#Kodak D-76

[blu27nature]

Best friends Pentax K1000, SMC Pentax-M 50mm f/2 Ilford Delta 3200, Kodak D-76 Tumblr - Instagram

[matthewdwhite]

Cameron Parish, LA 5/06

Two photos taken a minute or so apart, standing in the middle of Louisiana route 82, between Holly Beach and Cameron, spring 2006. I was still primarily a film photographer, but I started making digital doubles with a first generation Canon Rebel. I was also still developing my film manually at a now defunct public darkroom that popped up in New Orleans in the new year after Hurricane Katrina, or sometimes at home in the bathtub. This was the first time I saw Cameron Parish, and I was mesmerized by the skies, the silence, and the solitude of the place. The Canon Rebel was pretty good for being an early digital camera; the problem was the software of the time wasn't good enough to "see" all the info in the digital files. Modern photo software is now able to see with much greater detail and subtlety, allowing a much better "print" to be rendered, as close as possible to what I remember seeing, as well as being a Louisianan long enough to know the tones of a spring morning sky here. There was a tendency in processing of early digital photography to make everything look hyper-real. Today, processing these older files with modern software allows for a more realistic and detailed look into a somewhat distant mirror.

The film used was Kodak Plus-X Pan 125 -- a film I sure do miss. Most of the negatives I made with this film and my Canon F1N just got the tones right in a way I was always happy with, using Kodak D-76 developer. The film has been discontinued for unknown reasons, and the now-standard Kodak TMax 100 looks dull to me in comparison.

[dai-mori]

Chuo-cho, Meguro, Tokyo / Aug. 2023

夏風に揺れ落花した金平糖のような百日紅が路面を転がるほろほろと、まだ残暑は厳しくも8月下旬。新たにストックしておこうとKODAKのD-76入手したのだけどILFORDからも販売されてるのね。少し高いけどあるだけ助かる。

[theworstofallpossibleworlds]

Can you please ask Brian what camera, lens and film he uses to shoot the eclipse?

This is a characteristically late response, but I'd love to get into it. I got into film photography by picking my dad's childhood brownie hawkeye off of a shelf and ever since then i've stayed pretty cheap with the hobby. I got a really good deal on a Kiev-80 a couple years ago. For those who don't know, its a 50 year old soviet camera made as an imitation of a Hasselblad (the camera we took to the moon). It's a medium format camera, so focal lengths work a little different than they do in 35mm

Medium format cameras like this take pictures that are 60mm by 60mm. Your typical 35mm camera takes 36mm by 24mm frames, so the added film sixe here means generally everything has to get bigger. The lenses i've gotten for this camera all have massive cases and can be carried with their own separate strap. The lens used for the eclipse is just... so big. oh my god. it's a mess. It's a Tair-33, with a minimum f stop of 4.5 and a focal length of 300mm (equivalent to 165mm on 35)

This model of the lens has very fun, characteristic stripes, the aperture control is all the way at the front, and easy to use. Focusing, however is slow, as the weight of everything creates quite a bit of friction. You can get one of these for about $80 bucks. Now 300mm here is not a great magnifier, so I also got a (faulty) accessory to extend the focus, bringing the lens to 600mm (330mm equivalent in 35). It also makes this camera, all put together, into The Largest Object of All Time.

squash and butter for scale

To see the difference between 300mm and 600mm, check out these photos of the regular, non-eclipsed sun at both lengths

You're probably wondering why these pictures look so weird. these lenses are don't have very effective coatings. you wouldn't believe the processes that go into coating your glasses, your camera lenses, your phone lenses. The easiest kind of picture to take is one where your subject is lit by a souce that is behind the photographer. things get complicated with backlight, creating ghosting and glare as seen above. the light bounces between the glass elements (and the dark filter used to photograph the sun is also glass, complicating it further). taking a direct photo of a light (especially the fucking SUN) leads to some pretty crazy unpredictable variables.

