[pure-silver] Re: Film In Dektol
- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
- To: "Pure-Silver Free" <pure-silver@xxxxxxxxxxxxx>
- Date: Wed, 11 Nov 2009 22:05:40 -0800
----- Original Message -----
From: <mark@xxxxxxxxxxxxxxxxxx>
To: <pure-silver@xxxxxxxxxxxxx>
Sent: Wednesday, November 11, 2009 8:41 PM
Subject: [pure-silver] Re: Film In Dektol
Tim maybe a bit, but when I compared Dektol to D76 I was
surprised at how many of the different ingredients were
common to both. Everyone's idea of good is a different, but
with a well exposed and sharp image to begin I am often
surprised with the modern films and paper the results 35mm
can produce. It's not the right tool for every job, but
every time I think 35mm is a thing of the past, something
seems to remind me of its biggest advantage. It's mobility
allows images in places and times that would be very
difficult if not impossible to get any other way. A great
image you can only enlarge to 11x14 or maybe even 16x20 is
far better than missing it with another format. In my
personal situation the biggest limiting factor usually is
between the ears of the idiot pushing the shutter button.
Yes I have a 4x5 but I find I rarely use that. I don't take
the 2 1/4 out that often either because the gear I have
weighs a friggen ton and it slows me down. The older I get
the more respect I have for those past that carried their
darkrooms and cameras on the backs of mules to get those
priceless images from days gone by.
I am beginning a project that will involve using every
format camera I have every two weeks for a period of a
couple of months. I want to see how forcing myself from
using the same thing all the time affects my overall outlook
on my work. I figure making myself use my 4x5 would slow me
down and make me think and plan ahead better when automation
and other aids like roll film tend to make one work quicker.
I want to see how the 6x6 format changes my perspective when
using other size films. I have a 35mm with no meter, and
that has to be used with only exposure estimates. Yes I
have a handheld meter and it works great but what fun would
that be.
After a few months, I plan to do something like this in the
darkroom. Some way to push myself in new and different
directions.
The ingredients in Dektol/D-72 are indeed common to
many developers. It is the proportions that make the
difference. Kodak decided nearly a century ago that most
development jobs can be done with some variation of a
Metol/hydroquinone developer. Kodak formulas include
everything from fine grain to high contrast developers, all
using metol and hydroquinone. As it happens metol (called
Elon by Kodak) will develop by itself even in neutral pH
solutions. So, it appears in developers like D-23 and D-25.
Hydroquinone is seldom used by itself but in a high pH
solution makes a high contrast developer.
Other common ingredients are:
Sodium sulfite, a preservative that absorbs oxygen in
preference to the developing agents. Sulfite also has other
important functions in developers.
Sodium carbonate, a medium pH alkali used in many developers
to activate the developing agents.
Potassium bromide, a restrainer used to suppress fog.
Other ingredients often found but less common than the above
are:
Sodium or potassium hydroxide
Sodium bisulfite (actually metabisulfite)
Borax
Sodium metaborate (Kodalk)
A few others. Of course, I've left out water.
Here are some comparitive formulas:
Kodak D-76, a moderately fine grain film developer,
original formula
Water (at about 125F or 52C) 750.0 ml
Metol
2.0 grams
Sodium sulfite, desiccated 100.0 grams
Hydroquinone 5.0
grams
Borax, granular 2.0
grams
Water to make 1.0
liter
D-72, an active universal developer similar to Dektol
Water (at 125F or 52C) 500.0 ml
Metol
3.0 grams
Sodium sulfite, desiccated 45.0
grams
Hydroquinone
12.5 grams
Sodium carbonate, monohydrated 80.0 grams
Potassium bromide 2.0
grams
Water to make
1.0 liter
For use dilute 1:1 to 1:4
Kodak D-61a, an active film developer once widely used for
photo-finishing.
Water, at about 125F or 52C 500.0 ml
Metol
3.0 grams
Sodum sulfite, desiccated 90.0
grams
Sodium bisulfite
2.0 grams
Hydroquinone
6.0 grams
Sodium carbonate, monohydrated 14.0 grams
Potassium bromide
2.0 grams
Water to make
1.0 liter
For use, in a tray dilute 1 part stock to 1 part water.
In a tank dilute 1 part stock to 3 parts water.
Kodak D-11, high contrast for film.
Water, at about 125F or 52C 500.0 ml
Metol
1.0 gram
Sodium sulfite, desiccated 75.0
grams
Hydroquinone
9.0 grams
Sodium carbonate, monohydrated 30.0 grams
Potassium bromide
5.0 grams
Water to make
1.0 liter
For process negatives use full strength. For continuous tone
copies dilute with an equal volume of water.
DK-50 is an example of a metaborate developer. A number of
advantages are claimed for the use of metaborate in place of
carbonate or other alkalies.
Kodak DK-50 For professional films and plates
Water at about 125F or 52C
500.0 ml
Metol
2.5 grams
Sodium sulfite, desiccated
30.5 grams
Hydroquinone
2.5 grams
Kodalk Balanced Alkali*
40.0 grams
Potassum bromide
0.5 grams
Water to make
1.0 liter
For use dilute with an equal volume of water.
DK-60A is similar but has about half the amount of Kodalk in
it and is used full strength.
There are an enormous number of other formulas which do
not differ much from the above. Every phographic
manufacturer had a version of D-76, D-72, and D-61 .
--
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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