Fuji's answer to fast-developing and fast films. SPD, or Super Prodol, is another excellent B&W developer that works with more than just Fuji film stocks!

http://www.alexluyckx.com/blog/2025/12/02/developer-review-blog-no-55-fujifilm-super-prodol-spd/

#filmphotography #photography #believeinfilm #shootfilmbenice #developerreview #fujifilm

Developer Review Blog No. 54 – Fujifilm Microfine

While I've always known that Fujifilm produces chemistry for film development, I had always assumed it was primarily aimed at colour processing. Since they still manufacture (possibly) mini-lab processing systems for labs to develop C-41. But black & white chemistry? Then I received an email. A reader graciously offered to mail me some developers that were difficult to obtain in North America. I initially thought of Europe, but then a lovely package arrived from Japan and inside were two pouches of Fujifilm Microfine and two pouches of Fujifilm SPD. Well, I was touched, but Microfine was a name I had seen before on the massive dev chart. And no, it's not a different version of Microphen. From what I've gathered, Microfine was released between the late 1970s and early 1990s with the new series of T-Grained Neopan films, Neopan Acros 100, Neopan 400 and Neopan 1600 as the matched developer. While all these films have since been discontinued the only listed time on the pouch is for Acros 100 II. These days I'm unsure if the developer is still being produced, but since it is still being listed as in-stock at various Japanese retailers, I'm going to assume that it is.

Technical Details
Manufacturer: Fujifilm
Name: Microfine
Primary Developer: Metol
Type: Reusable/One-Shot
Mix From: Powder

Nikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20C

Handling
If you have mixed other powdered developers, then Microfine will be no different. Sadly, I was only able to extract some information from the package itself and ran the text through a translator to obtain any relevant details, as there is no online English language datasheet available. Start with 800mL of distilled water heated to ~50°C (122°F). Then, add the powder, mixing it using either a manual or mechanical method at slow speeds once the powder is mostly dissolved. Top up to the final volume of one litre and store in a well-marked bottle. The developer mixes up quickly and easily in the hot water and leaves little in the way a undissolved powder. But I still use a funnel and fine-mesh strainer when pouring the stock solution into the storage bottle. Fuji also warns against dividing the powder, recommending that you mix the entire pouch in one go. The powder ideally has an unlimited shelf life; once mixed, I would rate it at ~6 months in a fully sealed bottle, with a shorter shelf life once you start diluting the mix. The one-litre volume will process eight rolls of 35mm film or the equivalent number of medium and large format films. You can develop using the developer in stock form, reusing it for the set number of rolls, or you can dilute it 1+1 as a one-shot developer. You can also use Microfine with both manual and automatic processing methods with little change in the results.

Canon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20CCanon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20CCanon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20CCanon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20CCanon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20C

Applications
The number one application for Microfine is to develop your Neopan films, these days that is a single film stock, Neopan Acros 100 II, but if you have some of the original Acros 100 along with Neopan 400 and Neopan 1600 there are listed times for those as well on the Massive Dev Chart. Sadly there's no easily available datasheet so I have no real information beyond what I can find online. From what I have been able to discover, Microfine is designed to deliver both fine-grain and excellent sharpness on a variety of films delivering either full box speed or seeing a slight speed reduction (in faster films) or an increase in slow films. While designed for T-Grain emulsions where it does shine, especially with Acros II and TMax 100, it also delivers clean useable results with traditional cubic films. You can see that here with the slight drop to ASA-320 in the Kentmere 400 roll and the increase with RPX 25 (originally the time I found was for Retro 80s, but RPX 25 is based on the same film stock so there's that). If you have a lot of older Neopan films floating around, a pouch or a few might be worthwhile to pick up for best results especially with your Neopan 1600.

Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)

Qualities
Let's get one thing out of the way first: Microfine has produced some of the best results I've seen with Acros 100 II, hands down. There's almost no grain visible on many of these rolls, mainly with the TMax 100 and Acros 100 II images; I would hate to be in the darkroom having to focus on the grain. Microfine also handled the traditional grainy films, such as RPX 25 and Double-X, which I shot at ASA 100, and it produced amazing, near-grain-free results. I did see some visible grain with the Kentmere 400 but that stock have a much coarser grain yet still yielded amazing results. But don't let the lack of grain fool you; the images still came in sharp. What helps with that is the amazing tonal response you get from the film stock. It shows off the compensating nature of Microfine as I only shot one roll at box speed, and that was Acros II. Then, for two rolls, I had to adjust the EI to use Microfine and the TMax 100. I purposefully overexposed the roll to ASA-32. In each case, I got amazing results. The RPX 25, which I shot at ASA-100, turned out amazing with a red filter, and I already enjoyed exposing Kentmere 400 at ASA-320. To be honest, it feels like cheating.

Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)

Lowdown
The biggest problem with Microfine is that it is difficult to pick up outside of Japan. Thankfully you can pay for shipping from Japan to North America and they are timely. But as I mentioned in a previous paragraph, the only real application today is with expired Neopan films and Acros II to get the full value of the film. But also don't let that warning stop you from trying it if you can get some, it is an excellent developer all the same although limited in non-fuji film stock combos. When it comes to economy, a pouch costs around 4.50 Canadian, which even with shipping from Japan makes it fairly economical. While this wouldn't be a first choice for a standard developer, if you had a stash of Neopan films like Acros 100 (II) and Neopan 1600 that needed to be given the best possible chance, then it would be worthwhile to order several pouches and mix them up as you need them.

Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)

Recommended Reading
Don't just take my word on Microfine check out these other blogs on the subject!
No Other Reviews Found

#developerreviewblogs #canada #canoneoselan7 #developerreview #eastmandoublex5222 #fujfilm #fujifilmmicrofine #fujifilmneopanacros100ii #kentmere400 #kodaktmax100 #mamiyam645 #milton #minoltamaxxum9 #nikonf5 #nikonnikkormatft2 #oakville #ontario #review #rolleirpx25

I don't think there's a film out there that's a kryptonite for this developer of steel, Rollei Supergrain!

https://www.youtube.com/watch?v=lUir1RE1abQ

#filmphotography #review #developerreview #believeinfilm #shootfilmbenice

I'm reviewing Flic Film's Black/White & Green developer, a commercial version of PC-TEA. This low-toxicity developer has a long shelf life, low environmental impact, and excellent image quality!

https://www.youtube.com/watch?v=PXWKBywqxC0

#filmphotography #believeinfilm #shootfilmbenice #developerreview

If you are a fan of Microdol-X or want that classic fine-grain developer look, then LegacyPro Mic-X is the perfect match and clone of Kodak's OG fine-grain developer.

http://www.alexluyckx.com/blog/2024/08/06/developer-review-blog-no-50-legacypro-mic-x/

#developerreview #filmphotography #photography #believeinfilm #shootfilmbenice

Developer Review Blog No. 29 – Ilford Ilfotec LC29

When it comes to Ilford developers here in North America, we have access to most of their chemical stocks. But there is one that is a bit of a unicorn, and that is Ilfotec LC29, and I can't see why! This is a developer that, despite being close to Ilfotec HC, does not produce images in line with what Ilfotec HC produces, and it is far easier to pour than Ilfotec HC! I splashed it a little bit at how easily it flowed. Right from the start, I knew I had a winner here in LC29 and feel bad that it isn't readily available here in North America, so hopefully, we can start getting it more across the pond (even if we have to lose another developer, I could do without Ilfosol 3 tbh).

Technical Details
Manufacturer: Ilford
Name: Ilfotec LC29
Primary Developer: Hydroquinone
Type: One-Shot
Mix From: Liquid

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Ilford Ilfotec LC29 (1+19) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Ilford Ilfotec LC29 (1+19) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Ilford Ilfotec LC29 (1+19) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Ilford Ilfotec LC29 (1+19) 7:30 @ 20C

Handling
Probably the best part about LC29 is how easily it pours. If you're used to something like Ilfosol 3 or Ilfotec HC that has a bit more viscosity, LC29 has none. Seriously, you have to be cautious with the developer for fear of spillage. Mixing is easy, but you will want to have a small graduated cylinder on hand as it makes measurement easier even at the strongest dilutions. Ilford has three published dilutions, 1+9, 1+19 and 1+29; each produces the same image quality. It ultimately comes down to economy and time. Ilford does note that you want to use a minimum of 10mL of concentrate per working solution for the best results, so adapt your volumes as you see fit. For the best quality of your images, it is best to use LC29 as a one-shot developer. However, the most potent dilution (1+9) can process ten rolls of film (or equivalent) per litre of working solution; that number drops to five with the 1+19 dilution. Resuing the 1+29 dilution is not recommended. The shelf life of the concentrate is not listed, but I would assume that it has a shelf life between Ilfosol 3 and Ilfotec HC. The working solution should be mixed and used as it has only twenty-four hours from mixed to expired.

Nikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Ilford FP4+ @ ASA-125 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Ilford FP4+ @ ASA-125 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Ilford FP4+ @ ASA-125 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Ilford FP4+ @ ASA-125 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20C

Applications
I almost wish that LC29 was available when I first started developing film at home; as a developer, this is easy to use to get started in home development. You get good consistent results without too much trouble and insane calculations. And since you get it in 500mL bottles, it won't take up too much space, and you won't have to worry about mixing up powder and counting how many rolls in a bottle of ID-11 you've developed. LC29 works well with almost any black & white film you throw in the soup. Both fast films, slow films, traditional and t-grained. Plus, it can handle one-stop push and pull development without any significant difficulty or radical changes in the overall appearance of the images. One of the more exciting applications of LC29 is that you can stand-develop your film with a highly-dilute working solution. Examples I've found online call for a 1+100 dilution and then left standing for three hours. Or, if you're looking for a shorter time, a 1+120 dilution with a time of one hour with two inversions at the thirty-minute mark.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-800 - Ilford Ilfotec LC29 (1+19) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-800 - Ilford Ilfotec LC29 (1+19) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-800 - Ilford Ilfotec LC29 (1+19) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-800 - Ilford Ilfotec LC29 (1+19) 8:30 @ 20C

Qualities
If there's one word to describe LC29, that word is utilitarian. But it's a little more than that; to be honest, this developer is a jack of all trades and good at all of them. LC29 will take the film's best qualities and let them shine while it simply does the job of developing the film. LC29 does a superb job in helping tame contrast, both in reducing and increasing contrast to help bring the best qualities out of the film. It also handles grain well, helping reduce the overall appearance of grain without sacrificing edge sharpness. These two items also help with handling push and pull processing and fast and slow films. But what makes LC29 shine is that it's consistent in how it does this development; no matter the dilution, you will get the same results every time. Adjusting dilution depends on how economical you want to be with the developer.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Green-1) - Ilford Ortho+ @ ASA-80 - Ilford Ilfotec LC29 (1+19) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Green-1) - Ilford Ortho+ @ ASA-80 - Ilford Ilfotec LC29 (1+19) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Green-1) - Ilford Ortho+ @ ASA-80 - Ilford Ilfotec LC29 (1+19) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Green-1) - Ilford Ortho+ @ ASA-80 - Ilford Ilfotec LC29 (1+19) 6:00 @ 20C

Lowdown
After spending a lot of time getting my hands on LC29, I question why it is not readily available here in North America. I can certainly see that LC29 would be a potential popular developer both in the home and potentially in a lab environment. It fits between Ilfotec HC and Ilfosol 3, taking the best qualities of both and combining them into a single chemical. I'm sad that I have to import the stuff from across the pond, and I know that I would certainly purchase the developer from a local shop if they chose to carry LC29. I would even go so far as to say LC29 should be the chemistry of choice in the Ilford Simplicity Pack over Ilfosol 3. But if you are in Europe and looking for a one-and-done developer that produces excellent results from almost any film, LC29 might be a good choice.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20C