My camera has recently taken on a new malady too, where at low speeds, the shutter (which in this camera is a huge metal curtain sticks at the edge without totally closing. It causes these stripes at the edge of the picture. This can be frustrating if i forget, but I like having the issue. If i want a picture to look normal, to plan it out, to totally control it, I have a digital camera for that. I got into this film stuff for the eccentricities.

For the regular sun photos, I think I was shooting on Ilford FP4, which i think i stand developed in rodinal. At the eclipse, I only got through one roll of film, becasue the cloud cover was brutal, but i took those pictures on Kodak Tri-x 400 (developed normally in D-76). I did it all in Black and white because, in general, b&w negatives are pretty generous with mistakes. All the guides i could fine for solar photography were understandably written with digital cameras in mind, so I couldn't be totally sure about my math (as the camera is totally manual) or even my eye safety (as I'm using a viewfinder; my vision seems fine a month later)

the actual iris on this lens is right up in front. Tightening the aperture, especially when the extender is attached, leads to a vignetting issue, turning your pictures into a circle

once totality hits, the light changes dramatically. you can stare straght at it without glasses and not have to worry about damaging your eyes for those short minutes. so i didn't even bother with film at that stage. I just pulled out my DSLR with a cheap 500mm Samyang mirror lens made for pentax. It's very compact and very, VERY shitty. Shallow focus, really dark, ugly out-of-focus elements, focuses past inifinity, i love it. only got a couple pictures that way, and then put the camera down and enjoyed the experience

[kou-f]

B O A T H O U S E

最後のダブルXだったので

D-76での現像もこれで最後かな。

.

Film : Kodak Double-X (5222)

Developer : D-76

Dilution : stock

ASA/ISO : 250

Temp : 20��� 7min

.

Camera : CONTAX RTS

Lens : Carl Zeiss Tessar T* 45mm F2.8

.

昨日ヨドバシカメラに行ったら、

やはり富士フイルム製品が値上がりしてたし、

そもそも在庫がなかったので買えなかったｗ

AcrosⅡで¥2,300くらいだったかな？

自分は先月買ったので1本¥1,050。

たまらんな～。

[sotragedydefendor]

Gavin da neilsonabeel Tramite Flickr: The table next to the bank of windows makes an excellent bird/critter watching station. Nikon FE2 24mm Nikkor f/2.8 Ais Kentmere 400 Fomapan 400 shot at 200 Dev: Kodak D-76 1:1 for 12 min at 68 degrees

[zcay]

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[rudyarias]

Film Archives:

1995

Agfa APX 100

What I do appreciate shooting B&W Film. Is the ability to change its characteristics thru using different developing soups. In my case, I love using Kodak’s HC11, Dilution B. It brings out a contrast unlike developers like Kodak’s D-76 used by photography schools and most photographers at that time. The only difference is I’m now using Kodak TMax and Fomopan B&W film on campaigns requiring B&W. The monochrome codecs to this day, have yet to cut the mustard to my eye. Especially with this rush to mirrorless where that market is to satisfy the pixel peepers, who have no clue what texture, balanced (not necessarily sharp) makes a photograph.

This image is from an agency test. When I shared a studio space in Chicago at 666 N Milwaukee Ave. The Seal poster was on a wall across the street from the Blommer Chocolate Factory. Elite at the time was the premier agency in the US and Paris during the 90s. As Fashion Model Management was in Milano.

