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HI, for the Ilfochrome users, do you all use p-30 at home with your desktop processors? p-3 is lots cheaper than p-30 anyone use p-3 for home darkroom?
if p-30 can work on my CPA2 , why not p-3
how can i store p-3, and how long can it be stored?
anyone have experience about CPS, CLM, and CF? Do i have to store ilfochrome paper in refrigerator? because i do have that much space to put 20x24 in my refrigerator.
does anyone know is there a web page about ilfochrome?
thanks
Jeff, I have stopped processing Ilfochrome myself about three years ago, to go digital. But as far as I recall, here is what I experienced: The P3 process can be used with or without r egeneration. I used it without, lost bath. You can get two additives, one to reinforce the effect of th e bleach (a sort of wetting agent) and one to compensate for the aging of the revelator. They are ve ry worth using them, especially the revelator additive. With this additive, you can very well keep yo ur solutions for up to three months. In fact I have had some solutions regenerated after more than six month and still giving correct results. Here is how I stored the diluted chemicals: I bought three 10 l iters acid resistant PVC jerrycans with big screwing lids (the diameter about the width of the jerryc an). They where equipped with taps. I cut, into some thick plastic bubble stuff, floating lids w hich where introduced through the large openings of the jerrycans. I worked the solutions by half of t he initial package which is to make twenty liters. The half emptyed gallons where kept emptied from oxygen with an inert gas made for that purpose and found in spray bottles. The Jerrycans where filled also with this gas as they emptied from the taps. Everything was kept at about five to eight de grees C in a cooler. Processing with a CPP2, I renounced to Ilford suggestion to reuse part of the pr viously used chemical. This produces an orange cast onto the print. But I reused the chemical used for the test strip for the larger print. Making a test strip that will match your final output is where dru m machines are in retreat from continuous processors such as the ICP 42. Use a good ammount of c hemical for your test and keep it for the next print. You might find a magenta cast on your print that was'nt on the test. This is much due to the washing and drying conditions. The more you wash and the longer you dry, the more magenta will come out of your paper. Don't be scarce with your chemicals, e specially with the P3. It tends to be a little less effective than the P30. Temperature settings an d times are not the same for both processes. With prints presenting large ammounts of sky or other l ight areas, you can push the bleach time by 50%. CPS and CLM can be used depending on the slides co ntrast and whether or not you use contrast masks. Rinse the final print both sides, put it on a pl an and use a fine rubber skeeze . Let them dry flat on fiber trays or hang them on a wire. These are a fe w tips I have learned the hard way. It would have taken me a few more years to become a good Ilfochrom e printer. If you are sure to go this way, try finding an Ilford ICP 42 in good shape (watch for c orrosion in the inner parts) and this will revolutionize your work. Just a note regarding P3 chemicals : these are subject to chemical safety regulations. This is mainly because one of the undiluted compone nt is quite aggressive (sulfuric acid).
One benefit with the P-3 is that you can use the low contrast CF1k material. This is not compatible with P-30. Personally, I like most of all ciba material this CF, specially the colors are very clean, as with CLM I feel they are a little muddy. I use myself a 24" Beka- machine, but have a lot of friends that use succesfully P-3 with drums. Be careful with the bleach, take no skin contacts. Good luck!
why cant you use P-30 with the low contrast ilfochrome? Thats the first I've heard of it.
The low contrast material CF1k creates a crossower in P-30 where highlights will be cyan and shadows slightly red. If he picture is colorful it may not be seen, but is very apparent in prints with delicate graytones. Process info on the CF box states that it can be processed in P-3, P3X (a faster P-3) and P30P. I have no idea what this P30P is, maybe it could be some improved version of the P-30? If so, there should be possible to use this, IMHO, exellent low contrast paper.
Well, thanks for that info. Sure wish I'd know that before I bought 100 sheets! I've only used the low contrast a couple times so far, but it just so happens it was a slide with reddish highlights and blueish shadows, so maybe I didt notice it. But I also use a home-brew developer usually. I cant remember which developer I used on that print. I'll be pissed if this box was a waste. I cant deal with the high contrast paper. I love that metallic glossy look, but I'm looking for more natural contrast and color rendition, and I was hoping the LC paper would give it. It sounds like you like it-why?
All these are of course personal consideratons, but I like it because 1. It's not oversaturated, you can look at the picture without getting your eyes sick. 2. Cleaner color, much better than the pearl paper. 3. Better rendition of tonal values, particularly in the highlights, and a broader exposure latitude. 4. Eliminates mostly the need for making contrast masks. Go on with your paper and chemistry, the crossover is not necessarily so bad when you are aware of it, I know a lot of people using P-30 and low contrast. If your proof has some undefined ugly tint, try with more yellow filtration, mostly this will clear up the colors.
Jan, thanks for the info on the LC paper. It sounds like its what I'm looking for. FYI, this is what Ilford told me about the chemistries, so I think P30 should be fine for the LC paper
"P30 is the chemical to be used for both RC and polyester ILFOCHROME papers, all contrast grades. It is a replacement for the P30P chemicals- at the time the last P stood for Powder."