Joel,
Speak simply, my way is going to keep "one" contrast for my films. Most of
my pictures are printed with #2-1/2 or #3 variable contrast filter for
Ilford variable RC paper or variable fibre paper. If I developed films
with one dilution for all contrast, I'll get different contrast films,
it'll be very difficult to control printing in darkroom.
My way, normally I wouldn't apply unofficial dilution H formula for my
films since the film goes too "soft" except I need to compress the light
area. But I am seldom to apply it.
This is the sample of development with 1:10 dilution for strength the film
contrast due to the shot were taken at very low contrast environment. This
picture were taken in the end of Oct 2010, normally misty in Hong Kong's
winter. I remember that day was very "grey". It was my first time to try
dilution 1:10 to "push" contrast.
http://farm2.staticflickr.com/1348/5145541163_af559b8ef2_b.jpg
Time, temperature, frequency of agitation, and dilution will affect the
film contrast, I'll keep same time, same temperature, same frequency of
agitation but different dilution to control the contrast. My private, it's
the easy way to control.
Just my 2 cents.
Regards,
Michael
On 9 July 2012 01:00, Joel Wilcox <jfwilcox@xxxxxxxxxxx> wrote:
> I agree with your method. Much better to develop everything if possible
> with the proper tonalities to print on a #2 paper (or whatever you
> standardize on). There are many variables one can use to deviate from
> standard practice in order to develop for unusual, non-standard
> exposures.
>
> I have never heard of using different dilution strengths to meet these
> different exposure conditions. That is quite an interesting approach.
> Most people, I would guess, use a single dilution and vary the amount of
> development time to increase or decrease contrast in the negatives.
>
> I think I understand your methods clearly enough. I just don't really
> know what dilution strength you are using compared to me. 1:20 is a
> very strong dilution of the version of HC110 I use and would require a
> very short development time for a slower film. It wouldn't be a useful
> dilution level, in terms of my experience with the HC110 I have
> available in the USA) to decrease the contrast of the negative. So I
> have concluded that we are using ratios like 1:20 or 1:63 (which is what
> dilution H is in parts of HC110 syrup to water) in different ways. In
> other words, your "1" part of HC110 is different from my "1."
>
> Dilution H (1:63) is unofficial, not really sanctioned by Kodak, and
> provides a lot of flexibility to alter development effects by changing
> agitation or time of development. It is considered good for
> compensating development, which allows the developer to become exhausted
> in the highlight areas while allowing the lower tones to develop more,
> so it can be a good dilution strength to accomplish the same thing you
> had in mind in your example.
>
> Thanks for sharing your experiences with HC110.
>
> Joel W.
>
> On Sun, Jul 8, 2012, at 10:33 PM, Michael Wong wrote:
> > As my another post said, my dilution forms are not "general formula". My
> > teacher taught me to develop films with different dilutions for different
> > contrast shots. Thus, do not think any "general formula" on my pictures.
> > I
> > consider the film development process to make enlarging prints more easy.
> >
> > Some of my classmates wouldn't care the process of film development and
> > make enlarging prints difficulty. They'd rather to enhance printing
> > skills
> > to "rescue" the picture more than concentrate at preparation before
> > shots,
> > how to develop a good film. I understood "rescue skills" in darkroom is a
> > benefit for those pictures are not good in shooting or developing but
> > there
> > will spend much of time & money for a picture. Thus, I will take good
> > preparation before the shot & develop a good film more than to "rescue" a
> > picture. That's my view, just share my 2 cents.
>
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