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12-10-2010, 09:54 AM   #16
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QuoteOriginally posted by tuco Quote
You're really getting good milage out of that fixer. The Ilford Rapid Fixer Data Sheet says 6 months in tightly sealed bottle once opened.
As I stated above, it's been quite a while since I did developing, but they had an inert gas you could spray into the bottle that was heavier than oxygen/nitrogen, therefore displacing it and extending the life of the chemicals.

12-10-2010, 11:02 AM   #17
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QuoteOriginally posted by Tom S. Quote
As I stated above, it's been quite a while since I did developing, but they had an inert gas you could spray into the bottle that was heavier than oxygen/nitrogen, therefore displacing it and extending the life of the chemicals.
It's easier than that. Just use a plastic bottle and squeeze out the air and cap it.
12-10-2010, 11:09 AM   #18
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QuoteOriginally posted by tuco Quote
You're really getting good milage out of that fixer. The Ilford Rapid Fixer Data Sheet says 6 months in tightly sealed bottle once opened.
Yes, I have no trouble with the fixer, and don't believe Ilford's words
12-11-2010, 12:32 PM   #19
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QuoteOriginally posted by Rory Quote
Just curious how many people roll their own, so to speak, and who sends it out. I've been toying with this MF dream off and on over the last six months or so, but I don't know much about it. Explain your process or who you send it out to. What films do you use, and why? I find this type of photography very interesting and would love to hear from the community what your process and choices are.
Here's what works for me (and is the opposite of what the previous posts describe).

Processing:
Everything goes to a local full-service film lab.

Film:
C41: Mostly Fuji 400H, sometimes Fuji 160C or Kodak Ektar 100. I'll probably switch to the new Portra 400 due to Fuji's recent habit of discontinuing films in a confusing manner.

Scanning:
Although I do all my own 135 scanning, I find scanning 120/220 film to be a real pain in the ass, so I have the lab do scans (8-bit TIFF) at time of development on their Noritsu scanner. If I need a 16-bit scan for extensive dodging/burning/contrast adjustment or a higher-res scan for a big print I get a rescan done on an Imacon.

BTW, since I mostly rely on scans at TOD, my cost per exposure is much cheaper for 220 film than for 120 film.

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