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Mastering Harman Phoenix #3: Purple
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- Опубліковано 13 сер 2024
- Having finally encountered that purple tint in some of my negatives while shooting (what is now) Part 4 of this series, I wanted to have a look into the source and effects of this purple stain.
Harman's scanning recommendations can be found here:
www.harmanphoto.co.uk/scannin...
Thanks to those who have contributed to this part of the project in any way:
marrash.com/
kaniskasj.co.uk/
www.flickr.com/people/1894946...
@ribsy
@BadFlashes
@atticdarkroom
@grainydaysss
www.megatoniproduction.com/
www.silverhalidestudios.com.au/
Check out my social media and Patreon:
www.shaka1277.com
/ shaka1277
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00:00 Start
00:27 Introduction
03:08 What causes the purple colour?
04:49 Density
05:30 Grain
06:14 Scanning
08:21 Conclusion
I think you've put far more work into analyzing this film than anyone else on the interwebs. Great job. There's one youtube guy out there than shot one or two rolls, under the conditions everyone knew would be bad for it, declared it crap and Harman idiots for releasing it, then went back to shooting polaroids, of all things. 🤣 I much prefer your inquisitive 'what can we do with this?' / 'how does it work?' attitude.
I'll put forth a Purple theory: possibly build up of halides in replenished developer. Kodak Flexicolor & Fuji C41 chems are mixed up as replenisher, which then diluted down and 'spiced' with starter to make 'tank' solution. As you replenish your solution, you add the replenisher, sans starter. I've read (I'm not a photochemist) that the starter contains halides which control the development process in some way. I have a Jobo, so all my Flexicolor dev is used one shot (I reuse bleach & fix) Maybe a commercial lab sees a buildup of these halides, which doesn't really affect 'normal' c41 films, but does something to the base in Phoenix. Home users may not see enough build up of these before they pitch their chems, or they go bad due to oxidation. Disclaimer: I'm not a photo chemistry scientist, just a bit of a film photo geek. I could be completely wrong.
Thanks Mark, I appreciate that. I'm trying to keep a balance of educating people about film in general, but focusing on Phoenix as the vehicle. Once Phoenix is gone I hope much of this stuff helps people understand development, cross processing, etc a bit better which will keep it useful in some sense!
Halide buildup is an interesting idea. I could see if I can grab a sprinkle of AgBr from somebody at work and just spike a batch of developer at some stage, but that'd be well down the line if I'm ever able to.
Thanks for the findings! Feel better!
Okay I am exremely interested about this, I have not watched the video yet, I am only at around 1:33, but I have 4 remaining rolls of Phoenix 200 (I actually like the halation and the very high contrast a lot, and I rate it at 160 ot 120 iso and I get a lot better shadows that way. I find it is a very fun film to use, and I kind of want to get a bit more in the stash just because it's "limited" and I like how it looking before they invested in "improving" their color film)
All the phoenix 200 I shot I developed at home, in my the same very first batch of a C41 kit from BelliniFoto. The 2nd roll of color film I ever developed with my hands probably was P200. The later rolls have more purple in the base than the earlier rolls. I have not yet got rid of this first mix of color developer. I have a bottle of fresh developer to "recharge" the BelliniFoto Amateur RapidAccess kit that is sitting for me to have fully exhausted my first one. It's been not used in the recommended timeframe of *a week* by the manufacturer of the chemistry, but it was kept in the dark in a bottle with no air/oxygen in it in a cool place for all that time.
So I am definitely in the "I am developing this in old chemicals" situation right now *and* I had a different result of just the film base color when developing this in extremely *fresh* chemicals
I need to get my rear in gear to get to developing color at home. I want to shoot more of it and experiment with Phoenix so bad!
If you shoot enough colour to justify it, do it! It's really quite easy, and I have to say as much as I love our labs I do appreciate being able to dev on my own time and not think about opening hours / postage.
I have been experimenting with this, and I've found with lots of rolls and bracketing, that: 80 ISO, pull develop -1 stop (so in other words treating it like native 160 but pulling 1 stop), and then white balancing my scanning DSLR to the empty leader, and simply inverting in photoshop, gives almost 100% perfect real life colors, wonderful saturation, and much better latitude than normal, on par with most consumer grade kodak films (not portra or aerocolor or anything). I find 125 works best when not pulling, but 160 (down to 80) seems to work better when pulling, like sort of a compromise somewhere, I guess.
That's not so far off what I came up with in my Part 1, though I still use NLP for inversion out of habit.
UA-cam seems to have cenzored the text on the top line of the whiteboard in the test frames
I did that because I don't want to spoil Part 4 :)
I watched another one of your videos and you mentioned you were gonna get your Rollei repaired. Who are you going to send it to? I’m in the same boat.
I sent it to Hans Klinkhamer in NL! He did great work for a price I was very happy with, and very quickly.
@@Shaka1277 good to know. My sl66 sticks open on the slower speeds and has curtain sync issues on the faster ones. Also flash won’t sync haha. Last guy in the US fixing them just croaked so I’m looking for more options.
I had no issues with slow speeds but my other issues were the same as you, so he can definitely sort it.
Off topic, how long one should increase C41 development time to push one stop? BelliniFoto's datasheet has zero information about this, and they have just said to me "we do not test these parameters" when I tried to ask via email
Per Kodak's documentation, add 30 seconds for a 1-stop push or 60 seconds for a 2-stop push. I've found that works very well, even extended to 3 stops.
@@Shaka1277 Noted! Thank you! I am now just watching video #1 of this series now. Thanks for doing this, it's very cool and interesting!
Glad you're enjoying it, have a great weekend!
Cinestill says 2.75 mins at 102F versus 3.5 normal = 1 stop pull, I followed that and am happy with the results. Edit: oh you said push, for push Cinestill claims 1 min and 5 seconds (very specific) longer for 1 stop. These aren't the same as Kodak's chemicals, necessarily exactly, though.
@@gavinjenkins899 the cinestill kit is weird. I gonna stick to a normal 3 bath + stabilizer running at the nominal 38 Celsius one. Should match whatever docs came out of Kodak in that case
Enlarging and printing be an issue
In reality it isn't. Phoenix is hard to print, but that's as much to do with the contrast as anything else. Yes, the colour correction is considerably different from a standard orange mask, but it just means your start point is considerably different.
I've printed phoenix negatives using my intrepid compact, and if I can RA4 print them on that, then someone with ability and a proper colour head wont have problems.
Not for 99.8% of people, even if it was literally impossible for sake of argument. Because almost nobody prints color prints themselves.
Lean film 💀💀
❤