Ilfords new darkroom paper.

The old Multigrade 4 FB.

Ilford have launched an upgrade to its popular Multigrade 4 FB darkroom papers called Multigrade FB classic suggesting that this is the best light sensitive paper they have produced so far. If you judge it on sales alone and the fact it has sold out you maybe right or they could have simply under estimated it's popularity. It comes in gloss and matt surfaces offering greater sharpness, shorter development times and improved Max D – could this mean less time in the wash? Available at all the usual sizes. The classic paper has a white base tint, neutral image colour, good mid tone range and deep blacks. It has also been made more sensitive to traditional toning techniques but then I didn't find the original that difficult, even with toning developers. As part of the changes a cool tone FB paper has been introduced to complement the warm tone FB papers. This has crisp whites and nicely separated midtones. One of the surprising things about this paper is that Ilford has kept the price of the paper at multigrade 4 FB prices so far.

Technical sheets from Ilford:

FBClassic PDF

FBCool tone PDF

Split grade printing with High contrast negatives.

Very high contrast grade 0

A recently developed set of negatives have shown themselves to be very contrasty even by my standards. During the summer I was on an early morning shoot, when I came across these scenes. They were not the easiest pictures to meter, there was a six stop difference between the light areas and the shadows in some cases. Two things drew me to them: the  way the shadows of the leaves danced on the walls in the gentle breeze and the other was a brief thought that they would be a challenge to split grade print.  

Soft grade 0

It has been suggested that split grade printing works better when the contrast stakes are raised. In these cases they maybe unprintable. The pictures were made using 120 format FP4+ developed in ID11 for 14 mins I know this is longer than what is recommended but I have found I have a tendency to under expose when using medium format cameras.

I used Ilford multigrade developer and RC paper. I tend to use RC papers in the initial stages or until I'm happy that the picture warrants printing on FB paper.

With grade 5 added

I started the grade zero test print for the Gate but it became clear while I was doing the timed segments that I may not need a grade five test because  the contrast was very high even for zero. I chose sixteen seconds for the gate picture to illustrate the degree of contrast this negative has. The window shutter picture also proved to be overly contrasty as well. I was quite happy with the results until I did a second print with the grade five added which now makes the first print look soft. It just goes to show how things change when you start to explore the subject at different settings. None of the prints have been manipulated by dodging or burning in which could class them as the perfect prints?

Basic kit for producing Black and white negatives.

For those who are thinking of processing their own film it can be quite daunting for the first time. If you keep things basic by using popular brands like Ilford and Kodak for film and chemicals not much can go wrong. What people don't tell you is that film like FP4+ is quite forgiving and a good place to start processing for the novice, making it quite easy to get good results.

With the advent of digital the darkroom has become a lightroom with the help of a scanner and changing bag. You no longer have to look for a place in the property that is or can be made light tight.

The basic kit:

Changing Bag: looks like a tee-shirt without a hole to put your head through and is double lined to make sure it is light tight. It will take time too get used to and will require some dummy runs to get the feel of it. Developing tank: there are two types, 35mm and universal. The universal tank will allow you to process 120 format as well as 35mm; you will also need to practice loading the film onto the spiral. Oh! before I forget there are two types of spiral plastic and metal each uses a different Technic to load. I would suggest starting with the plastic type first as it easier to get the hang of. Force film washer: is a tube that fits onto the water tap and into the top of the developing tank. It is for putting water into the tank for the wash cycle. Three measuring jugs that will cope with more than 600 mls of fluid, Chemicals: Developer, Stop and Fix, all come as concentrate or powder and will require mixing with water to get the right working strengths. Spirit thermometer: for checking that the chemicals are at 20 degrees C. Storage containers: of a suitable size will be needed to keep diluted chemicals. Wetting agent: by putting a couple of drops in the developing tank after you finish washing the film and a minute before you take the film out helps to prevent drying marks on the film. Film clips times two: so you can hang the film up to dry and if you place one on the bottom it stops the film curling while drying. An alternative is to use Pegs.

