(Later) Ian Grant's comments in two posts re PQ developers are interesting. Over the years (I set up my first darkroom as a high school kid in 1961 and mixed chemistry from scratch from the late '60s) I too have played around with most of the older PQ developers for both films and papers he writes about. Of the lot of them, PQ Universal is probably the best I've used over all that time, with D163 a close second. Food for thought...
The characteristic of LPD that makes it special is its long life when used over multiple sessions, usually with simple "top up the bottle" self replenishment.There is nothing particularly special about LPD so if it is difficult to obtain, move on.
The characteristic of LPD that makes it special is its long life when used over multiple sessions, usually with simple "top up the bottle" self replenishment.
Anecdotal, I expect. I doubt there is anything novel going on. It’s a PQ-carbonate developer as far as I remember. You could probably get the same activity out of anything similar.
I use ID-78, which is only a slight variant of ID-62
Ian, can you please share with us final and full recipe of your modification? Thank you in advance!
I started with an Ansco Developing Kit complete with tank, trays, contact printer and chemicals. Ansco supplied their Vividol developer with the kit but the local camera store had mostly Kodak chemical.When I began in the 1960's there was no Dektol here in the UK, we had Kodak D163 instead, but then there were a few Kodak Ltd developers never made or sold in the US, and a few EK developers never made here.
Ian
Why specifically? Due to toxicity?I like developers without hydroquinone nor metol. I very much like DS-12. Some of the liquid concentrates are similar.
Why specifically? Due to toxicity?
I like developers without hydroquinone nor Metol. I very much like DS-12. Some of the liquid concentrates are similar.
I think DS-12 is a film developer. DS-14 is a paper developer with neither metol or hydroquinone.
D-72 mixed from scratch.
I've tried mucking around with A-120, A-130, soft-this and warm-that. And frankly the results weren't all that different. A-130 did have some effect with warm tone paper and selenium but I thought the result rather ugly.
I have been using a batch of DS-14 made up in last summer (July) and replenished since then, it is still working well. I pour out solution from the container (approx. 4 litres), printing in a tray and then pour back into the container.This is my slightly modified formula for E-72, originally published by Chris Patton, which I use now for more than 15 years (since the demise of AGFA).
It saw some minor adaptations as my insights and needs evolved, and is now, to my humble opinion, the best working with FOMA FB 111.
I have been using a batch of DS-14 made up in last summer (July) and replenished since then, it is still working well. I pour out solution from the container (approx. 4 litres), printing in a tray and then pour back into the container.
This E-72 has the strange characteristic of becoming stronger by 'ageing' and then drops till uselessly weak rather fast.
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