Re:Film and Processing

["Gary Todoroff" <datamaster@humboldt1.com>]

Indeed, film and developers are not "off-topic"! We research lenses and
spend megabucks for the best optics in the world, so how about your
experiences with B&W film and developers for your Leicas? 

As an analogy, after working with Focomat IIc's at KameraBild in Stockholm
back in 1967, I was never really pleased with my prints until I finally got
my own Focomat Ic with Focotar 50mm f4.5. I knew there was always more in
the negative than the cheaper enlargers were able to put on the print.

So what have others found regarding B&W film/developer combinations to best
capture all that Leitz optics can give? I have always been partial to
Tri-X, especially back in the pro lab when I was able to take advantage of
the deep tanks with nitrogen burst agitation. The mid-tones and small,
tight grain still amazes me when I print a 30 year old negative that I
developed in Sweden. But maintaining nitrogen tanks and several gallons of
developer isn't practical for a home darkroom.

I've been using AB55 for about a year and a half now, and the convience is
remarkable - approximately 5 minutes in each of the two part solutions at
65-75 degrees, no matter what kind of film. Tri-X works well, but I still
feel like I'm not getting the midtones (or "range" of tones) as much as I
would like. One combination that has been awesome is Agfa APX25 in AB55. I
have recently used this 25 ASA film with my Summicron 50mm DR with the
closeup attachment on a tripod to photograph small sections of classic
cars. The 11x14 enlargements show virtually no grain and the tonal range in
the paint, chrome and raindrops on the cars makes the prints jump off the
paper.

One of my early experiences at KameraBild was learning to see the
difference back then between a perfectly exposed Leica vs Nikon negative.
The Leitz optics displayed a certain sparkle which I believe was due to the
better color resolution (i.e., focusing all wavelengths to the same spot).
Being able to capture that enhanced contrast on the print was a constant
challenge and great delight when successful. Of course, learning to see and
appreciate that subtle "sparkle" has cost me a lot of money ever since!

So I'm curious about you darkroom fans out there, too, who may have found
that perfect film-develpor combination that captures the Leica "sparkle".

Gary Todoroff
Eureka, CA

 > >I have been using Technidol developer for the Technical Pan (TP) films
with
> >
> >...
> >
> >PS:  Since this is an off topic, private emails are preferred.  BTW, I
am a
> >M camera user.
> >
> > Regards,
> >
> >Tony Chang
> 
> This is no more off topic that talk about Kodachrome, E6, etc. As
> photographers, the Leica and taking the picture is only half of the
> equation. The other half is processing the results, whether in your own
> darkroom or at the local "Kodachrome" minilab. We all want to participate
> in the discussion. (Sorry Roger)
> 
> Jim