Using the Agfa Isolette camera

Carrying on from a previous post on the Agfa Isolette The opportunity to use the camera was provided by a break in the weather - it cleared enough not to be soaked as soon as you leave the house.

The flip out film holder makes it easy to load a new roll of film. There are in built springs that provide friction, so the film is kept tort, keeping it as flat as possible at the focal plane reducing distortion. The film back clicks shut with a reassuring clunk. It also has a little red window in the back with a sliding cover in which to view the film numbers as you wind on. The film is advanced with a knob on the top right hand side of the camera that has a built in reminder to wind on after each exposure otherwise the shutter will not set.

To reveal the lens you press a button on the top left hand side. In this case the lens followed by the bellows leaps forward from the front of the camera with an enthusiasm that can knock it out of your hands if you are not prepared for such athleticism. Once the front is open you are presented with the five main controls: lens focus, a full set of apertures from F4.5 all the way up to F32. A limited number of shutter speeds: B, 25^th, 50^th, 100^th and 200^th A self timer and most importantly a lever that primes the shutter for release. The only other thing present is a connection for flash.

On the top of the camera is the shutter release that allows a remote cable to be fitted, a cold shoe for a range finder or other accessories and another knob that has four settings marked Col NK, NT, K and T. (I do not have a clue as to what they represent.) As far as I can tell it has had no affect on my negatives. It has a viewer and a tripod mount.

After I got used to the idea of guessing what the distance should be set to and then remembering to alter it for different views, I found myself taking shots quickly almost like an automatic. I did take light readings to start with but it became clear that the light levels were stable enough not to need checking for each shot.

It became clear that there was a problem once the negatives had been developed. Some how light was getting into the camera. Having checked it carefully before hand I should have carried on and cut a piece of light sensitive paper to fit the camera and left it for a minute to make sure. Once the paper had been developed in the normal way it would have shown that light was leaking in from the bottom right corner of the exposure chamber indicating a problem with the bellows.

I'm a little disappointed with myself for not doing this check in the first place. If I had followed through with the test, I wouldn't have had a duff set of negs'!. It would have made an interesting set of prints as the gremlin's face in the tree roots shows.

Mistaken identity Agfa APX developed in ID11



Agfa APX negatives developed in Ilford ID11

This is not the post I was expecting to write. I recently made up five litres of ID11 so I could develop a roll of out date HP5+. An extravagance you may think but really it was the catalyst for me to bring back an old friend into regular use. 

The other day I processed a roll of 35mm monochrome film but there was something wrong with the results. For starters the negatives looked wrong they didn't have the round look you get with a fisheye lens.  I could not get my head round how the fisheye two from lomography could change the look and shape of the negatives so completely. I'm going mad! a senior moment! brain in neutral! I need help! Up to this point I had been completely convinced that it was the roll of HP5. Then I noticed a black film canister on my desk, opened it and found a reel of HP5!! What the ...! what was developed then?? It turned out to be a roll of Agfa APX 100, that I had forgotten all about and mistakenly processed as HP5. Now this is a first for me, get it wrong and land on your feet! this has got to be one of the jammiest balls up ever!

Now I'm over the shock, I do not know why I should be surprised that they are a good set of negatives. Film emulsion has a large latitude of forgiveness before it looses its temper.  I checked what the timing should have been for Agfa APX and believe it or not my notes say that APX in ID11 at ISO 100 should be developed for thirteen and a half minutes at 20C. I had decided to process the out of date HP5 to fourteen mins.

Agfa APX  Film ISO 100
Developed in ID11 for 14 mins
Printed on silverproof matt
Developed in Moersch 6 blue tone.

So this has turned into a post about Agfa APX 100 developed in Ilfords ID11 results!

The method used:

•         I did not use a pre-soak. 

•         Develop for 14 minutes instead of 13.5. It would not have made much difference to the quality of the negatives.

