Gast
Hello!
I’m looking for information on how to conduct the development of an Adox R17 film that I found in an old camera. I’d like to try conducting the development, as I’m curious to see if there are any usable photos on it. It would be great if someone here could help me, as this vintage film isn’t listed in any of my charts :huh:
Thanks in advance!
Best regards,
Alfred
Gast
Hello Alfred,
Even if you had the development times, it wouldn’t be of much use to you. The film now needs to be developed for much longer to produce any result at all; at the cost of significant base fog, of course. This is because exposed silver grains degrade over time, hence the advice to develop exposed film as quickly as possible. You have to ‘bring out’ the remaining exposed silver grains by extending the development time.
One option would be what’s known as ‘clip development’. This involves cutting off a section of the film and carrying out a test development. With some loss of image quality, of course.
And if you can bear with me for a few more days – I’m travelling at the moment – I can give you the old development times from my Beutler book; these refer to Neofin or the Beutler developer, to put it bluntly: the original Neofin. But as I said, the times won’t be of much use to you.
Hmmm! I’m currently looking into Tetenal’s Emofin. I could imagine that this developer might not be too bad for your purposes.
Good luck!
Regards, CP
Gast
Hi everyone,
What does our Mirko think about this?
Taking into account CP’s long-term concerns (I don’t actually think they’re as critical as they’re always made out to be, but if it’s still a (genuine) ADOX, there’ll be no denying it), the Efke/ADOX R 50 times should work as a basis, shouldn’t they? Provided it’s mixed according to the original R 17 formula?
It’s a shame, really, that it won’t actually be of much use anyway due to its age.
Regards
Martin
Gast
Hi everyone,
I’m actually quite interested in this too – I’m currently writing a novel in which I combine real-life experiences with fiction. In the story, orthochrome plates from the 1920s that were exposed on a roof truss are found and then developed. Conveniently, development can take place under red light. But I’d be interested to know whether, in reality, anything can still be salvaged from the plates after eighty years.
Well, the novel’s not going to amount to much anyway: I’m already on page forty and there’s only been one death – you can forget about that these days.
Years ago, I developed a film from the extensive collection of my then-girlfriend’s grandmother. The film was only a decade and a half old, so practically new by our standards. I got results, but not good ones, though to this day I still don’t know whether that was down to the photographer, me, or even both of us; I’m guessing the latter.
In a really neat Geo article about Sven Hedin, a professional enthusiast (or so he claims) was searching for old plates in the desert sand that Hedin must have left behind.
I’ll occasionally ask experts in archives what to make of it all. There’s also quite a bit on the subject on photo.net – though I sometimes find myself losing faith.
Happy Whitsun and don’t drown in Rodinal – it’s raining again!
Regards, CP
Gast
Hi CP!
I was already aware of the longer development times – I just haven’t found any information about this film at all so far, so I wasn’t really sure how to extend the times.
I’m afraid, too, that the images – if any are visible at all – won’t be anything to write home about, but I’m just too tempted. Especially knowing what this film was last used for is just too tempting :huh:
I’d love it if you could write down the development times from your Beutler book for me. Who knows?.. maybe there’ll be something interesting to see after all. There’s even a murder at the end... ==>
If there is anything, I’d be happy to post the results here ==>
Thanks for the info so far!
Best regards
Alfred
Gast
Hello Alfred,
Please bear with me for a few more days. I’m away on business, but as soon as I’m back home I’ll let you know the times and the Neofin formula,
Best regards
Gast
Hi CP,
It doesn’t matter. The film’s been lying around for years, or even decades, anyway. A few days more won’t make any difference...
Best regards,
Alfred
Gast
Hi CP,
Are you back home, or have you forgotten about me? ;)
Best wishes,
Alfred
Gast
Hi Alfred.
No, I haven’t forgotten you! But I’ve forgotten the Beutler book I’d set aside especially. I don’t have internet at the moment, so I’m stuck using the café.
BUT: Just off the top of my head – I’ll correct myself if I’m talking rubbish – the stated development time for Neofin Blaue is between 14 and 20 minutes. As I said, I’ll check again this evening. So for you, the longer time would be the one to go for.
If the result doesn’t work out, you can always try increasing or decreasing the exposure. But by increasing the exposure, you’ll only bring out what’s already there.
If you don’t have any Neofin, give me your address. I’ve got some left that I’m not using anyway, and you can have a vial from me for free.
If you’ve caught the photography bug now, I’d be happy to share the Beutler formula with you too.
Regards, CP
CPD
Hello Alfred,
Good things come to those who wait!
I’ve got Mr Beutler’s book—which, by the way, is well worth a read—in front of me now, so I’ll just pass on the development times he recommends:
14 DIN film (equivalent to today’s Efke 25): at 18 degrees (!) 8–12 mins
17 DIN film ( -"- Efke 50): 14–16 mins
Nowadays, people tend to develop at 20 degrees.
I’d suggest you stick to the longer times anyway: so 16 mins at 20 degrees Celsius. If there’s anything on the streak, you can always tone it down or boost it if necessary; it probably won’t produce fine art results anyway – but never mind.
My offer regarding the Neofin Blaue still stands, along with the formulas, should you be interested. If you’re mixing your own anyway, it might not be a bad idea; there’s an additive to combat heavy base fog, which your film will probably have. But if you’re not mixing your own, it’s not worth buying a set of scales and, above all, the chemicals. You can also ask the chemist to mix it for you once or twice; I’ve used this free service myself.
Regards, CP
Gast
Hi CP,
That doesn’t sound too bad. Unfortunately, I only have Neofin Rot left in stock. I had a quick look at the Tetenal package insert. It specifies 16 or 20 minutes for Neofin Blaue with Orwo NP 22 (which corresponds to ADOX R17). However, there’s also a specification for Neofin Rot. If that works too, I won’t need any Neofin Blaue. However, if you think Neofin Blaue is the better option, I’d be happy to come back to your offer. :)
If you give it to me for free, I’ll at least cover the postage costs.
Regards, Alfred
P.S.: The advantage would be that the processing times for Neofin Rot are only about half as long ;)
CPD
Hello Alfred,
That’s a tricky question to answer: the Neofin Rot was actually intended for films that are sensitive to haze and have a softer look. However, Mr Beutler writes that if you have the time, you should use the blue version.
I’ve no idea what’s happened to your film in the meantime. If the gradation has flattened out, red would certainly be the better option – but I don’t know for sure, it’s pure speculation.
So – if you’d like a bottle of blue, just let me know.
Regards, CP
Gast
Hi CP,
I’ll just give the red one a go then. If I end up realising that blue might be the better option after all, I’ll definitely get back to you later.
Thanks again for your help and the offer :(
Best regards,
Alfred
PhilippeGrunchec
This ADOX film was used extensively by Diane Arbus and developed at Beutler!
