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01-15-2022, 10:48 AM - 10 Likes   #11176
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Remembering my Rolleicord back in 2009 when it worked for a while.

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01-15-2022, 04:18 PM - 1 Like   #11177
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QuoteOriginally posted by BigMackCam Quote
I've just had a quick look at the datasheet and Massive Dev Chart, and I understand it can be used at 1+9 dilution with quite forgiving development times? I'll do a bit more research, but it seems like this is a good candidate. Many thanks for the tip!
DDX came out in the late 90s/early 200s (ilford DataSheet from 1999 says "Coming soon")
At the time, I got a test bottle from David Carper (US Ilford R&D) and tested several combinations.
Datasheet from Ilford

For most ilford films (HP5, Delta400 I and II and Delta3200) it was great; very forgiving and nice balance otf tonality and grain
Even in D3200 at 6400

But where it shined above anything else was in developing 400 films (Foma, Fuji Neopan, TriX); allowing pushing by 1 even 2stops maintaining good shadow details and not exaggerating the grain
Yes 1+9 was possible, besides the 1+4 recommended by Ilford. I have to look for those notes for times but the MDC is usually spot on..
PS1: Found this in an old thread (by me)
I posted this before, increase DDX dilution from 1+4 to 1+9 and increase time by 125%. I also agitate less often (once every 2 minutes).
1+9 DDX canbe reused for 4 or 5 rolls, as long as you increase another 10% of the time for each extra roll. I make 1 l and develop 2 35mm at a time (600 ml) and then remix the used and "new".


I used to collect 3 or 4 rolls to use 1+4 solution a few times, starting with high speed film and finishing with slower speeds (Efke 100 or Agfa100)

I believe that there are a few threads in Photio and Photo.net about this started by me (Ilford used to have a great forum that I think is closed now)

Last edited by titrisol; 01-15-2022 at 04:42 PM.
01-15-2022, 10:31 PM - 9 Likes   #11178
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01-16-2022, 04:13 PM - 6 Likes   #11179
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finally got around to scanning expired tri-x from a pow~wow back in october......pentax ES....smc tak 85/f1.8







01-16-2022, 10:22 PM - 5 Likes   #11180
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01-18-2022, 02:14 PM - 11 Likes   #11181
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High Atlas, Morocco, 1985. Super A, smc Pentax-M 1:2.8 100mm (most likely), Ilford FP4 film/Promicrol 1+3 developer



01-19-2022, 11:16 PM - 3 Likes   #11182
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01-20-2022, 11:08 AM - 6 Likes   #11183
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01-21-2022, 01:14 PM - 8 Likes   #11184
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01-21-2022, 02:51 PM   #11185
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QuoteOriginally posted by wkraus Quote
High Atlas, Morocco, 1985. Super A, smc Pentax-M 1:2.8 100mm (most likely), Ilford FP4 film/Promicrol 1+3 developer



That’s great photo Kraus, love the kid looking up the road ,I was in the Atlas Mountains a few times but much later early 2000s
01-21-2022, 04:03 PM   #11186
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QuoteOriginally posted by Flanoman Quote
That’s great photo Kraus, love the kid looking up the road ,I was in the Atlas Mountains a few times but much later early 2000s
Thank you! That was taken on the day I left the village that I had been inhabiting for more than three months, not to come back for ten years.
01-21-2022, 04:23 PM - 6 Likes   #11187
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Lower Austria, April 2020. LX, smc Pentax-FA 1:1.8 31mm AL Limited, Asahi Pentax R60(R2) SMC Filter, f/9.5, 1/15, Rollei Retro 80S film/Adox FX-39 II 1+19 developer




Using orange or red filters has quite a strong effect on the aerial emulsions with extended red sensitisation such as Rollei RPX 25, Rollei Retro 80S, Rollei Superpan 200 and IR or Adox HR-50. I assume it is the same with Ilford SFX 200 which I have not yet tested. Another plus is that the filter factors are relatively low. These are the approximate values for HR 50 with the filters I’m using:

Yellow – AP Y48(Y2): +⅔ stops
Orange – Marumi MC-YA2: +1⅓–1½ stops
Red – AP R60(R2): +1⅔ stops
IR – Hoya R72: +4 stops

Compare the official manufacturer recommendations for panchromatic film: Yellow +1, Orange +2, Red +3 (or +2.6 for the Pentax filter).