•         Invert for the first thirty seconds and then for ten seconds every minute (which is about four inversions)

•         stop, fix and wash as usual.

The main test of a good negative is when it is printed. Showing you how much detail there is to be coaxed out of the high lights and shadows by dodging (holding back) and burning in (extra exposure) to arrive at that stunning final picture. 

  

For a film I had mistaken for another make, the results are excellent, I have no complaints!... except one; check what's written on the film canister first!

An insight into making up ID11

Ilfords ID11

Ilfords ID 11 is the starting point for many a photographer wishing to develop there own monochrome negatives. It is one of the most popular pre-packaged powdered developers on the market along with Kodak's D76. The attributes of these developers are almost identical. Some photographers are put off initially from using these developers because it is in powdered form, but you needn’t be, they are straight forward to make up.

I have used both these developers before and for a long time almost exclusively when it came to processing my film. I recently exposed an out of date roll of 35mm HP5 film. I decided to make up a new batch of ID 11. I know how good or bad these negatives will be without having to do a test.

The kit: (to make up five litres)

The mixing kit.

• Measuring jug, that will take at least Four litres of fluid.
• Thermometer.
• Mixing stick
• Five litre storage container
• Bucket if you do not have large enough measuring jug for mixing.
• Disposable gloves, Face masks if you think it is necessary.
• Ilfords ID 11, in this case.

If you are new to making up ID 11 take your time.

Remove the two packets from the box and then tear or cut the box open. On the inside are the instructions for making the powder into a fluid. What follows is how I made up the developer from those instructions.




Adding packet A of the waterr

The box of powder I have purchased will make up five litres of stock solution enough to process fifty roll 35mm or 120 film (medium format). Once I have all the equipment in place, I warm the measuring jug and bucket with boiling water to stop the water loosing heat to the containers by conduction. Then bring the water to a temperature of 40 degrees centigrade (104 degrees F) making up 3.75 litres. Which I transfer to the bucket ( do not forget to remove the boiling water first) for mixing, checking to make sure that there has been no heat loss with the thermometer. I use this method because my measuring jug will only make up 2 litres at a time. Once the water is ready open packet marked A and pour in the powder slowly, while you stir, making sure that the powder does not clump together. Keep string until it is all dissolved (Always pour the powder into the water and not the other way round and add the powders in the right order) it will not take very long to add the contents of packet A. Now open the packet marked B and again add to the solution slowly stirring all the time this will take longer to add as it is a far larger amount of powder (make sure you do your mixing in a well ventilated room). Keep stirring after all the powder has been added to make sure it has all dissolved. Now stir in another 1.25 litres of water at room temperature making it up to the full 5 litres. With the help of a funnel I pour the developer into its storage container and allow it to cool.



Adding packet B of the developer

I usually make up my ID11 the day before. It will take an hour to cool ten degrees depending on what material your storage container is made of.



Pouring developer into storage container after the
Final  2Litres of water have been added.

I use this developer at 1+1 in most cases and as a single shot (use once and throw away) but it can be reused as long as you adjust the time to allow for it:

• Two film add ten percent.
• Three film add twenty percent.
• Four film add Thirty percent.
• Five film add forty percent.
• Ten film add Ninety percent do not re-use above this amount.



Developer in storage container
coolling down before cap is
secured.

ID11 can be used with the following film from the Ilford range and many other makes besides: HP5+,Fp4+, Pan F+, Delta 100 Pro Delta 400 Pro, Delta 3200 Pro, SFX 200. It can also be used at three different dilutions: stock, 1+1 and 1+3. So the times for HP5+ exposed at 400 ISO, developed at twenty degrees C would be 7.30 minutes at stock, 13 minutes at 1+1 and 20 minutes at 1+3.

For more film makes, developer combination and times visit digital truthsmassive Dev chart.

  

How did the roll of HP5+ turn out? You will have to wait and see.

Zero pinhole camera Project double take.



