Dear
Editor, I went to South Africa on holiday in January 1.979 and shot Off
several rolls, of film including some Agfa 50S.on my return I purchased a
Lingcolor Kit with extra developers and put it in my fridge with the two
rolls of Agfa 50S film to process later on. I promptly forgot about them
and it was only last week (early April 85) that they came to light, I
didn’t expect either the developers or the films to be much good after 4
years, but rather than throw them away, I decided to have a go.
On opening the first developers I found that the Pot, Pourri, had
contaminated the other chemicals but the second developers seemed OK so I
made up the solutions according to the instructions included Sin the kit
and after leaving them for 48 hours to mature I proceeded as normal.
The processing was done in a Jobo tank on the CPE2 with rotary action
and with maximum times stated in the instructions. I thought that after
four years in the cool they might have needed just a little extra push,
Incidentally, my fridge is not really a fridge as it only goes down to 2C
and does not freeze and is therefore called a “cooler” I enclose a
couple of transparencies for you to examine.
I don’t know what you think but my inexperienced eye can find little
wrong with them. One film was. exposed through my Nikkorniat camera and
the other in an old Robot 11 with the spring wind mechanism and
interchangeable Schneider lenses, hence the square format.
I would suggest that this has been a very good test as to the keeping
qualities of film and chemicals when kept in cool conditions and that both
Lingcoior and Agfa 50S have come through with flying colours. I still have
several rolls of Agfa 50S which must be about three years old and have
kept them under the same conditions so that now my darkroom is back in
operation again I will start, experimenting with them.
Patrick Marchment.
Area 22. Editor’s reply....
It has been interesting viewing the two enclosed slides and firstly I
would say that if you hadn’t mentioned the age of the film or the
chemicals, there would certainly be no way of guessing that they were well
out of the maker’s dateline.
The 35mm slide is of course walking around a sight which suggest little
other than bare rock and the colour matches the stone built house. What
colour there is, the woman’s red hat is natural Agfa to me and the deep
blue sky is fine. If anything I would suggest a little graininess.
Everything is fine and sharp.
The second, slide
(Square format) is of a garden swimming pool with the water looking a
lovely blue. The surrounding garden is very natural and the yellow flowers
of a small tree look very natural. It’s a very bright light and a good
test to show that everything has gone well with processing.
Having tried some were backdated Kodak film a couple of years back I can
understand Patrick’s concern when first attempting the processing. While
I’m not surprised he has good results; film wise, I must say I am very
surprised at getting away with the chemicals. I had a 300m1 Barfen
kit stored just over one year and the colour dev. had gone well off,
turning inky blue and full of gritty bits and I certainly wouldn’t have
given a thought to using it. Bleach is the other chemical to go off
quickly. All other chemicals seem to keep their colour well and look as if
it would be at least possible to have a go processing with them. Thank you
Patrick, perhaps you will let us know how you get on with the three year
old films.
News Snippet, response.... In
the April CRCN, Reg long was discussing the big increase over the years in
the price of Acetic Acid for Stop baths. I have found that the purchase of
White Vinigar and diluted 1-1 is a very good stop bath for both black and
white and colour transparencies. Vinigar is a compound of Acetic Acid, and
if one doubles the length of time, this is very effective. I must admit
that I have not tried this method with colour prints, but if one gets the
same reaction from transparencies, it is possible that it will work with
prints.
W. W. Bailey. Area 22.
Dear Editor,
Reg long’s problem regarding Acetic Acid supplies is interesting,. I
checked my laboratory copy of the British Houses list and found that
acetic acid Analar grade (better than BP) is item 10001 3L and is priced
at £2.10 for 500m1, before deducting any quantity discounts it would seem
that Reg’s local chemist is working on a profit margin of 376%. The
trouble is that such liquids are difficult to send through the post, so
you are more or less compelled to try for a local supply.
I get most of my supplies on a personal
purchase through my employer’s buying department but far most others it
can be difficult, it is simple to get most of the chemicals from Oliver
Barron, but the Club can hardly send anything even slightly hazardous
through the post. So, If you find an efficient and helpful local dealer or
chemist, he is worth supporting - there are so very few left. Most are not
‘Photo—dealers’ or photographic departments of chemists any longer,
They are just ‘Multiple Retail outlets so if it cannot be purchased in
bulk and sold in thousands, they do not want to know.
Regarding the matter of
Agfachrome-Speed, raised in the same Newsletter (37). I had the chance to
try this out a few months ago. My conclusions were rather like those which
you quote.
1.
It is better to call it semi—gloss.
2.
Sharpness is no more than adequate but it proved quite acceptable
in most cases.
3.
It seems rather an expensive process. In short, for real quality
results I would prefer
Cibachrome any time but
Agfachrome-Speed processing is very simple.
I have not done any analysis on the
activator solution, but I did get an acceptable print by substituting 3%
caustic potash solution for the activator, so I doubt if it is very
complex.
Bernard C.P. Goss Area 13.
There you have it “Reg”. Some useful
and interesting comments regarding Acetic acid, which will also interest
other members. Mind you, if you go for the ‘Vinigar’ I’m not sure
whether for best results you should soak the prints in it, or, sprinkle
lightly. (Editor).
Area
13 News.
Area
Leader, Margary Meadows, has. recently returned from her 3rd African
Photographic Safari and reports a very rewarding trip. After a couple of
weeks within 200miles of the Equator she just managed to miss the worst of
our miserable winter.
This seems to have been her best visit
yet, using the experience of the previous trips and not being so overcome
by everything, she used her most useful camera and lenses for the job. A
Mamiya 645 with a. standard and 300mm lens. Also changing from the
previous and average metering head to an easier to use Pd weighted
version. She used EX 400 220 roll film as most of The better shots are
taken early morning and late afternoon with many of the animals in the
shade. She recommends at least 200 ASA and preferably 400 ASA while on
Safari as using the 300mm lens while shooting from a 6-7 seater bus. Also
taking into consideration the speed of the lens – i.e. If the wide open
aperture is F5.6, working apertures should be F1l to F16 for greatest
depth of field.
We have seen Margary’s excellent
prints in previous open meetings and while we shan’t see her 1985 work
for at least another year, we know that we are in for some really
excellent prints during the Didcot meeting.
The Area 13 Annual Get-together was held
at the end of last year and the slide competition was won by Mrs. Rita
Pearle. Congratulations.