Last edited by wkraus; 01-21-2022 at 04:30 PM.
01-22-2022, 03:36 AM - 7 Likes   #11188
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Lower Austria, May 2020. LX, Samyang 1:1.8 20mm ED AS UMC, AP O56(O2) SMC Filter, f/4, 1/125, Rollei Retro 80S film/Adox FX-39 II 1+19 developer




As a follow-up to my preceding post: although taken only with an orange filter, this almost looks like an IR shot. You wouldn’t get that effect with a panchromatic film.

On a side note: at f/4 this is not too sharp towards the upper edge. The Samyang 20mm performs extremely well on the K-1, so this is the case of a super wide-angle optimised for digital and less convincing on film – the opposite of what we see with many vintage wide-angles on digital even with DSLRs, and more so with mirrorless cameras.
01-22-2022, 10:33 AM - 1 Like   #11189
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QuoteOriginally posted by wkraus Quote
...
Using orange or red filters has quite a strong effect on the aerial emulsions with extended red sensitisation such as Rollei RPX 25, Rollei Retro 80S, Rollei Superpan 200 and IR or Adox HR-50.
I hear that. You can also get uneven sky tone representation with a wide angle lens like you can when with a polarizer filter at the certain sun angles to some degree. I experienced that with an orange filter using 80S when one side of the frame had a really blue sky and the other was less blue because it was near the Sun's influence. It went from a really dark sky to light across the frame and looked like a development problem.

QuoteQuote:
I assume it is the same with Ilford SFX 200 which I have not yet tested. Another plus is that the filter factors are relatively low. These are the approximate values for HR 50 with the filters I’m using:
I have tried SFX 200 in foggy and overcast conditions but not with colored filters on a sunny day. My limited impressions it's not like RR 80S or RPX 25 at least on the lower tonal scale. If you have seen the developed film base of RPX 100 vs RPX 25, that is what it looks like with SFX 200 and many other films.

The film base density is pretty high. Another film with a high base density is Delta 3200 for reference to what it looks like. The film looks like it has been pre-exposed to some degree. Pre-exposure is a technique (using diffusion over the lens on a double exposure) you can employ in an attempt to extend the captured shadow detail in your pictures.

Here is a density measurement of SFX 200 film base + fog value on my results plus some other films for comparison. To help put meaning to the numbers, at the film base density level to 0.10 above it would equal one stop (not true with higher tonal values) of exposure.
  • RPX 25......: 0.05
  • RR 80S .....: 0.06
  • 400TMY ....: 0.10
  • FP4+ ........: 0.12
  • SFX 200 ....: 0.22
  • RPX 100.....: 0.29
  • Delta 3200 : 0.34

Last edited by tuco; 01-22-2022 at 11:08 AM.
01-22-2022, 12:05 PM   #11190
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QuoteOriginally posted by tuco Quote
I hear that. You can also get uneven sky tone representation with a wide angle lens like you can when with a polarizer filter at the certain sun angles to some degree. I experienced that with an orange filter using 80S when one side of the frame had a really blue sky and the other was less blue because it was near the Sun's influence. It went from a really dark sky to light across the frame and looked like a development problem.



I have tried SFX 200 in foggy and overcast conditions but not with colored filters on a sunny day. My limited impressions it's not like RR 80S or RPX 25 at least on the lower tonal scale. If you have seen the developed film base of RPX 100 vs RPX 25, that is what it looks like with SFX 200 and many other films.

The film base density is pretty high. Another film with a high base density is Delta 3200 for reference to what it looks like. The film looks like it has been pre-exposed to some degree. Pre-exposure is a technique (using diffusion over the lens on a double exposure) you can employ in an attempt to extend the captured shadow detail in your pictures.

Here is a density measurement of SFX 200 film base + fog value on my results plus some other films for comparison. To help put meaning to the numbers, at the film base density level to 0.10 above it would equal one stop (not true with higher tonal values) of exposure.
  • RPX 25......: 0.05
  • RR 80S .....: 0.06
  • 400TMY ....: 0.10
  • FP4+ ........: 0.12
  • SFX 200 ....: 0.22
  • RPX 100.....: 0.29
  • Delta 3200 : 0.34
Interesting! Do you, or anyone around, know what the original purpose of SFX 200 is? I suppose it is also based on a technical emulsion, not just made for a few freaks like us. Perhaps they use pre-exposure the way that Adox treat their HR-50 (by what is also suspected to be some kind of pre-exposing technique) to tame the difficult curve of the Aviphot Pan 80 emulsion that it’s based on?
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