Printing Verichrome Pan 120

[Dante Stella]

Ok... one for the old timers. Whether I use Xtol, Aculux or T-Max developer with the film, I observe that:

-- It's easy to get good contact prints on RC paper like Ilford MGIV.

-- It's easy to get good projection prints on FB paper (graded or VC).

-- It is really difficult to get good midtones in a full-size print on RC paper.

Why the last one?

Does this film just have a midtone curve that RC papers hate?

Is there some other film developer that helps midtones but doesn't adversely affect highlight separation? I only have a few score more rolls of this film to experiment with, and after that, any wizardry will solely be in the darkroom.

Thanks for any insights
Dante

 

[DBP]

Care to trade for some Plus-X? I never noticed a problem, but am probably not as good a printer. I was using Microdol back then, for what it is worth.

 

[Earl Dunbar]

Dante: that is really strange. I assume mid-tones on RC are not a problem with any other B&W film you use with those developers?

I haven't worked with those developers, am more familiar with HC-110, Rodinal and FG-7. If it were me, I might give FG-7 a go first, then HC-110 if you didn't like the FG-7. If you were to try Rodinal, I'd definitely use a high dilution and minimal agitation. Just thoughts that pop into my head late at night.

 

[glennfromwy]

I use good old D-76 1:1 and don't see any problems. Everyone is going to see it differently, however. It's just human nature. I only use two developers - D-76 and PMK Pyro. Verichrome Pan is supposed to be good in PMK, but I've never tried it. It was made for D-76, in my opinion, so that's what I use.
Down to my last dozen rolls.

 

[braxus]

I've had VP developed in Xtol with good results. Granted I haven't tried enlarging any of them yet though.

 

[nworth]

VP used to be my favorite film, and I'm sorry to have lost it. I processed it in D-76 (1+1) with excellent results. I didn't notice any problems with RC paper. Polycontrast worked well; Multigrade less so. The film has something of a toe, so you may need to experiment a bit.

 

[df cardwell]

Old Timers, my rosy red *ss !

As Photo Engineer and Simon Galley have pointed out, RC and FB have different, but closely matched emulsions.

Compare the published curves for Ilford FB and RC: they are close, but different. If you try to match the highlights or shadows, the midtones will not agree.

Also, the amount of development of your Fiber paper may differ from the RC paper, exaggerating the midtone differences.

This isn't unusual, and not linked to your VP (although the curve shape of VP, relative, say, to TX may point up the midtone variation between Ilford Fiber and RC )

The contact prints are probably exposed based upon an overall appearance; enlargements are probably made with more attention to the extremes of the scale, so the differences are easier to see. Diffusion enlarger, right ? So Callier isn't a problem, the contrast will be the same in the contact prints as in the enlargement.

I think everything here is as it should be.

d

 

[jonnyboy]

Does this film just have a midtone curve that RC papers hate?

Dante,
I think Dave Cardwell is correct in his statement that the RC and FB have similar but slightly different curves, causing your headache. I have never had any problem with VP on RC paper, mostly Kodak Polycontrast III.
You can, however, try your T-Max developer diluted 1:7 or 1:9 (for 1-1/2 and 2 times more time than that for 1:4 at 75 degrees, you'll have to experiment to get the time that works for your processing protocol) to give some (seeming) extension of the mid-tones. Just as good would be Rodinal at 1:100 at 68 degrees, but I don't remember the time, sorry. I can look it up for you if you PM me.

Jon
from Deepinaharta, Georgia