Recommended Reading
Don't just take my word on Ilfotec LC29; check out these other blogs on the subject!
No Other Reviews Found

#developerreviewblogs #bwfilmdevelopment #canada #chemistry #developer #developerreview #harmantechnologies #ilford #ilforddelta400 #ilfordfp4 #ilfordhp5 #ilfordilfoteclc29 #ilfordortho #ilfordphoto #ilfoteclc29 #kentmere100 #milton #minoltamaxxum9 #nikonf5 #oakville #ontario #portdalhousie #review #rolleiflex28f #toronto

Developer Review Blog No. 28 – Flic Film Classic MQ

You can never have too many D-76/ID-11 clones. And while there are tonnes already on the market, plus the capacity to mix one up yourself at home. I want to introduce the latest clone on the market, Flic Film Classic MQ. Flic Film is a new Canadian film lab based in Alberta, Canada. While they focus on re-rolling motion picture film stock, they have a healthy film chemistry group. In addition to their brilliant Black/White & Green, among their offerings is a D-76 clone, Classic MQ (Metol/Hydroquinone). But it is available in the smaller 1L volume rather than mixing up a whole gallon of stock solution.

Technical Details
Manufacture: Flic Film
Name: Classic MQ
Primary Developer: Metol & Hydroquinone
Type: Reusable/One-Shot
Mix From: Powder

Mamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20C

Handling
If you can mix any developer from a single pouch of powder, Classic MQ is not beyond your reach. The developer comes in a single pouch of pre-mixed powder combined with water to make a litre of stock solution. The temperature is pretty hot to mix the stuff up, and I recommend going with the upper range of temperatures. The reason is that the power will mix better; if you're doing the mixing by hand, it will take about 6-8 minutes to thoroughly mix, shorter if you have access to a magnetic stirrer. Once mixed, the stock solution has a shelf life of six months in a full 1L bottle. The stock solution can develop ten rolls of film or equivariant. You can reuse the solution in stock form for development, but it is a one-shot developer once diluted down to either 1+1 or 1+2. Flic Film has published no official times with Classic MQ; instead, use the published times for Kodak D-76 or Ilford ID-11 for times and dilutions. If these developers can do what they say, so can Classic MQ. I did all the rolls in the 1+1 dilution for this review to work through the bottle quickly.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20C

Applications
Like any D-76 clone, Classic MQ offers an alternative to Kodak chemistry, especially if you're Canadian support for a Canadian company. Classic MQ offers up that baseline developer that works well with all the black & white films on the market, working well on both standard cubic grained film and modern T and Delta grained films. And because it comes in only 1-litre volumes, it is ideal for those who develop at home but have limited space available to them. And for those working on a septic system, Classic MQ, designed for rural developers, has lower toxicity and is safe for septic systems. And like D-76 and ID-11, in a pinch, Classic MQ can be used as a paper developer both for darkroom printing and paper negatives. A film like Washi A would be a good idea to use Classic MQ to develop.

Nikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20C

Qualities
Being the same stuff as D-76 and ID-11, Classic MQ offers up that same baseline developer. Classic MQ lets the film shine, adding or subtracting anything from itself. You get that full speed out of your emulsion without any trouble. D-76 offers excellent detail at stock dilution, both in the highlights and especially the shadows. Surprisingly the developer does an excellent job taming grain at stock dilution. There's little in the way of adding or reducing contrast, for normal behaviour develop in a stock dilution. If you want to increase the sharpness, with a slight uptick in grain visibility, dilute down to 1+1 as I did, and it certainly helped get a bit more sharpness out of my HP5+ and Double-X without and decrease in contrast.

Nikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20C

Lowdown
Like any other clone developer, Classic MQ offers up another chance to get your hands on a solid developer if you're starting your journey in home development. And these days, with supply lines long and a bit of quality issue coming out of Sino Chemicals right now, Classic MQ offers up a classic D-76/ID-11 experience without any trouble. The developer's cost is right in line with what you would pay for D-76 or ID-11. While you cannot purchase the stock directly from Flic Film, they have many retail partners here in Canada and the United States and is a powder it is much easier to ship without any significant restrictions. And yes, it is easy to mix up your D-76 or similar developer yourself; sometimes, it's nice to support a Canadian business and simplify your life.

Recommended Reading
Don't just take my word on Classic MQ. Check out these other blogs on the subject!
No Other Reviews Found

#developerreviewblogs #blackwhite #canada #chemistry #classicmq #developer #developerreview #eastmandoublex #filmdeveloper #filmphotography #flicfilm #flicfilmclassicmq #guelph #hamilton #ilfordfp4 #ilfordhp5 #kodaktrix400 #mamiyam645 #minoltamaxxum9 #nikonf5 #nikonfe #ontario #review #rockton #westfieldheritagevillage

Developer Review Blog No. 24 – Adox XT-3

If there's one thing that is always uncertain these days is the availability and quality of photochemistry. At the same time, some companies have had no issues with maintaining their normal level of quality. As manufacturers of the materials and chemistries shift away from the originals, things get a little grey. Thankfully some are willing to take a chance and help keep things going, and one such company is Adox. While most of their chemical offerings are based on formulas from other firms, Rodinal, FX-39, and Atomal spring to mind. Adox XT-3 is a new offering, backwards engineers from Kodak Xtol a well-loved Ascorbic Acid developer that of late has had some bad batches (and not in the good Clone Force 99 way). And in true Adox fashion, they improved upon it, allowing for smaller volumes with shelf stability along with their Adox Captura technology to reduce dust and odour!

Technical Details
Manufacture: Adox
Name: XT-3
Primary Developer: Ascorbic Acid
Type: Reusable/One-Shot
Mix From: Powder

Nikon FE - AI Nikkor 24mm 1:2.8 (Yellow-12) - Adox CHS100II @ ASA-100 - Adox XT-3 (1+1) 9:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 (Yellow-12) - Adox CHS100II @ ASA-100 - Adox XT-3 (1+1) 9:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 (Yellow-12) - Adox CHS100II @ ASA-100 - Adox XT-3 (1+1) 9:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 (Yellow-12) - Adox CHS100II @ ASA-100 - Adox XT-3 (1+1) 9:30 @ 20C

Handling
One of the best additions to Adox XT-3 is the new Captura technology that cuts down both dust and odour, making it an easy developer to handle in powder form. There are two powders, Part A and Part B. If you're familiar with mixing up Xtol, then it's not a long leap to XT-3, mixing takes place between 20-29C, but you probably want to hit a middle point on the temperature scale, say around 25C is a nice happy medium. Then add Part A, stirring gently to avoid any over mixing, then add Part B, mix, and top up to final volume. Do not shake or violently mix as that will cause oxidization; your final solution should be clear. And it should only take between 2-3 minutes to dissolve, making it a fast developer to mix completely. The developer will last for two years; in the mixed form, a well-sealed bottle in a cool dark place will last six months; in less ideal conditions, you're time drops to six weeks. You can use the developer in the stock form to have enough juice to process ten rolls of film (1L kit) or 50 rolls of film (5L kit). You can also dilute it 1+1 or 1+2 if you so desire, but then you're looking at a one-shot developer. When it comes to development time, there are a handful of published times for XT-3, however, you can use XTol times, in fact, the Ortho+ roll I used times calculated by Jess for Xtol and they worked.

Minolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kodak Tri-X 400 @ ASA-400 - Adox XT-3 (Stock) 7:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kodak Tri-X 400 @ ASA-400 - Adox XT-3 (Stock) 7:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kodak Tri-X 400 @ ASA-400 - Adox XT-3 (Stock) 7:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kodak Tri-X 400 @ ASA-400 - Adox XT-3 (Stock) 7:00 @ 20C

Applications
Adox XT-3 can make for an excellent general-purpose developer, especially if you're doing high-volume development. You are making it a strong choice for professional labs that handle a lot of black & white films of various types. You can mix up batches quickly, and at the five-litre volume, you can take fifty rolls of film with a single set. While you do have to deal with a slightly shorter shelf time in some cases, it won't be too much of an issue if you're doing that much film. This developer is also good if you're a fan of the old Xtol formulation, you can use the exact times as a direct analogue and get the same results. If you're concerned about the toxic nature of film development, XT-3 is another choice as it shares the same developer as Xtol, although I still would not drink the stuff. But probably the best use for XT-3 is as a push/pull developer to help compensate for over and underexposure of film while shooting. It can also help tame that grain in many cases. For this review, I went with five different films. Some are common, and some are a bit more specialized. When it comes to film choices, you have plenty of options open to you, both fast and slow, not to mention being able to compensate for any over/underexposure. Despite handling push/pull development, I found that the developer does not take expired films, especially ones of questionable storage. I enjoyed working with the developer in Ilford HP5+, FilmFerrania P30, Ilford Ortho+, and Adox CHS100II. However, the two films that impressed me the most are Fomapan 200, a film notorious to nail down a good development and Ilford Ortho+ which blew me away. Big thanks to Jess Hobbs for coming up with the Xtol development times for Ortho+!

Nikon F5 - AF-S Nikkor 14-24mm 1:2.8G - FilmFerrania P30 @ ASA-80 - Adox XT-3 (Stock) 9:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - FilmFerrania P30 @ ASA-80 - Adox XT-3 (Stock) 9:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - FilmFerrania P30 @ ASA-80 - Adox XT-3 (Stock) 9:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - FilmFerrania P30 @ ASA-80 - Adox XT-3 (Stock) 9:00 @ 20C

Qualities
If you're a fan of the results you get out of Kodak Xtol, then you will find that you get the same results from XT-3. That should come as no surprise, given how close the two developers are to each other. One of the best parts about the developer is that it provides a modest effect on contrast; it levels things out, which is why it is an excellent choice for push/pull development. It will give a bit of contrast when needed or take it away when needed. I saw this the most when push processing expired TMax 400 and shooting under low-contrast conditions on a dull rainy day with Fomapan 200 and Ilford HP5+. This particular quality also helps improve the overall tonal separation of the film, allowing for clean whites, deep blacks, and excellent greys through the mid-tones. However, you will notice a drop in contrast when diluting 1+1. It also helps with the overall sharpness of the film. One of the film's best qualities is the ability to tame grain; it keeps that fine-grain development from Xtol and improves it overall. I found that even with Adox CHS100II, which isn't precisely a fine-grained film, XT-3 does a superb job in retaining edge sharpness while cleaning up the film's grain.

Pentax 67II - Super-Multi-Coated Takumar/6×7 1:3.5/55 - Ilford Ortho+ @ ASA-80 - Adox XT-3 (1+1) 9:30 @ 20CPentax 67II - Super-Multi-Coated Takumar/6×7 1:3.5/55 - Ilford Ortho+ @ ASA-80 - Adox XT-3 (1+1) 9:30 @ 20CPentax 67II - Super-Multi-Coated Takumar/6×7 1:3.5/55 - Ilford Ortho+ @ ASA-80 - Adox XT-3 (1+1) 9:30 @ 20CPentax 67II - Super-Multi-Coated Takumar/6×7 1:3.5/55 - Ilford Ortho+ @ ASA-80 - Adox XT-3 (1+1) 9:30 @ 20C

