First time I’ve had to mess with the cyan dial, in the end got meh-ish results from 24y/8m/16c but any over exposure on the negs leads straight to cyan while underexposure skews to magenta. I know some folks have tried to put a clear orange mask, which I may try but it’s unhelpful for a contact sheet. May be another one of those newer films that is more for scanning than optical work.

Just got my enlarger setup roughly in place tonight and couldn’t help doing a quick test strip and a couple prints. I haven’t done any dark room stuff since high school in the mid 2000s.

I definitely need to figure out the easel setup, but I would appreciate any other tips and advice. The print feels a little harsher than the scanned negative to me (added for reference).

Canon 1N, 35 1.4
Ilford FP4 125 35mm

Print enlarged with a Bessler 45mx for 15 seconds at ~F8 (need to double check), generic RC paper, using Ilford multi grade developer at 9+1

Hey everyone, I'm Andrew from over at r/printexchange, and I asked permission from the mods to post here.

We've been doing this international photographic print twice a year since late 2022. It's a blast, and you're invited!

Reddit post with more info and sign up link here

Disclaimer: This print exchange is not affiliated with or hosted by the mods of this sub. Please do not reach out to them with questions; those can be directed to me. Thanks!

Hi all, hoping for someone with experience in this to give advice.

I just shot my son playing a one off live gig with his band on Tri-X, pushed to 1600.

I'm planning to use HC110 to develop it. Using Dilution H (unless told otherwise)

But I'm getting VERY conflicting numbers on dev time. Everything from 6 minutes to 32 minutes!

I know agitation plays a part. And my thinking is to go long, as there will be a bit more (Shadow detail etc) information for me to use in post (minimal Lightroom adjustment)

But I also don't want to lose out on that classic rock gig look.

Anyone have experience with this formula and set up? Esp dev times (and agitation)

Hugely appreciated.

I can't really afford to mess this one up :-)

Good morning!

I am exhibiting 5 images at a gallery later this year and would like feedback on these initial prints thus far.

The images are all C41 negatives cross processed as silver gel on ilford mc paper.

Wasn’t planning to exhibit these and when traveling I tend to use color film more than BW so I can get the best of both worlds once I’m home. An opportunity presented itself and now I am working to print 11x14 and finding a lot of frustration both with the printing process now being more difficult and with myself for not seeing the future and knowing these should have been BW film.

These aren’t the best photos, just some quick snaps from my phone while they dry but how are these looking? The sharpness is good with these 3 and I am mostly looking for overall at a glance style feedback. The scans of course look better and inkjet is an option - but that is a lame fallback and silver gel is my goal.

Still have 2 more to print in the series, there are other images I could fall back on that are already printed, but I would like to push myself through this cross process struggle and “figure it out” to a point that is satisfactory.

All grade 5 - various exposures and some dodging and burning.

Thank you!

EDIT: I think the 3rd image of the ahinga could benefit from more exposure time. The blacks are not black yet.

From 6x7 RPX25 negative, on a 16x20 Ilford MGV RC paper

I'm back, with more promising results, but yet not so promising results. For a recap I have made some PaRodinal and Hardening Fixer, The PaRodinal was made using the Potassium Metabisulfite and Sodium Hydroxide instead of Sodium Sulfite since it's so difficult to get find, I have let The PaRodinal rest for 3 days, cut off a snip of Lucky SHD 400 B&W Film for a snip test, I mixed the PaRodinal on 0.4ml+10ml/1+25 Dilution and almost constantly agitated for the 8ish minutes I Developed the snip, and I fixed it after a rinse for around 5 minutes, again, frequent agitation, when held up to light though it still let's light pass through, which I'm pretty sure it shouldn't

Pic 1 is of the snip test and pic 2 is of the snip test pressed up against the Camera and taken a photo of a light bulb.

I don't know if I'm being really really dumb and I'm sorry if I am, but Any Help is Greatly Appreciated!

P.S. I can't get any commercial Developers or Fixers since there is absolutely no stock of Items related to Film Photography/Videography in My Country

Thanks!

I picked up this machine last week for about $15 so a real bargain. The belt is 17 inches wide so I guess this can dry up to 16x20 prints. Has anyone used one or know anything about it? What I do know is that it is for fibre, not RC which apparently melts to the surface. It gets extremely hot, way hotter than I'd have thought. It was at about 110 degrees celcius when I checked in on it which seems over the top. If there's a manual floating around for this that would be great. Thanks in advance.

