I agree with most of your synopsis but -
My experience with stand processing is that time does need to be
increased when pushing. I did not do a formal test but did happen to
shoot several rolls in one session, some pushed and some not. I stand
processed all of it to minimize contrast and found that time needed to
increased for pushed rolls. It might be interesting to take three rolls
of the same film, shoot one at box speed, one pulled two stops and one
pushed two stops and then stand process them all using the same time and
developer concentration. I have some bulk film here - maybe I'll make up
three short rolls and give that a try. I do agree with the rule of thumb
that stand processing film exposed at its rated speed generally produces
a usable negative.
I would add to advantages that stand processing maximizes adjacency
effects and can increase the apparent sharpness. It also minimizes grain
with developers like Rodinal, but dilute concentrations with normal
agitation also minimize grain.
Under disadvantages I'd add that stand processing can be inconsistent
and streaking , especially with 120 film, can happen.
Also note that the minimum amount of developer should be used, which may
require larger tanks that would usually be needed. I've experienced this
first hand when going too dilute or doubling rolls caused problems.
Mark
On 2/3/2016 10:28 AM, Darren Addy wrote:
I appreciate those of you with personal experience with stand
developing sharing your experiences. Correct me if I'm wrong in the
conclusions I draw here:
The benefits of stand development are:
a) Conservation of developer. Very diluted, but not reused (unless you
are saving it to use as "old brown" later).
b) Done correctly, the goal is to not block up (preserve detail) in
the highlights, and to pull out as much detail as possible in the
shadow areas.
c) Stand development doesn't care what the film speed is or if you
pushed or pulled the ISO.. it is going to do the above for whatever
detail you were able to capture. This also makes it great for
developing film of an unknown ISO/ASA.
The downsides seem to be limited to:
a) you are going to get a flatter, lower contrast negative in most cases.
However, this is not a problem if you are:
a) scanning the negatives
b) possibly not a problem if you have higher contrast paper, or can
dial in higher contrast on Multi-Contrast paper, using a dichroic
color enlarger head.
c) but it seems it is not great for Zone System work.
Have I missed anything or gotten anything incorrect?
On Wed, Feb 3, 2016 at 9:14 AM, Darren Addy <pixelsmi...@gmail.com> wrote:
Contact prints are now possible from digital negatives printed on
transparency material up to whatever size of transparency film you've
got. Of course, you have just moved the problem from the size of your
camera and film to the size of your printer and transparency roll, but
the point is that you can to 24" wide contact prints now. Not many
people had/have 20x24 large format cameras. Also, if something happens
to your negative you can just print a new one.
I understand that properly exposed chromes are amazing, but I never
have understood the appeal of a chrome as the medium. Pass the slide
viewer... ooh! I realize that there was a time when Cibachrome was a
thing for getting impressive prints from positives.
On Wed, Feb 3, 2016 at 2:20 AM, J.C. O'Connell <hifis...@gate.net> wrote:
there are two ultimates in large format photography, especially when using a
8x10 camera. Contact Prints, and Chromes. Both look truly amazing,
unmatched by any other photographic schemes analog or digital.
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