Model: Nicole

Agency: Elite Models

Nikon F3HP, Nikkor 135MM f2 AIS

Film: Agfa APX 100

#naturallight #naturallightportrait #editorialfashionphotography #fashiondesigner #fashionphotographer #rudyparias #rudyariasphotography #unedited #nikonnofilter #nikond850 #nikon #uneditedphoto #pursuitofportraits #makingportraits #fashioncampaign #supremeshutter #oodt #ootdfash #ootdfashion #photooftheday #photooftheday #streetstyle

[imagecoffee]

Au soleil

(c)2023 Huimin Chi Pour se purifier de la poussière et de la saleté,Et pour apaiser leur humeur,Ils profitent de ce moment de calme après-midi. Agfa Optima Sensor 335 + Свема Фото 64 (Svema Foto 64), Expired in 1992, EI 50, Mixed D-76 Original (50% Kodak D76 + 50% Paison BW60 1:9)

[wpowiekszeniu]

Samodzielne składanie wywoływaczy i receptura D-76

Niedawno na jednej z grup foto pojawił się temat związany z dostępnością wywoływacza Kodak D76. Aktualnie oryginalny produkt zniknął ze sklepowych półek, pozostały jedynie te konfekcjonowane przez inne firmy. Przy okazji pojawił się temat własnoręcznego składania tego wywoływacza i bardzo Wam to polecam. Rozpoczęcie przygody ze składaniem chemii fotograficznej nie jest trudne, ani wymagające pod względem wyposażenia. Do składania najprostszych wywoływaczy potrzebne będą nam takie rzeczy jak: termometr (najlepiej do 50 czy 60°C), kubeczki/pojemniki do odważania składników (ja używam jednorazowych, ale nie jednorazowo, kubeczków plastikowych), łyżki plastikowe do nakładania odczynników, kolba/ pojemnik z miarką do mieszania roztworu, mieszadło fotograficzne/bagietka szklana, butelka na gotowy roztwór, lejek i filtr do kawy oraz chyba najważniejsze – waga (używam wagi jubilerskiej z allegro za 40 zł). Potrzebne będę również środki bezpieczeństwa, takie jak: rękawice i okulary ochronne. Przy wywoływaczach, takich jak D76, D23, Microphen/ID68 PQ czy XTOL/MyTOL właściwie tyle sprzętu nam wystarczy. Jednak jeśli macie dostęp do mieszadła magnetycznego (najfajniejsze jest takie z podgrzewaną płytą) lub miernika pH to również mogą się przydać, chociaż tego ostatniego nie mam i raczej nie planuję zakupu. Mieszadło magnetyczne bardzo przyspiesza i ułatwia pracę, szczególnie jeśli zamierzacie składać wywoływacze bardzo nasycone – jak np. w przypadku wywoływacza Pyrocat HD, którego roztwór B jest roztworem 75%. Ciężko byłoby rozpuścić taką ilość chemii mieszając wyłącznie ręcznie. W przypadku D76 jakiekolwiek mieszadło ręczne wystarczy. Zaczynając swoją przygodę z samodzielnym składaniem wywoływaczy trzeba pamiętać, że składniki zawsze rozpuszczamy w podanej kolejności i dodajemy następny dopiero po całkowitym rozpuszczeniu poprzedniego.

Receptura na D76 wygląda następująco:

Woda demineralizowana 750ml o temperaturze ok. 50°C

Metol 2g

Siarczyn sodu bezwodny 100g

Hydrochinon 5g

Boraks 2g

Po rozpuszczeniu wszystkich składników dopełniamy wodą do objętości 1000 ml.

Ostatnim, opcjonalnym krokiem jest przefiltrowanie wywoływacza przez filtr do kawy. Przez długi czas nie robiłem tego i nie miałem z tym związanych żadnych negatywnych skutków, ale od jakiegoś czasu filtruję, dmuchając trochę na zimne.

[webionaire]

To date, no new goods have arrived from Tetenal - we and all other dealer colleagues are waiting for our prepaid photo chemicals.

Fotoimpex was able to secure a final batch of COLORTEC C-41 kits and some professional laboratory chemicals from the bankruptcy estate in order to at least remain able to deliver in the color kit area.

However, this does not indicate general re-availability.

Harman Chemie now comes in other bottles and packs. This means Harman has found a new production partner. As expected, it was at a significantly higher price. Tetenal's productivity is difficult to achieve. This was a team that had been well established for decades and had perfect production facilities for large quantities. The raw materials were pumped from tank farms in the basement and dosed using calibrated flow meters.