I teach darkroom classes and have never gotten this technique down. I understand it takes trial and error but who’s got tips?

Any one want this old chemistry in original packaging?

It's no good, it's cool to see, I'm not sure how to dispose of it.

I dont really need any more cool things like this to look at any more where I'm moving

Fomatone MG Classic Matt 8x10. Selenium toned to a chocolatey brown tint which only this paper gives somehow.

Taken on my old-ass Leica IIIc with the really nice not-old 7artisans 35/2.8 lens.

Hey community!

So I am moving soon (to a boat!), and a windowless room around the bow of the boat seems to have potential for the long-dreamed darkroom!
I wondered if you guys have any tips on setting up my darkroom? Unfortunately, there is no tap in the room (maybe it could be added; there is some equipment which I have not yet checked properly, but if it is water, there might be some possibilities). Anyhow, the bathroom is close, and I could tap there.

Looking forward!!

Thanks!!

Edit!!! The boat is docked on an empty port with no trafic at all. So there is almost no movement :)

Pretty happy with how this print came out. Shot on HP5 4x5 with a 150mm lens. Exposure time was around 6 seconds using a circular polarizer and ND filter. Used a bit of tilt to get the close log and far trees in focus.

Developed in Xtol 1:1 and printed on Ilford RC Glossy then scanned using a cheap flatbed scanner. Burned in the sky and log highlights by about a stop using a 00 filter.

Here is an insert of a high resolution scan done on my V850. The issue is the purple specks on the negative which, when inverted, render as greenish specs. They're easier to see in the inverted photo, IMO.

This only happens to me with Foma films (this is Retropan 320) with my developer of choice, L110. Ilford films always come out crystal clean. Annoying though because I love Foma 100.

I'm having trouble problem solving because I'm still not entirely sure what's going on, and I'm hoping someone has seen this before or can point in me in the right direction. Dev temp and time are standard, inversions every minute. I've tried pre-soaking for up to five minutes before hand, and more extensive washing afterward. Still get the specks.

I'm a newbie and I have been looking for a colour enlarger for a while but I couldn't manage to get one so I picked up a black and white one. Is it possible to make a DIY colour filter to the enlarger? I was thinking about making it from matted black painted plastic and I would be using some colour filtering foil to the colors. Does this worth the hassle?

I know this is a long shot but does anyone have a couple of these caps knocking around their darkroom. If yes let me know? 1/2 gal glass Kodak bottle

Doing a leader test on my E6 chemicals. How can I tell if the developers worked vs the blix just washing away all the silver? This (areocolor) was exposed to light so the final image should just be pure white. It looks just milky white, like the blix is dead, but I know the blix is fine as I just used it for c41 and it worked fine. Should the leader be much more dense with the white dye?

Looking for a cheap reliable darkroom timer that has a foot switch, and metronome function.

Seems like maybe its a gralab 450 and a cheap 3.5mm pedal?

For B&W I understand you don't need to turn off your safelight but is it still nice to have that feature in an enlarger timer? If so maybe a gralab 505 or 525?

I shoot a lot of film so I don't really have questions about the cost benefit analysis of the price of the AGO, but how well has it been working for you guys? Film results coming out? Machine reliability? I know last year there were some issues with the soldering and waterproofing that got fixed in a design revision so interested in recent experiences of people using the AGO. Thanks guys!

Hi! I'm going to start bulk loading, and I'm thinking about getting a Watson model 100. (Please let me know if I'm wrong/inaccurate about any info)

Apparently I'm losing 2 frames at the end of my roll? That's the center part of my roll right? (35th and 36th frame?) Do I have to finish shooting when I reach 34th frame? How do I know if I'm precisely on the 34th frame? (I think it depends how many times I wind up before closing my lid etc.)

I just don't want to mess up on my first 100' roll, thank you.

Just picked up a Paterson tank after getting fed up with my stainless steel one and was curious what the best way to go about vertical agitation with the stick is. I'd assume same frequency/cadence as inversions but curious as to how big of rotations, how fast, etc those who use this method prefer. Thanks!

I was unable to use the Patterson focus finder and, based on comments here, I switched to the Bestwell Magna Sight. I could not believe the difference! I can now actually see what I was supposed to be seeing with the Patterson. I took a picture of a photo that I am working with currently. I adjusted the enlarger and used the focus to get it as clear as I could. Is this what I should be seeing?