Nikon F5 – AF DC-Nikkor 105mm 1:2D – Ferrania Solaris 200 ASA-200 – Unicolor C-41 Kit Nikon F5 – AF DC-Nikkor 105mm 1:2D – Ferrania Solaris 200 ASA-200 – Unicolor C-41 Kit Nikon F5 – AF DC-Nikkor 105mm 1:2D – Ferrania Solaris 200 ASA-200 – Unicolor C-41 Kit Nikon F5 – AF DC-Nikkor 105mm 1:2D – Ferrania Solaris 200 ASA-200 – Unicolor C-41 Kit ![]() In the case of the slide film, you will get a colour negative result and see colour shifting similar to what you would get when processing slide film in ECN-2 chemistry. The kit can cross-process motion picture films (ECN-2) and regular slide films (E-6). At the same time, this kit will not work on traditional black & white negative films or slide films. You can also use this kit to handle both push and pull the development of your film, you have to adjust your times, but the kit includes a handy guide to changing your times. The kit will also take care of the chromogenic black & white films, Ilford Super XP2, but will produce a black & white negative. It also does professional films like Porta and Ektar. It will handle everything from consumer films like Gold, ColorPlus, Superia, and the Lomography stocks. Like the E-6 kit, the Unicolor C-41 kit does one thing well, developing colour-negative films. Zeiss Ikon Contax IIIa – ЮПИТЕР-8 2/50 – Kodak Vision3 250D ASA-250 – Unicolor C-41 Kit Zeiss Ikon Contax IIIa – ЮПИТЕР-8 2/50 – Kodak Vision3 250D ASA-250 – Unicolor C-41 Kit Zeiss Ikon Contax IIIa – ЮПИТЕР-8 2/50 – Kodak Vision3 250D ASA-250 – Unicolor C-41 Kit Zeiss Ikon Contax IIIa – ЮПИТЕР-8 2/50 – Kodak Vision3 250D ASA-250 – Unicolor C-41 Kit I find it best to shoot a batch of colour film, then mix up a kit and process over two to three days to ensure you maximise the life of the kit. Also, if you are doing a batch of film, run the remjet film last, as you may be able to remove a majority of the remjet, but some may still be present and could contaminate the kit. Suppose you plan on processing a motion picture film with the remjet layer intact, removing the remjet first, using a mixture of water and baking soda and running water until it runs clear. The one step to watch out for when processing is the blix step, as it produces a lot of gas running a rotary processor is best to use tanks with a gas valve or manually ‘burp’ your tanks. Processing is done at a temperature of 38☌ (102☏) it is best to heat the chemicals in a water bath and either constantly swap out the water with fresh higher, temperature water or use a water heater to maintain a constant temperature. While some say the stabiliser is unnecessary, I’ve found it helpful to cool off the film to improve the drying process and maintain archival stability. Mix these with water (distilled if you are unsure of your home tap water quality), and heat to 44☌ (110☏) the developer comes in one pouch, the blix in two (A then B), and the stabiliser in a single bag. The kit has three chemicals, a developer, a blix, and a stabiliser. These numbers are based on a one-litre kit. Although in practice, it can handle up to ten rolls of film. Once the kit starts to be used, the developer is the weak point, as it only has enough life for eight rolls of 36-exposure 35mm rolls or 120 films it will also process thirty-two sheets of 4×5 or an equivalent number of 8×10 sheets. While both have long life spans in concentrate/powder form, once mixed, the life is only a couple of months if properly stored. The Unicolor C-41 kit is available in both powder and liquid concentrate form. Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Kodak Portra 400 ASA-400 – Unicolor C-41 Kit Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Kodak Portra 400 ASA-400 – Unicolor C-41 Kit Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Kodak Portra 400 ASA-400 – Unicolor C-41 Kit Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Kodak Portra 400 ASA-400 – Unicolor C-41 Kit And the Unicolor C-41 kits make it easy to produce good-quality negatives in a home environment. ![]() Colour Negative processing uses those processes if you have the skills in processing Black & White and E-6 films. I was also when I first started, and while I did mess up the first set of four sheets of Ektar (yes, 4×5 Ektar), I soon figured out where I made my mistakes. And if you are a bit wary of the process, don’t worry. And while some might be hesitant these days to risk processing colour film in a home environment due to the increasing price and lower availability of colour-negative stocks, it is a way to help reduce the cost. While developing a colour-negative film is not as exciting as slide film, it is still satisfying.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |