Oliver
Hello
Which black-and-white films are suitable for reversal processing on transparency?
I realise that films with a clear base are best suited for reversal processing on transparency, but who actually has a clear base?
Lucky SHD 100 / 400
Fuji Neopan 400 / 1600
Which other films are suitable?
A few tips on the development process would also be welcome (chemicals, timing or sample images)...
Kind regards,
Oliver
PhilippReichmuth
Hi Oliver,
So, first off, the classic black-and-white slides:
* Agfa Scala (though it doesn’t have its rated sensitivity of 200 ASA)
* Foma R100 is my first choice. The ‘R’ is important. B)
Then, if you handle the emulsion with care, also:
* Efke 50 (100 or 25 probably too); how to handle the emulsion with care is explained in relevant articles (Hilgert/Rohleder, “Kehrt um!”).
* Maco PO100c should also work; it’s not that different from the corresponding Efke films, just mainly more expensive.
We’ve now tried Lucky 100 in Steinkimmen, although I’ll probably get a telling-off for the idea first :) Very warm tone, even slightly warmer than the R100 (my impression), and the Panchromatic ‘flat’ sensitisation creates what is probably a typical Lucky effect – in my view, a somewhat muddy impression – as soon as people are in the frame, but for other subjects it can look quite good, or rather, it could if I were a better photographer. However, in the Foma kit it only comes to around 40 to 50 ISO. I think you can extrapolate that to the 400; intuitively, after this weekend, I wouldn’t give it an exposure of more than 200 ISO. You really need to think carefully about whether you like the look – it is quite distinctive, and in the region of 100 ISO you’ll probably get better results with the R100.
Others might have more to say on this. I’d simply try it with the film of your choice and develop it carefully, using stop baths before and after bleaching and before fixing, and keeping temperature changes as small as possible – just 1 degree – as described in the article mentioned above.
Philipp
Christoph
I had the Maco Po 100c developed using the Scala process, which gives a sensitivity of 22 DIN. The slides turned out really well. I’d like to have a go at developing this film myself sometime. Apparently, you can achieve a sensitivity of 21 DIN using the Kodak T-Max reversal kit. I’ve only heard that, though, and haven’t tried it myself yet.
I really enjoy using the Fomapan R100 with the Foma reversal kit. I want to use it to develop Agfa Scala films. They’re supposed to reach 22 DIN. I’ve already had the first exposure, but haven’t got round to developing it yet.
Oliver
Thanks Philipp, thanks Christoph
That’s right, I’d forgotten about the Agfa Scala. I use the Fomapan R100 in the 8mm narrow-gauge film version for my DS8 camera. And Fomakit is ideal for beginners.
I developed a few rolls of Fomapan DS8 R100 using Foma’s reversal kit. The results were actually quite good.
But I got bored with it and gradually replaced the chemicals with other components from Tetenal or Calbe. I now prepare the Bleach bath and washing bath myself in the kitchen.
I want to experiment a bit with the films and chemicals.
The Lucky SHD 100 and SHD 400 films are very cheap and worth experimenting with.
If I decide to go for the Lucky SHD 100, should I expose it at 50 ASA? What about the Lucky 400?
Does anyone else have any suggestions or tips?!?! But please, no Scala or Fomapan R.
Kind regards,
Oliver
RomanJRohleder
Gunamd,
>Then, if you handle the emulsion with care, also:
>* Efke 50 (100 or 25 probably too); how to handle the emulsion >with care is explained in relevant articles (Hilgert/Rohleder, "Kehrt >um!").
It works. It looks really decent in projection; grain was not discernible at medium magnifications (though the AN structure of the glass frames plays a part here). If you have the right subject and can cope with 40 ASA... yep.
The emulsion showed no signs of weakness, though a hitherto unexplained problem did arise:
We popped two Efkes into the canister at the same time, an R50 from an older production run and a 50 ADOX bought fresh on Wednesday. Exposed to the same subject by chance, at the same time and, quite by chance, with identical exposure values – one exposure was ‘shared’, the values announced verbally – in different cameras – my Cord Vb, a Mamiya something-or-other in good working order. The ADOX is subject to severe underexposure.