You can't do that anymore for photochemistry today. ADOX has put a new filling system into operation and has quadrupled

its liquid chemical productivity . Liquid chemistry should always be available from January. We have also strengthened our team. In powder chemistry, some work processes still need to be changed to meet the current rush. Since Kodak completely disappeared from the market, we have re-released the D-76 and HC-110 in addition to the X-Tol . All developers have identical development times and dilutions as the respective "original" and are based on the last "reasonable" price from Kodak (i.e. before the speculative prices of the last few weeks). D-76 is also equipped with Captura and dissolves in significantly colder water than the original. HC-110 comes as 110 Professional directly from Fotoimpex. It contains the American recipe which was most recently available in the USA under the Kodak brand. This means it is the “thinner” version with limited shelf life but otherwise identical behavior. Kodak has terminated the license agreement with the Chinese and found a new licensee. This is the manufacturer who has already worked for Sino Promise. Something like an "American Tetenal". This manufacturer has announced that it wants to return to the European market with these products.

[greek-2-me]

a little blog?

Today I attempted to develop film by myself for the first time. 

I had bought the materials I had read I would need online and prepared all my equipment. 

I created developer using Kodak D-76 powder in a plastic measuring cup, using a thermometer I bought the same day at Tesco (my last purchase to begin the process). I made up the batch and used a 1 litre bottle of Cherry Coke to story the mixture in. 

Then I left it (since the developer mix required quite warm water and I had choir rehearsal) and when I returned home, it was time to begin the actual development. I placed my equipment gingerly on the rounded top of my toilet cover and closed the bathroom door, creating a perfectly dark room.

It did not go perfectly though. 

It turns out you can take film out of the camera before going to a dark room and I completely forgot how my camera opens (there’s a lever on the bottom and then you pull off the top). It takes an embarrassing amount of time to figure that out but no matter, the roll is out. 

This particular brand had it so I could just unroll the film from its spool and the paper was just separate and so I discovered what film is really like - in the dark, by myself, on the floor of a university dorm bathroom. 

Next step was to load the film onto the reel. ‘Easy’ I thought. I had seen and watched several videos of this process and lined up the parts just as they should be and it was off to the races. But this film was wound tight! The way the reel is makes it so the film can “escape” if it wants to. And it wanted to. I spent probably around 20 minutes making the film go on this stupid and annoying reel but then: it was done. 

One, two, three, I did the next easy steps: put the reel on the spool, put the spool in the tank, close the tank with the funnel lid to make it blackout.

And now: welcome light. I poured in my developer (with correct proportions and at the correct-ish temperature) and followed the instructions to agitate and then set my timer and started cleaning up. Oops. You’re supposed to agitate every minute! I started at about the 11 minute to go mark out of my 14 minute timer setting. I think it was fine?

Before I know it, time is up! My instructions have details for repeated the process with the subsequent chemical steps but I don’t think anything of it. I pour my developer out, pour water in, swish swish swish, and it’s done!

I remove all the pieces: the watertight lid, the light-proof funnel and the reel with my film. What a beauty it is! I can already see small frames of pictures I remember taking months and months ago. Oh the train station I snapped on a snowy day! And my friends in my apartment! And finally, the last picture I took: a self portrait, just last night. 

I’ve done it! I developed film! 

I read it needs to hang dry so I grab some string and my scissors and poke a hole at the top of my film (obviously a part without a frame) and hang it in my shower. I text my dad. While battling with the roll of film and the reel in my pitch dark bathroom, I thought about him and my grandfather. There are pieces here and there I’ve picked up (my father doesn’t like to talk about him and I won’t mention any specifics) but I knew he was a photographer and that the camera I now own belonged to him. A 1930s Pupille that shoots the dying format 127 made me wonder what my grandfather would think if he looked down now and saw the grandkid he never had the chance to meet, learning his life’s trade. 

