Nikolas Jaeger

IT'd be reasonable, but unffortunately, with Kodak, reasonable is not the way things are done.

 

These aren't the same films. And, counterintuitively, with Tri-X Rev. as a neg, you actually *loose* speed. Never done it myself, but I think I heard the number 80 being thrown around as the working E.I.

 

You could probably get a 400-speed, but you'd have to extend the first developer time a lot longer, and maybe the grain would be too bad. I think it's 50% per stop with Tetenal Ultrafin, and I probably would use it undilluted in this case, but hypothetically, assuming my guess of 80 is right, that'd be three stops, so you'd probably be up near 20 minutes with a 3- or so stop push that'd probably just give you a blurry, grainy mess.

 

Also, a purple film means you need to extend the fixer time longer. The rule of thumb is you need to fix twice as long as it takes for the purple to go away. So fix say 5 minutes to be safe, open up the tank and watch the film until it is totally clear, and then take whatever time that is and continue to fix until double that time.

So basically, you develop for 20 minutes so the negative is dense enough so as not to be destroyed by the fixer? That may have been my mistake. I developed for 7 minutes and fixed for 1 minute, which would explain both the lack of an image and the blue tint.

That looks really interesting. Are there any considerations to think about when shooting it (pushing, pulling, etc.) or do you treat it just as if it was going to be reversed?

NCL looks like it may be within my price range (shipping costs excluded), but I dunno, there's something appealing to me about processing myself. Is there anyone I could contact who knows the process? I guess I could always ask at a lab, but that might feel awkward.

Processing reversal as a negative is going to result in a thin negative anyway and it sounds like the fixer wiped away whatever you had.

 

There's really no advantage to processing Tri-X reversal as negative because reversal's easy enough to do, and you can even use a non-light second developer to avoid the flashing step, thus giving you a more sepia look.

 

Lots of people are starting to reverse B/W negative slide film these days a la the old Agfa Scala thing and around a college darkroom somebody should be able to help.

I may look into that; what kind of second developer would one use?

Nonetheless, if I did go ahead with negative processing, would it be reasonable to use the same chemicals, but to do tests first on short lengths of film?

Just to clarify: what I'm looking for is a way to cross-process Tri-X 200 or any similar b/w reversal film (Foma, etc).

Was the film all the same (i mean, no edges around frames)? i'd say that your development time was too short or your developer is too old.

I developed for around 8 minutes, and the developer (Tetanal Ultrafin, diluted 1:9) was right out of the bottle.

Hello all. I'm a high school senior living in Berlin, Germany (though I am American by birth), with an interest in film. I recently purchased a Super-8 camera (Kalimar Electric Zoom Reflex) and tried shooting one cassette of Kodak Tri-X 200.

Since my funds are somewhat limited (being a student), I decided to process the film as a negative in my school's darkroom, with the same chemicals I've been successfully using for developing Kodak Tri-X 400 35mm still images. I assumed that, because both films have the same chemical components, that this would work. Unfortunately, however, when I was finished, the film did not have any images on it, but was transparent and dark blue/purple in color.

Barring a camera malfunction, does anybody know what I might have done wrong? If anybody has perfected a way of cross-processing Kodak Tri-X (or a similar stock), I'd really appreciate finding out about it.

Thanks in advance.