Camera Zero 6x9 delux
FP4+ 120 format, 6x6 neg,
 developed in PMK Pyro no afterbath,
Printed on silver proof paper gloss
Developed in Moersch 6 blue tone.

My attitude when using the Zero camera has become very relaxed. My approach is to look at the scene, roughly point the camera at the subject, take a light reading, calculate the exposure and open the shutter for about the right amount of time. Once taken move on to the next one. I'm not sure if this is such a good thing as I'm making a number of double exposures, which have turned out well more from luck than design.

Camera Zero 6x9 delux,
FP4+ 120 format, 6x6 neg,
developed in PMK Pyro with afterbath
printed on silver proof paper matt
 developed in Ilford warm tone

This has led to project double take but lets be honest basing an idea on a set of lucky mistakes does not bode well for the results. But then history is littered  with stumbled upon ideas that have gone well. With this in mind I'm going to carry on with the blindfold method of not winding on. I could be more controlled by making single shots and then combining the negatives in the enlarger to produce a double exposure but  this may take away the element of surprise and randomness to the results. With that said there needs to be some planning to the picture taking, so I'm going to use a location I know quite well in order to make the combination of double exposures easier to plan cutting down time looking for shots. It will be hit and miss anyway with this approach but hopefully not so many misses. The first roll is going to be a bit of an experiment so I'm not expecting many good printable photographs. But in this context what is going to be a good picture I think it will boil down to how well the combinations work together; once the first film is developed I'll be able to refine my method.

I'm setting the zero 6x9 deluxe to 6x6 neg size, loading FP4+ which will be developed in PMK Pyro using my revised method of inverting with an after-bath. I may not continue the bath for subsequent rolls if the photos look to soft. And so the project begins.

Silverproof paper

This is the second run of budget priced paper marketed by Silverprint and has a matt finish. The first run was gloss. I have used the later and was impressed with the photographs it produced. With its grades being limited to two I was not put off.

Ilford FP4+,120 fromat 6x6 negative, Developed
in PMK Pyro and printed on
Silverproof paper Matt.

I originally purchased the gloss paper for contact prints and didn't really take much notice of how well they were being produced until I obtained a 12 x 16 slottie (Nova paper processor. which was the dirtiest bit of kit I have ever purchased second hand, a story for another post). The silver proof paper was the largest sized paper I had on the shelf and I was  impatient to see how well this new piece of kit worked. I was surprised by the tonality of the paper which lead me to make a series of photographs. It is a shame it was a limited retail run. It will missed.

Then a second batch was announced on Matt paper, which is a finish I'm not a fan of, but I'm always happy to try something new. This will also be a limited retail run, so if matt is your preference get some boxes in while you can.

Ilford FP4+ 120 Format 6x6 negative, Developed
in PMK Pyro and Printed on
Silverproof paper Matt.

The paper is completely different from what I'm used to. It is difficult to tell which is the emulsion side in the darkroom but with a little practice, the back has a slight  fibre feel to it which takes a time to get the hang of. First impressions are good, the photographs remind me of the cover page to Black and White Photography magazine in the way it looks and feels but has a depth to it that ink cannot replicate. It also does not have that richness of tone you get with gloss papers. Having said that, I like the difference and  expressiveness  it gives to the pictures it produces.   

Ilford FP4+ 120 format 6x6 negative, Developed
in PMK Pyro and printed on
Slverproof Paper Matt.

The pictures that complement this post were developed in a warm tone developer from Ilford with the enlarger set at grade two, initially it was set  at  grade three but I found that the pictures had to much contrast. On hindsight it may have been better to use an un-toned developer, but then I was not planing to use the proof paper for a full print session. I got carried away after the first test prints and I'm pleased I did.

PMK Pyro after bath.

I have been developing Ilford FP4+ 120 format in PMK Pyro for ten minutes for quite some time, without an afterbath. With my latest use of this developer I decided to change part of the process, instead of inverting the tank every twenty seconds I changed it to every fifteen seconds to see if this increased the density of the negatives. My reasoning is that previous negatives have looked a bit on the thin side. Yes you are right! I could have increased the developing time but wanted to find out how much influence agitation has on the process.

FG 1
Film FP4+

When changing or adapting a method that works well, it is better to change one aspect of it at a time so that it makes it easier to judge whether it is an improvement or not. So what did I do introduce a re-bath of the film in the developer after the fix. The after bath is part of the full process when using PMK pyro that completes the staining. Up to now I have not felt the need to do this but was curious to see how much stain would be added and if it improves the print quality. I did this for the two minutes suggested which I agitated for thirty-seconds at the beginning and ten seconds one minute later.

FG 2
Film FP4+

There has been a marked difference in the density and the colour of the staining on the negatives. The picture marked Fg 1 shows the negatives developed with the afterbath, they have a yellow-brown look to them. Fg 2 shows negatives without the bath and they have a purplish look to them.

These results would suggest that an increase in agitation has just as much effect if not more on the density of the negative than an increase in the process time. The afterbath also produces a significant change in how much stain is deposited which is supposed to help in making these negatives easier to print. I have found that even without the extra staining I have been producing some wonderfully toned photographs. I have not printed this latest set of negatives yet but hope to do so soon.


Related Posts:

FP4+ PMK pyro method update.
PMK Pyro developer part B
PMK Pyro working solution

Keeping to a known formular

It is always difficult to know when you first start printing, which developer and paper combination to go with. Pick one and stick with it. It is not a good idea to keep chopping and changing in the beginning.

The best way to approach this is to choose the developer that the manufacture recommends for their film and paper. They have spent a lot of time researching what works the best. Once you have become used to developing and printing you can start to experiment if you wish.

Antonov An2
Film Ilford FP4+ 6x6 neg, developed in Ilford ID11,
printed on Ilford Multigrade RC gloss,
 processed using Ilford multigrade paper developer. 

Film storage.

Out of date colour film.
Upto four years on some
boxes

The recent receipt of ten rolls of out of date colour negative film from a friend has prompted me to share my experience with issues around the storage and freshness of film.

How do you define fresh? A film that has a long expiry date, one that has been kept refrigerated most of its life or even in the deep freeze. It is true to say that film used before the manufactures expiry date, which by the way is a conservative indication of when it should be used by, will yield the best results provided that it has been kept properly. The manufacturers suggest that  normal conditions are temperatures of no greater than 24 degrees C (75 F) and a relative humidity of 40% to as much as 60% in some cases. At temperatures and humanities greater than this will cause the emulsions to age far quicker. Normal conditions also refer to the fact that the film should only be removed from, in the case of 35mm from its plastic container and roll film from its foil wrapper just prier to use. Once the film has been exposed the rate of deterioration increases so you should not leave it to long after the roll is finished, to develop the latent image. It is reasonable to say that  monochrome film is more robust relatively speaking to colour film which has a greater number of   delicate layers for the atmosphere to attack and if stored badly will increase the likely hood of a colour shift.

Fg 1
Film 35mm, FP4, developed in ID11.
Printed on Ilford MGr paper 

Freezing is an extreme method of slowing the ageing process and can cause  problems with condensation and ice particles. Refrigeration is the most popular with film photographers but should be treated with care and common sense. At one time I used this method but not any more as it is not suitable with the way I work. Instead I use a floor standing Cabernet that is out of direct sunlight and away from direct heat. I have used this method for years with no ill affects. I also pay little attention to expiry dates as experience has shown me that it has had little affect on my results thus far.

FG 2
Same as above.

A couple of years ago I was sorting out some boxes of darkroom kit when I came across some containers of FP4 that was about twenty years out of date. I say twenty but on thinking back it's probably closer to thirty years or longer. The pictures (fg1 & fg2) are the results from one of those rolls of FP4 which was mistakenly exposed at ISO 400. Half the film was developed in ID11 and timed for HP5 and the other was developed in Rolie R3 developer and timed  for 400 iso. With results like this it makes me wonder whether refrigeration is necessary for monochrome emulsion if stored with care.

