Print Developer 130 Adams Version

Discussion in 'Darkroom Developing and Printing' started by Steven Woody, Oct 1, 2005.

  1. Steven Woody

    Steven Woody Guest

    on the Jack's Photographic and Chemistry Site
    (http://www.jackspcs.com/pd130a.htm), it said,

    ,----
    | If contrast is found to be too low, Hydroquinone solution may be added as required
    `----

    but i cann't understand, how to add the Hydroquinone solution, add it into
    the stock or add to working solution while developing?

    and, i also want to know if there is a divided (two bath) version of Adams
    130. thanks.
     
    Steven Woody, Oct 1, 2005
    #1
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  2. From the amount of the ingredients it apears that the
    Hydroquinone solution is given at about the same
    concentration as the developer stock but of course it can be
    added to the working solution in the amount appropriate to
    the dilution.
    Glycin is a warm tone developer for prints. In the
    original Agfa/Ansco 130 it results in an active developer
    which gives somewhat more neutral image color than Dektol.
    However, it is very similar to standard print developers
    like Dektol (Kodak D-72). You can get approximately the same
    developer by adding 11 grams of Glycin and about 3 grams of
    bromide per liter of stock to Dektol.
    Leaving out the Hydroquinone will lower the activity of
    the developer considerably. Kodak Selectol Soft and
    Agfa/Ansco 120 are print developers with Metol as the sole
    developing agent. They are intended to produce lower than
    normal contrast on prints. However, since printing paper is
    developed to completion the contrast is pretty much fixed by
    the emulsion. Film is only partially developed so the
    contrast can be varied by adjusting the development. In a
    printing paper reducing development to reduce contrast will
    generally also reduce the maximum density, which is seldom
    desirable. The total variation in contrast available from so
    called variable contrast developers has been shown to be no
    more than half a grade. These are hangovers from the 1930's
    and 1940's when having a choice of paper grade meant having
    to stock a box of paper for each grade, which can get
    expensive. The variable contrast developer was an attempt to
    overcome this through the developer.
    I would never discourage anyone from experimenting but
    understand what you are experimenting with and don't be too
    disappointed if it doesn't work as advertised.
     
    Richard Knoppow, Oct 1, 2005
    #2
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  3. Steven Woody

    Lloyd Erlick Guest


    October 1, 2005, from Lloyd Erlick,

    I've used the 130 (Adams) version of this
    developer, when I had some Glycin. It's a
    very nice developer for portraits. It works
    very nicely on Ilford Warmtone (MGW) paper.

    I got my Glycin from Artcraft. I had tried a
    local supplier but they could only get the
    type of Glycin that dyed (stained!) textiles.
    Very warm results, right out under the
    borders of the print! So watch what you get
    if it's labeled Glycin, and the supplier must
    be willing to refund. I believe Photogs
    Formulary also sells it.

    It does not last forever in powder form, so
    don't buy huge amounts. Fresh powder is
    off-white to light gray. Mine was light gray,
    and over the course of a year turned to light
    then dark brown in the container. I didn't
    try filling the jar with nitrogen after each
    time I opened it. I wonder if that would
    help??

    The 130 formula contains alkali (carbonate).
    Dissolve them first and the Glycin should
    dissolve without much trouble. Listen for it
    to hiss while it dissolves!

    regards,
    --le
    ________________________________
    Lloyd Erlick Portraits, Toronto.
    voice: 416-686-0326
    email:
    net: www.heylloyd.com
    ________________________________
    --
     
    Lloyd Erlick, Oct 1, 2005
    #3
  4. Steven Woody

    Steven Woody Guest

    thanks for you answer, though i may have some confusing about 'developed to
    completion' yet i think it worth another thread. so, please see my post.

    --
    steven woody (id: narke)

    Bob: It gets a whole lot more complicated when you have kids.
    Charlotte: It's scary.
    Bob: The most terrifying day of your life is the day the first one is
    born.
    Charlotte: Nobody ever tells you that.
    Bob: Your life, as you know it... is gone. Never to return. But they
    learn how to walk, and they learn how to talk... and you want to be
    with them. And they turn out to be the most delightful people you will
    ever meet in your life.
    Charlotte: That's nice.

    - Lost in Translation (2003)
     
    Steven Woody, Oct 2, 2005
    #4
  5. Steven Woody

    dan.c.quinn Guest

    Beer's print developer is another where a hydroquinone
    component is added to vary the contrast. Beer's A is
    Ansco 120 at 2/3 the 120's stock strength.

    As with Adams' VC A-B 130, Beer's B contains the
    hydroquinone. I've worked with Beer's VC developer
    and am very incouraged by the results.

    My method is to use small solution volumes one-shot.
    At present, IIRC, I've at least Beer's 1, 5, and 7
    as one-shot stock strengths in one ounce bottles.

    Adams' or Beer's, the A solution will work alone
    but the B solution will not.

    As for 2 baths, I've read of it used where solution
    strength varies but not the chemical makeup.

    I work only with Graded paper and so take an interest
    in VC developers and other whole print contrast
    controls. I've no intention of ditching my
    very well lite Graded paper not-so-dark
    darkroom. Dan
     
    dan.c.quinn, Oct 2, 2005
    #5
  6. Any paper developer may be made into a two-bath formula simply by
    putting the alkaline activator (in most cases this is sodium carbonate
    (pH Plus or Arm & Hammer Washing Soda) into the second bath. That
    leaves only the developing agents, preservatives, and restrainer in the
    first bath. The latent image soaks up as much of that as needed, and
    then when placed in the second bath, the activating alkali makes
    development proceed very quickly to completion, i.e. full development of
    all the agent soaked up in bath 1.

    Advantages are elimination of time/temp variables; absolute
    repeatability from print to print; and the possibility of having two
    different Bath One's, e.g. a warm-tone and a cold-tone, or a
    low-contrast and a normal or higher contrast formula. Then if you've
    got, for example, a very contrasty neg, you can run it through the
    low-contrast bath one rather than the normal-high contrast one.
    Two-bath developers mean an extra tray in the sink, but lots of extra
    convenience and controls. Also very cheap. Bath One will virtually
    never become exhausted--only used up in volume. I've had bath one mixes
    keep for well over a year without oxidation or spoilage. Bath two,
    since it's only sodium carbonate, can be mixed in the tray each session
    and thrown out afterward for a mere cost of pennies. (About 1/3 cup
    carbonate to two liters of water).
     
    LR Kalajainen, Oct 2, 2005
    #6
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