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This concludes my experiment in processing vinatge, expired Kodacolor-x C22 in C41 chemistry. I shot my third roll of Kodacolor-x and exposed this roll one stop more than previously (1/25 at f8) in the same camera. I then processed it in room temp, exhausted Cinestill C41 chemistry but this time I stand developed it for 1 hour. I think I got a bit thicker negatives that are certainly scanable but probably wouldn't print well if I was doing photochemical printing. I made one error that may have affected the outcome somewhat: during final rinse I inadvertently ran hot water into the tank which may have slightly melted the emulsion (C22 does not like heat!) but I still got scanable results with maybe a bit of "film soup" effect. I think my second effort was the best of the three but still I would recommend stand developing at room temp for 1 hr in exhausted C41 for C22.
This concludes my experiment in processing vinatge, expired Kodacolor-x C22 in C41 chemistry. I shot my third roll of Kodacolor-x and exposed this roll one stop more than previously (1/25 at f8) in the same camera. I then processed it in room temp, exhausted Cinestill C41 chemistry but this time I stand developed it for 1 hour. I think I got a bit thicker negatives that are certainly scanable but probably wouldn't print well if I was doing photochemical printing. I made one error that may have affected the outcome somewhat: during final rinse I inadvertently ran hot water into the tank which may have slightly melted the emulsion (C22 does not like heat!) but I still got scanable results with maybe a bit of "film soup" effect. I think my second effort was the best of the three but still I would recommend stand developing at room temp for 1 hr in exhausted C41 for C22.
This concludes my experiment in processing vinatge, expired Kodacolor-x C22 in C41 chemistry. I shot my third roll of Kodacolor-x and exposed this roll one stop more than previously (1/25 at f8) in the same camera. I then processed it in room temp, exhausted Cinestill C41 chemistry but this time I stand developed it for 1 hour. I think I got a bit thicker negatives that are certainly scanable but probably wouldn't print well if I was doing photochemical printing. I made one error that may have affected the outcome somewhat: during final rinse I inadvertently ran hot water into the tank which may have slightly melted the emulsion (C22 does not like heat!) but I still got scanable results with maybe a bit of "film soup" effect. I think my second effort was the best of the three but still I would recommend stand developing at room temp for 1 hr in exhausted C41 for C22.
This concludes my experiment in processing vinatge, expired Kodacolor-x C22 in C41 chemistry. I shot my third roll of Kodacolor-x and exposed this roll one stop more than previously (1/25 at f8) in the same camera. I then processed it in room temp, exhausted Cinestill C41 chemistry but this time I stand developed it for 1 hour. I think I got a bit thicker negatives that are certainly scanable but probably wouldn't print well if I was doing photochemical printing. I made one error that may have affected the outcome somewhat: during final rinse I inadvertently ran hot water into the tank which may have slightly melted the emulsion (C22 does not like heat!) but I still got scanable results with maybe a bit of "film soup" effect. I think my second effort was the best of the three but still I would recommend stand developing at room temp for 1 hr in exhausted C41 for C22.
This concludes my experiment in processing vinatge, expired Kodacolor-x C22 in C41 chemistry. I shot my third roll of Kodacolor-x and exposed this roll one stop more than previously (1/25 at f8) in the same camera. I then processed it in room temp, exhausted Cinestill C41 chemistry but this time I stand developed it for 1 hour. I think I got a bit thicker negatives that are certainly scanable but probably wouldn't print well if I was doing photochemical printing. I made one error that may have affected the outcome somewhat: during final rinse I inadvertently ran hot water into the tank which may have slightly melted the emulsion (C22 does not like heat!) but I still got scanable results with maybe a bit of "film soup" effect. I think my second effort was the best of the three but still I would recommend stand developing at room temp for 1 hr in exhausted C41 for C22.