 It would seem that all film users over estimate how quickly film deteriorates. Each person needs to look at the way they use film and what sort of climate they live in, then take the appropriate action to comply with normal conditions. 

Related Posts:

Colour film out of date

Enlarging a section of the negative.

Picture from a 120 FP4+ ISO125 6x6 negative
 developed in ID11 and printed on Ilford MG paper
 Processed with Ilford MG Developer.
Landscape format

There are no rules when it comes to enlarging your negatives. Cropping, re-formatting and partial enlargement are all part of the creative process. Changing horizontals to verticals and diagonal is also part of this rich tapestry of creativity. The only time I feel this looks odd is with waterscapes and their horizons.

Portrait format

As one of those people that works with 6x6 negatives, cropping and reframing is all part of making the picture fit the paper. I'm not complaining but the fact is all paper sizes are oblong. I think this has helped me in getting the best from my pictures. I do not waste time in trying to make the whole negative fit the page; this is heresy to some who believe that having carefully framed the view that you should print as you saw it! This is not always possible, especially when you have a certain size of print in mind. Sometimes this careful framing once projected on the enlargers baseboard may look better with horizontal or vertical framing. Do not be afraid to play.

Square Format

Which do you prefer?

The results of my first use of PMK Pyro

The results are not faultless. I will come to that later, first I have forgotten to mention that the films being processed are Ilford FP4+, used at ISO 125. 120 format producing a 6x6 negative. Now I'll outline the procedure used.

1. The working solution was made up using filtered tap water at 21 degrees C and poured in straight away.
2. Once the developer was in the tank I agitated it continuously for the first minute.
3. The tank was inverted twice every 20 seconds and tapped to dislodge any bubbles.
4. stopped, fixed and washed as normal.

I did not re-dip the film in the developer after fixing to intensify the staining. This is up to you but I was advised it did not make a noticeable difference.

Whenever I process a film I find that I'm a bit apprehensive as to what the outcome will be, even more so with a new developer! so just before I wash the film I have a little look to see if there is a negative, so far I have not been disappointed.

First impression, once the film was dry I noticed there weren't any water staining marks, that's a bonus. The film base has a slight mauve colour to it which increased in strength slightly with longer development times. The negatives overall were evenly processed. The contact prints revealed that there are dark spots on the neg's which I think may have been caused by air bubbles. I have just processed another film this time I gave it a two-minute pre-soak and there are no black spots on the negs.

To re-cap: Two minute pre-soak, pour developer in and agitate for first minute, then invert tank twice every twenty-seconds, stop,fix and wash as normal. You should get some very very fine grain negs.

I have printed four pictures so far. The first two on Foma 113 variant gloss, F11 grades 2.5 and 3 and they have a cool tone to them. The next two on Ilford multi-grade gloss, F11 grade 2 and 2.5, these have a warmish tone to them. Both papers were developed in Ilford -multi-grade print dev.

The pictures that appear in this post have been scanned from prints and do not convey how well they have printed. These are straight prints with no dodging or burning in. I wanted to show how well the negatives have printed and how evenly they have developed. I will be producing a final print set on FB paper at a later date using a mix of ordinary and warm tone developers.

Will I use Pyro again? Yes! it is likely to become my default film developer. The grain produced by this developer is minut to the point of making it difficult to see when focusing the negative for enlargement. I feel that the twenty-second double inversions of the tank is a bit fraught but I think it will get better the more I get used to it. Without Trevor's advice it may have taken a few more films to get it right. Thanks Trevor!


Other articles from this blog on PMK Pyro

What next?

Agfa test strips.

Working solution

Solution B

After bath

FP4+ development

Adox art 

PMK Pyro raw

Making up PMK Pyro from raw

Adox results

Negative comparison with PMK Pyro

PMK Pyro grain comparison