My father was surprised, I think. I hadn’t told anyone what I was doing, only a close friend knew I had impulsively bought the supplies on a random afternoon and today was the day I was doing it. But none the less he was supportive and asked a couple questions about me pursuing this. 

Oh. Oh wait. 

He asked me about getting prints and I think that’s what spurred on the thought that would prove to be my downfall.

See, the spontaneity of this project meant I wasn’t fully prepared. I knew that I was inexperienced and, not relying on my father who actually knew how to do this, I tried to compensate with educating myself. But when you don’t know the subject, it’s hard to determine the curriculum. And I missed a very important topic. 

Chemicals.

You might be thinking: what do you mean? You used chemicals! You made developer and literally successfully used it! (If you know about film developing, you might see where I’m going with this.)

I missed a very obvious plural. Film requires: a developer, to do some complicated chemical process to do with silver of the material to achieve an image (I don’t really know); a stop bath, more chemistry to essentially stop the developing the first chemicals are doing; and a fixer, to, as the name implies, chemistry to fix the process you’ve done and stabilise the film.

I had only developed. I didn’t even have any more chemicals! I suppose I had read somewhere about more chemicals and I had even considered a monobath (meaning one bath, I’m sure you can figure out what that process does), but somehow I had never come across instructions to acquire materials for the other two key components of film developing.

I’m panicking.

So I text my dad.

Long story short: I spent the next few minutes rapidly googling what this meant, how to solve this and is all hope lost. And the answer is: maybe my situation is salvageable. 

I’ve ordered fixer and hope to receive it within the next few days and, upon my father’s suggestion, I put the film back on the reel, back in the tank, fill it with water and have left in in my bathroom.

The film was exposed to light for less than an hour (most of that indirectly!) so I hope and pray that the pictures I have painstakingly learned to take on a fully mechanised camera aren’t lost. I get the feeling my grandfather is looking down on me and thinking ‘God, what a dumbass kid’.

[papierscierny]

[dai-mori]

Nakameguro, Meguro, Tokyo / Sep. 2023

さてとうとうTmaxのストックも切れたので本日これから現像するのはkodak doubleX（5222）、現像液D-76の組み合わせ。とりあえず初めての試写だから基本レシピでやってみるか。

[trenchphotos1]

The news from Florida seems to get worse every day and the footage I've seen takes my breath away. I have family there; thankfully no major damage where they live. But my goodness, not the case for thousands of others. I don't have any significant words of wisdom, I just know that life can be unbelievably cruel and overwhelming. I don't have the inclination right now to pontificate past that obvious observation. Hugs to you and yours. Florida on film, tri-x, 2021

[knowledgeatbargainprices]

I finished final exams, so I thought I'd raid the freezer store and treat myself to a roll of film. One that caught my eye was CatLABS X 80, which I must have gotten spring break of this past year. I always overlooked it as a novelty, plus slower films generally scare me, so I was just holding onto it for something. Buy after finding some exposure and developing info online, I decided what the hey. I just finished finals. I'll have some fun.

I decided to use the Mamiya 645, because I love seeing how unique the roll-off behaves on that 80mm f/1.9 lens. I used a reflective meter at 50 ISO, and loved it. I was able to shoot at f/1.9 around 1/500, and could stop down to f/5.6 and shoot at 1/60 for more depth of field.

The biggest thing though, is how the negatives turned out. This film has the clearest film base I've ever seen, except for Fujifilm RDS 4791. When I pealed the film off of the roll, I was blown away.

On top of everything, I seem to have been able to accurately focus every time. That, in itself, is a victory for me already.

All in all, I really loved this roll, and it reminded me why I shoot any film at all. I've definitely been debating recently on switching to all digital, and I think there's a lot of wisdom in that. However, for something like this? A fun break after some hard exams? I'm glad I can choose to have the experience of shooting on a piece of celluloid, developing it, and scanning it all at home.