I had more rolls of expired Kodacolor-x to expose and to try to develop. This roll expired in Apr 1969 and must have been well stored. I shot these in a 1950's vintage Kodak Tourist 626 at 1/50 at f8 on a very bright sunny day. I developed the roll in well exhausted Cinestill C41 at room temp for 8 mins (my guess at timing). The negative were a bit thin all thought I tried to over expose them but I suppose they might be a bit underdeveloped. Aside from the "snowy"" white specs typical of a thin negative, I can't believe how good the color is. Compared to the earlier rolls I developed when my chemistry was a bit fresher these are spectacular.
I had more rolls of expired Kodacolor-x to expose and to try to develop. This roll expired in Apr 1969 and must have been well stored. I shot these in a 1950's vintage Kodak Tourist 626 at 1/50 at f8 on a very bright sunny day. I developed the roll in well exhausted Cinestill C41 at room temp for 8 mins (my guess at timing). The negative were a bit thin all thought I tried to over expose them but I suppose they might be a bit underdeveloped. Aside from the "snowy"" white specs typical of a thin negative, I can't believe how good the color is. Compared to the earlier rolls I developed when my chemistry was a bit fresher these are spectacular.
I had more rolls of expired Kodacolor-x to expose and to try to develop. This roll expired in Apr 1969 and must have been well stored. I shot these in a 1950's vintage Kodak Tourist 626 at 1/50 at f8 on a very bright sunny day. I developed the roll in well exhausted Cinestill C41 at room temp for 8 mins (my guess at timing). The negative were a bit thin all thought I tried to over expose them but I suppose they might be a bit underdeveloped. Aside from the "snowy"" white specs typical of a thin negative, I can't believe how good the color is. Compared to the earlier rolls I developed when my chemistry was a bit fresher these are spectacular.
I had more rolls of expired Kodacolor-x to expose and to try to develop. This roll expired in Apr 1969 and must have been well stored. I shot these in a 1950's vintage Kodak Tourist 626 at 1/50 at f8 on a very bright sunny day. I developed the roll in well exhausted Cinestill C41 at room temp for 8 mins (my guess at timing). The negative were a bit thin all thought I tried to over expose them but I suppose they might be a bit underdeveloped. Aside from the "snowy"" white specs typical of a thin negative, I can't believe how good the color is. Compared to the earlier rolls I developed when my chemistry was a bit fresher these are spectacular.
I had more rolls of expired Kodacolor-x to expose and to try to develop. This roll expired in Apr 1969 and must have been well stored. I shot these in a 1950's vintage Kodak Tourist 626 at 1/50 at f8 on a very bright sunny day. I developed the roll in well exhausted Cinestill C41 at room temp for 8 mins (my guess at timing). The negative were a bit thin all thought I tried to over expose them but I suppose they might be a bit underdeveloped. Aside from the "snowy"" white specs typical of a thin negative, I can't believe how good the color is. Compared to the earlier rolls I developed when my chemistry was a bit fresher these are spectacular.
I had more rolls of expired Kodacolor-x to expose and to try to develop. This roll expired in Apr 1969 and must have been well stored. I shot these in a 1950's vintage Kodak Tourist 626 at 1/50 at f8 on a very bright sunny day. I developed the roll in well exhausted Cinestill C41 at room temp for 8 mins (my guess at timing). The negative were a bit thin all thought I tried to over expose them but I suppose they might be a bit underdeveloped. Aside from the "snowy"" white specs typical of a thin negative, I can't believe how good the color is. Compared to the earlier rolls I developed when my chemistry was a bit fresher these are spectacular.
To answer the question "what would happen if" I developed vintage C22 film in C41 developer, I did this experiment. I had several rolls of vinatge Kodak CX620 color film that I wanted the paper and spools from. So instead of throwing the emulsion away, I exposed it (in a vinatge Kodak camera) and used my depleted C41 chemistry from my last run of 12 rolls. I pre soaked the film in water (20 C) for ten minutes then I added the step 1 developer from my Cinestill C41 kit at ROOM TEMPERATURE and stand developed for 20 min. I then flushed and added the step 2 BLIX mix at ROOM TEMPERATURE for another 20 mins. The film was a chore to spool onto my Paterson reels but I finally got it, but I forgot to put the center core onto the reel and may have leaked a little light. I have one more developed roll I want to try, not sure if I should use less development time since I got pretty thin negatives. I'm shocked I got any results at all. Thank You to Quinn Balazs for some help with this.