Oh, and: a 12-minute initial development seems fine for the Efke R50; that will be tested sensitometrically at some point. At some point. And another caveat: it’s just one roll of film, so the basis for evaluation is a bit thin.
>We’ve now tried Lucky 100 the other way round in Steinkimmen, although I’ll have to take some flak for the idea first
Hihi. Were we very naughty and scary? ;-)
>Very warm tone, even a bit warmer than the R100 (my impression)
Yes. Flat and with a tone like a thiourea-toned print, somewhat lacklustre.
> and the Panchromatic ‘flat’ sensitisation creates what is probably a >Lucky-typical, in my opinion somewhat muddy impression,
I’d put it this way: the tonal differentiation is poorly developed; a clear gradation isn’t possible. It’s all just the same grey, somehow.
> as soon as people are in the picture, but for other subjects it can look quite good >or could,
No, something else – as soon as the sky comes into play, it gets muddy. The old problem familiar from the Negative-Lucky, with the lousy AHU, overexposure, lacklustre sharpness and botched tonal values. A bright sky always drags it down... and it became particularly noticeable with people whose torso extended beyond the horizon line in the frame.
> If I were a better photographer.
The Ford kidney grille was actually quite alright. :-)
> However, in the Foma kit it only reaches around 40 to 50 ASA.
More likely less.
Incidentally, films with a light grey base are also worth a try, as long as they aren’t run in direct comparison with films on a clear base, i.e. aren’t mixed in the magazine.
Best regards,
Roman
RomanJRohleder
Oliver,
How about Scala or R100?
Roman
PhilippReichmuth
Hi Oliver,
Well, if you’re already familiar with R100 and Scala, you might as well have a go at experimenting. The Lucky slides look OK enough, but they’re not great either, and with many subjects they just look flat and dull; in a direct comparison with the R100, the latter was better in absolutely every respect – tonal range, speed, sharpness, and so on. It’s best if you buy one yourself – but no more than that – and see for yourself. The film really isn’t that great.
On the subject of speed: with the Lucky 100, I had the camera set to 50 ASA and usually experienced some degree of overexposure – half a stop, on average. That was OK. Towards the end, I exposed a few shots at a true 50 ISO; you can’t make much out of them. If you want to try the Lucky 400, I’d suggest exposing it at 150–160 ISO. You could certainly optimise that further, but it probably isn’t worth the effort.
The chemicals used were Foma-Diakit; both primary and secondary developer were Fomadon LQR, 12 minutes in rotation on a CPE, all at 20°C, with intermediate rinses significantly shorter than in the instructions using tempered water, but with stop bath steps before and after clarification and before fixing – so all very unspectacular. Making your own chemicals doesn’t make any difference, except perhaps when choosing the developer. The slides could still be toned. Sample images will only be available once I’ve got the slides back :)
Philipp
PhilippReichmuth
Hi Roman,
> We’ve now done the Lucky 100 in Steinkimmen the other way round,
> although I had to take some flak for the idea at first
Hihi. Were we very naughty and scary? ;-)
Terrrible! But sometimes you just have to stand your ground :) It was more of a fun shoot with fun subjects, after all.
> if I were a better photographer.
The Ford kidney grille was alright. :-)
I was actually surprised by the result. The Ford was bright red; you can’t see a trace of that on the slide at all.
I’d sorted the Lucky slides in with the R100s as a blind test, just to see how well you can tell them apart as a viewer. What was your success rate?
Philipp
PhilippReichmuth
Hi Oliver,
[font="Courier"]Please correct 'Kl?en' to 'Bleichen' in my last post to you. Have a look at the article I mentioned.
Philipp
Christoph
The Rollei R3 does, of course, have a clear film base. However, I haven’t yet read any reviews from anyone about how it turns out as a slide, what the speed is, and so on.
Christoph
As I’ve just mentioned in another thread (though it’s relevant here too): I’ve just developed an Agfa Scala using the Foma reversal kit. I performed the exposure on the film at 22 DIN. At first glance, it’s turned out well. I followed the exact same process as with the Fomapan R 100, i.e. the same development times and agitation rhythm.
