OLD Kodak B&W film advice

[rcovingt]

I have alot of sheet film and I would like some advice about Super-xx pan film 4x5 before I load the holders.


Dated 01/1989

Iso Rating?
Applications?
Grain?
Developer for continuous agitation

Thank you in advance

Robert

 

[Photo Engineer]

ISO 100 - 150, Developer D-76 about 9 - 11 minutes but continuous agitation is not suggested. Grain fair, sharpness fair, fog depends on keeping - from low to fair.

PE

 

[df cardwell]

Maybe HC-110b 68˚ 6 minutes.

I use Super XX a lot, but it isn't quite THAT old.

You might need to expose it at 25 or 50.

 

[JBrunner]

It is my understanding that Michael A. Smith and Paula Chamlee have a large stash of this film, and use it almost exclusively. If anybody has the skinny on aging with this stuff, I would think they would be among the contenders. The AZO forum on their site probably has some information knocking about. Hope that helps.

The website is here:

http://www.michaelandpaula.com

Best,

J

 

[Thomas Bertilsson]

I know that Michael and Paula develop their film using ABC Pyro, and have mentioned base fog becoming more prominent, but without any problems printing through it.

I won't try to advice on how to actually develop this, as I have no experience with Super-XX.

- Thomas

 

[Peter Schrager]

old film

depends what end you seek for the film...a staining developer will be a pain if you print for alternate process as the times will be very long...ilford pq works great with old film for platinum or azo...I use tri-x rated at 250 with the pq and it works great....for silver just downgrade the asa to 150 or 100 and you should be fine...this is analog; just experiment
best, Peter

 

[edtbjon]

I tested (with a Stouffer step wedge) a sheet of Super XX recently and exposed it at ISO 100, which was way too high. Start at 25 or 50 as df cardwell suggests. I developed it in Pyrocat HD, for some 9 minutes if memory servers me right (expert drum @ 24deg), which didn't overcook it. I'd go for maybe 10 minutes and ISO 32 next time.
But also, my film is from the -70'ies so your film may have some more sensitivity left in it. I was amazed on how low the b+f was though. I have some TMY film which expired in -02 which had developed far more b+f.

//Björn

 

[Photo Engineer]

I just gave away my last Super XX which expired in '80 or so. My exposures were at 100 - 160 as noted above along with the process.

The people who got the several boxes of it might want to respond here or you might contact them. I believe that they were quite happy with their results.

PE

 

[rcovingt]

Thanks for all the help I am just working my way through alot of film trying to see what results and look I get from what, so I can plan my composition around it. All of you have been very helpful...the list below is what I am still working on:

Superxx 1989--6 boxes at 100 sheets sealed
Tri-x pan 1987--4 boxes @ 100 sheets sealed
T-max 400 ---1990 5 boxes of 100
T-max 100 --- 1985 2 boxes of 100
Tri x film 16 exposure packs from the 1960's alot
etc etc....

Its analog and I love to experiment --thanks again for the advice

 

[df cardwell]

Old film is one thing, LOTS OF OLD FILM is quite another.

Have fun.

d

 

[wogster]

Thanks for all the help I am just working my way through alot of film trying to see what results and look I get from what, so I can plan my composition around it. All of you have been very helpful...the list below is what I am still working on:

Superxx 1989--6 boxes at 100 sheets sealed
Tri-x pan 1987--4 boxes @ 100 sheets sealed
T-max 400 ---1990 5 boxes of 100
T-max 100 --- 1985 2 boxes of 100
Tri x film 16 exposure packs from the 1960's alot
etc etc....

Its analog and I love to experiment --thanks again for the advice

Since you have 600 sheets, what you might want to try is take 5 sheets, expose 1 at 12 EI, one at 25 EI, one at 50 EI, one at 100 EI and one at 200 EI. All of the same scene with the same lighting conditions, add a white sheet of paper to the scene that you number 1, 11, 111, 1111, 11111, so that you know which sheet is which.

Process in the normal method, with your normal developer, for the same time, and at the same temperature. There is a chemical you can add to the developer to help cut fogging, I forget the name of it, but someone will reply with it, I am sure. Pick the result that comes closest to your normal result. This is your baseline, you can then fine tune, by altering the developer or developing time or exposure to get it dialled in, you might use 10 sheets total for this, meaning you have 590 left to enjoy. Repeat the process with the other films.

 

[df cardwell]

At least from my experience, a penurious LF shooter of long standing,
with a freezer full of out of date Royal Pan, Super XX,
one can assume the film still works,
that it will have a development time close to when it was new,
and that developers that Kodak suggested when it was new,
will do well for it now that it is old.

The best place to begin shooting old Kodak film
is to use the suggested developer and developer time
and assume an EI of 50, regardless of the film.
Make one shot, develop it and contact print it.
You'll find out in a hurry where you are.
Also, ignore Zone I, it doesn't exist. It just doesn't.

The one, single, and absolutely most useful thing you should have is
a Kodak Film guide, from the '70-s, preferably.
Use it to get acquainted with the film you have in the freezer.
I've attached the data that Kodak gives you. HC-110 has proven to be a VERY good developer for out-dated films. Get a grip on the film you have, and then, by all means, try out your personal developers to see what happens.

PERSONAL RANT: forget about about 'fog'. Don't worry about it.

 

[Larry Bullis]

... There is a chemical you can add to the developer to help cut fogging, I forget the name of it, but someone will reply with it...

Benzotriazole, "anti fog #1".

You have to be extremely careful with this stuff; it is a powerful restrainer. My library is out back, it's cold and I'm not dressed yet, so if you want to use it, you can research it yourself or wait awhile. It must be used in very small amounts, and typically a dilute stock solution is made which is then added in ml. quantities to the developer.

It's really a lot more useful with old papers, anyway. I wouldn't bother with it for your film unless trials show lots of fog. With paper, who wants zone vI specular highlights?