First somewhat successful Tin Types. I've been chasing this process for a while. I tried three Rockland Tin Type kits. I finally decided to purchase fresh bulk chemicals to make my own developer so I can have fresh "one shot" developer and make and expose a few emulsion coated plates at a time to debug the process. I used the plates that came with the Rockland kit and the "Liquid Light" emulsion also included. The developer doesn't have a long shelve life and only a small amount is provided with the kit. I made 1/2 L of developer by mixing 72.5g of Dektol powder into 500 ml of hot water (110 F), I then added 20g of ammonium thiocyanate and then 37g of Sodium Sulfate and let sit overnight. I exposed one 2.5" x 3.5" plate in my Rollieflex with the plate adapter I have, f16 for a count of ten. I also tried another similar plate at f8 for 10 sec which didn't develop for some reason. The next day I tried a 4x5 plate in my field camera. I remembered this time to remove the UV filter since the emulsion is only sensitive to blue light. I exposed at f16 for a count of ten. The left third of the photo seemed to underexpose. The point of this experiment is to prove out the developer which seems to be working. The next steps are to get the emulsion applied correctly and then dial in the exposure times.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Testfilm from my 30 meter old Ektachrome i bought and struggle with! Home developed in Cinestill C-41 in hope i took notes, because this is actually the best result sofar.
Done from the original picture https://www.lomography.es/homes/manu2021/albums/2380851-kodak-100-t-max-120-by-the-river-down-to-the-sea-august-2021/25136075 Watercolor paper of 300 g/m2, coating it with three layers of Cyanotype Ink (let dry each layer). 6' in the sun. 5' rinse in water. Let it dry completely. 60' in the cheapest red wine I found at the shop. Rinse in water. 30'' in a solution of 2% Sodium hydrogen carbonate in water.
Some pictures of Chinon, in Touraine, with Redscale and my Kowa SIX. Unfortunately, the device has continued to deteriorate mechanically, and I will have to go and have it repaired. For now, it no longer works ... :-(( On the last two pictures, my two brothers-in-law and sisters-in-law.
Light is too hard during the canicula days in the Mediterranean. Some people, if we do not wear sunglasses, our eyes can see small sparkling white spots and, sometimes, if the floor is too hot, a kind of fog goes up. The technique I've used for this one is wet cyanotype and salt, together with some drops of water. Exposure of 3'30'' in the sun. Rinse in water for 5' and a quick bath of 1.5% hydrogen peroxide for a deeper blue, rinse again and dry in the sun. You can see the original picture at https://www.lomography.es/homes/manu2021/albums/2380670-costa-brava-summer-2021-july-washi-s-50/25131773
Light is too hard during the canicula days in the Mediterranean. Some people, if we do not wear sunglasses, our eyes can see small sparkling white spots and, sometimes, if the floor is too hot, a kind of fog going up. The technique I've used for this one is wet cyanotype and soap. Exposure of 3'30'' in the sun. Rinse in water for 5' and a quick bath of 1.5% hydrogen peroxide for a deeper blue, rinse again and dry in the sun. You can see the original picture at https://www.lomography.es/homes/manu2021/albums/2380670-costa-brava-summer-2021-july-washi-s-50/25131773
Done from the original picture https://www.lomography.es/homes/manu2021/albums/2380043-washi-s/25113390 Watercolor paper of 300 g/m2, coating it with three layers of Cyanotype Ink (let dry each layer). 5' in the sun. 5' rinse in water. 10'' in a solution of 2% Sodium hydrogen carbonate in water. 30' in hot Bancha Tea to get a grey tone.
Done from the original picture https://www.lomography.es/homes/manu2021/albums/2380043-washi-s/25113392 Watercolor paper of 300 g/m2, with three layers of Cyanotype Ink. 5' in the sun. 5' rinse in water. 10'' in a solution of 2% Sodium hydrogen carbonate in water. 5' in hot Bancha Tea to get a darker tone.
