I'd suggest you try what it's like to move wet paper with 2 clips from slot to slot in the washer. You can flip one divider panel in the washer so that you have the texture on both sides of the slot.
The slanted design will be more difficult to build and takes up more space.
I have used Ilford's MG developer, diluted at 1+9, since I bought my Nova processor, quite some years ago now. I've found the diluted developer lifespan to be excellent, lasting up to a couple of months in the processor, before I need to change it.
I keep a whiteboard in the darkroom, on which I keep a running total of prints going through the three chemicals. I then replace each of them long before the amount of prints quoted as being suitable by the manufacturers, to be on the safe side.
Basically any change in print quality, (I do a regular tonal test strip at the start of sessions, to compare to one made when fresh chemicals are put into the processor), change of colour or any obvious smell and I will change the chemicals straightaway, although any of this is quite rare and chemicals are usually changed after a certain amount have gone through.
I only keep the chemicals (mainly the developer) topped up with10ml of working solution, as recommended by Nova. I do not use any protective sprays or clingfilm, as some others recommend.
Terry S
How does worn out developer behaves on paper? I use fresh working solution of MG developer for one month - about 4-5 sessions each one of 3-4 40x40 enlargements plus test strips (one set per enlargements), I dish process and keep the solution in 5 l container without any protective sprays, etc. I cannot see any differences between fresh solution and one month old one, but perhaps I do not know where to look for them...
I have Ansco 130 and TF4 in my Nova 12x16 right now. I use the little pipes on top when not in use and also cover with tin foil, though saran wrap would do just as well. Haven't noticed an issue! Of course Ansco 130 has a famously long tray life. For whatever reason my Nova has a min temp of 75˚F, even though the dial says it can go lower. Luckily I have not noticed an issue when processing. I do 2 minutes on Ilford MG Classic.
The clips are ok, I need another one. I will also look into one of those FB paper frames. I do miss tray processing but the Nova keeps my chems at the temp I want them to be, and I seem to be more consistent with my agitation technique so that's probably better in the long run.
The clips are ok, I need another one. I will also look into one of those FB paper frames. I do miss tray processing but the Nova keeps my chems at the temp I want them to be, and I seem to be more consistent with my agitation technique so that's probably better in the long run.
This is only 1.2 volts but it appears to have the form factor you are looking for maybe?
http://www.batteriesinaflash.com/2-...MIuZr4lbKa5wIVR4VaBR3CYg-BEAQYCSABEgI8K_D_BwE
Of course, if you can confirm the required voltage, you can run longer wires to the terminals and place a bigger nicad pack outboard.
http://www.batteriesinaflash.com/2-...MIuZr4lbKa5wIVR4VaBR3CYg-BEAQYCSABEgI8K_D_BwE
Of course, if you can confirm the required voltage, you can run longer wires to the terminals and place a bigger nicad pack outboard.
You missed out the part about better control over the development.
What I mean is if part of a print shows an excessive darkening in the shadows, I remove the print from the developer and rinse it with clean water, this hold back the development so extending the tonal range. On the opposite side of things, if a part is a little too light, again by removing the print from the developer and 'painting' on neat developer can sometimes bring print with part washed out tones back to life and save another bit of paper being wasted. Try doing that with a deep tank processor!
I never did that in all my years of using trays... If I want to dodge or burn I do it in the enlarger. If I need to bleach, that happens later.
MattKing
Moderator
You forgot to mention pouring hot developer on to the parts of the print you want to darken - an old newspaper photographer's trick, often accompanied by cigarette ash dropping into the tray, and a flask of liquor on the nearby ledge!
A real pain to do if you are making multiple prints of the same neg...that's what dodging and burning are for.
Ah yes, but once in the deep tank you are stuffed. A test strip used will not always show the comparative brightness/darkness of the print unless you do multiple tests. Even if you do 2 or more that will not cover the whole sheet of paper and you may well end up with blocked shadows or burnt out highlights.
It is not that I have to do it all the time, but when I do, those two dodges can save you wasting a sheet of paper and have to go through the whole process again. It is especially useful if you are using graded paper more than Multigrade.
Graded paper tends to have a higher silver content and not all the halide is developed in the recommended 2 mins dev. I was advised many, many, years ago, possibly long before a good number on this were alive, that it is always advisable to over develop by 50% simply because the halides are not fully developed. We pay for the silver content of the paper so why not use it instead of fixing it away.
The days of staining by over development of fresh printing paper are now largely a faint memory.
A real pain to do if you are making multiple prints of the same neg...that's what dodging and burning are for.
I do not make multiple prints from the same negative and never have done. I am talking about prints at least 9.5x12 upwards where care has to be taken otherwise it can get very expensive. If I ever have to make multiple prints, then I would scan the negative and have it printed professionally - that type of printing does not appeal to me at all I take care with my work, I don't take a machine gun attitude.
It is not that I have to do it all the time, but when I do, those two dodges can save you wasting a sheet of paper and have to go through the whole process again. It is especially useful if you are using graded paper more than Multigrade.
Graded paper tends to have a higher silver content and not all the halide is developed in the recommended 2 mins dev. I was advised many, many, years ago, possibly long before a good number on this were alive, that it is always advisable to over develop by 50% simply because the halides are not fully developed. We pay for the silver content of the paper so why not use it instead of fixing it away.
The days of staining by over development of fresh printing paper are now largely a faint memory.
A real pain to do if you are making multiple prints of the same neg...that's what dodging and burning are for.
I do not make multiple prints from the same negative and never have done. I am talking about prints at least 9.5x12 upwards where care has to be taken otherwise it can get very expensive. If I ever have to make multiple prints, then I would scan the negative and have it printed professionally - that type of printing does not appeal to me at all I take care with my work, I don't take a machine gun attitude.
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I have no experience of trying either of the two methods used by Bikerider but have seen reference to the practices in several darkroom books. What l would recommend anyone to do, if possible is to look at pages 118 and 119 in Les McClean's book Creative Black and White Photography where he gives details of various case studies. The one in question is called "First Communion, Ardoyne, North Belfast. He uses the water method in this and yes a a post flash as well but clearly he attributes much of his success in the water bath procedure which he also covers on page 77
Les is a much missed contributor to our forum
pentaxuser
Les is a much missed contributor to our forum
pentaxuser
and... ready!!!
Looks good, great job!
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