June 2nd, 2012, 08:01 AM
You are exactly correct. The IR dust and scratch cleaning facility WILL NOT WORK with conventional B&W film or Kodachrome. It will make a huge mess of things. It works fine with E-6 and C-41 process films (including BW400CN and XP2), although I had better success in that regard with Digital ICE on Epson Scan that I do with VueScan. I mostly do my dust spotting and scratch removal manually through Photoshop, so it's not a big deal for me.
Originally Posted by pdh
June 4th, 2012, 12:38 AM
Ok, I'm reconsidering on the scanner after the advice given here. It will either be one of the Epsons (V330 or V500) or a Canon. Does anyone have any experience with any of the Canoscans? The 9000F looks fairly high end on specs for a flatbed but at a reasonable price. I have also found a cheap used Canoscan 5200F which would probably do as a starting point - are there any opinions on this model?
June 7th, 2012, 08:35 PM
I decided on a scanner - I have a V500 on the way.
Just a subtle bump for the following questions I posted a few days ago:
Also, can someone point me to a chart that explains the different results you get from the more common film developers please?
Originally Posted by defektive
June 8th, 2012, 12:26 AM
What you'll want from film is too subjective. I'd encourage you to do comparisons online - maybe Flickr Film database - and decide
1. what emulsion you want, and then
2. what developer.
Stop and Fix are much of a muchness. I'd say to start go Indicator Stop and Rapid Fixer
You can use the massive dev chart for reference....as most of us do....or look up info for your specific chems.
Otherwise, Kodak folks would recommend Tri-X and D-76 for starters....
June 8th, 2012, 01:40 AM
Surely each developer has certain characteristics that it exhibits with whichever film it develops though? E.g grain, contrast, shadow/highlight detail etc.
I understand that the choice is subjective but I am interested why people choose the combinations they have. It must be a certain 'look' that is produced surely.
I have had a look on Flickr but there are so many combinations that I end up chasing my tail trying to keep track of it all.
Any comments regarding why home processors chose the film/developer combo they did would be most helpful. Feel free to show it with images too.
June 8th, 2012, 02:54 AM
TMY - aka TMAX400. Widest tonal range and nice modern T-grain makes it darn sharp. Xtol to add creaminess especially to the mid-tones. Keen to source some Rodinal to mix with the Xtol and make the tones even more rich and deep.
But I still have so many years left playing with this stuff and have only used a few emulsions and a couple of developers. Though still pretty happy with 30m+ of TMY sitting in the fridge and 10L of Xtol in the laundry
June 8th, 2012, 04:05 AM
Thanks Mark, that's what I'm after. I didn't know you could mix developers, I imagine that would take some trial and error to get the mix right as well as the development time.
Originally Posted by stillshunter
June 19th, 2012, 05:09 PM
How important is water quality for developing film? Our house's water is supplied directly from a mountain creek so does contain quite a bit of clay and minerals. Will boiling it help or do I need to set up a rainwater tank or buy distilled water?
June 19th, 2012, 07:59 PM
Contaminants in the water- bad. Not sure about rain water.
How about a water filter, or one of the purification water pitcher?
July 11th, 2012, 05:38 PM
To save hijacking the image thread I will move this question to here:
I recently developed my first roll of 35mm for a long time and got some variable results with grain - some frames were extreme and some had very little. Is it the aperture/exposure used, the development process or something else? Maybe it is just that some tones in an image exhibit it more than others, I'll post a couple of examples tonight.
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