Lowdown
While I haven't had Xtol in my chemistry cupboard for some time now, I honestly thought that I would feel a bit meh about XT-3, but after seeing the results, I got from the stuff, I found that I missed this style of the developer. But if I used the developer again, I would stick to the stock dilution as I was not 100% happy with the results from the 1+1 dilution. The bonus of mixing up in 1-litre kits certainly makes it attractive for those with limited space. I can see myself getting this developer in again in the future. The biggest concern with XT-3 is availability; given that Adox is a small manufacturer, they are limited by how much they can make along with the other chemicals in their catalogue. Thankfully they do seem to churn out enough to keep people happy (I'm glad I got a second pouch for some film reviews next year). As for availability, you can purchase it through only shops, direct from Fotoimpex or through Macodirect, Analogue Wonderland, and other stores. Here in North America, I've only seen it pop up at Freestyle Photographic. From Fotoimpex, you're looking for 8.70$ for a 1L kit (~87 cents per roll, that drops to ~50 cents a roll with the 5L equipment), so the price is not too bad! While I hope that Kodak gets things in order with its chemistry production, it is nice to know there are always alternatives to well-loved developers.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-400 - Adox XT-3 (Stock) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-400 - Adox XT-3 (Stock) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-400 - Adox XT-3 (Stock) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-400 - Adox XT-3 (Stock) 8:30 @ 20C

Recommended Reading
Don't just take my word on XT-3. Check out these other blogs on the subject!
Toivonene Photography - Adox XT-3 Review

#developerreviewblogs #adox #adoxchs100ii #adoxphoto #adoxxt3 #blackwhite #canada #chemistry #developer #developerreview #fergus #filmdeveloper #filmferraniap30 #fotoimpex #guelph #ilfordhp5 #ilfordortho #kodaktrix400 #london #minoltamaxxum9 #nikonf5 #nikonfe #oakville #ontario #pentax67ii #review #xt3

What’s Up and Coming – 2022

Here we are at the end of another year! While 2021 was significantly better than 2020, we still have a long way to go, but things certainly were looking brighter (not so much now)! And while I certainly did not get all I wanted to in for 2021 mainly because of continued restrictions throughout the first part of the year, I am happy with the amount of work I did, and I'm rather pleased with what I did do this year.

I do love this shot I got of me posing on CN Locomotive 6167!

Project Work
For 2021 I brought back one of the first formats of photography projects I ever did, the fifty-two roll project. Where I shoot a roll of film each week for the whole year. And I have to say shooting a project that relies on going out and doing things; doing this during a pandemic with rotating orders and travel restrictions (both real and personally imposed) was an exciting experience. This year I decided to shoot three different film stocks, Fomapan 100, 200, and 400, dividing it up by season throughout 2021. Starting and ending with Fomapan 400, followed by Fomapan 200 and then right through the spring and summer with Fomapan 100. I feel I got to know these films far better, especially the 400 and 200 flavours. Although I'm still not sure, I will come to ultimately like Fomapan 200. I also went through the entire project without having my camera die on me or have some significant hiccup along the way. Plus, I got to add a couple of lenses into my camera kit, which I certainly will continue to enjoy working with in the future. I also made a point to work on the final book of the project in an ongoing method so that I can have that ready to release in 2022 after the last frame is shot and published. Like my Hasselblad based 52-Roll project, I selected a single frame from each week and wrote a far longer piece about each one using the same format as I did with the blog posts. I wrote about the history of that frame and why I picked that image, and why I selected the development, lens, and shooting style.

Also, over the spring, summer, and into the late fall, I worked on 2022's project, one based on the railway history of Southern Ontario, and I'm pleased to say that project is 100% complete and ready to publish on Wednesday time slot. During this year, I visited fifty different locations related to railway history. Most were constructed during the second half of the 19th Century and the first half of the 20th Century, about 100 years looking back. This was the period when the railroad had this romance about it, stations were grand, bridges were long sweeping and exciting, and you had the massive iron horses thundering across the country by steam and the first steps into diesel power. There is also the darker aspect of the use of the railroad as a tool of colonialism. But what I'm particularly proud of is that I got the entire project done before the end of this year, so I won't have to worry about playing catch up through 2022 and can press the button. Best of all is that the book is already completed and up for sale over on Blurb if you want a bit of a sneak peek or have a railway fan who is having a birthday in the first couple of months of 2022.

Reviews
The review work also went well, with a tonne of new films, old favourites being put to the test. Also, a tonne of fun and funky camera gear got a review along with lenses. But best of all is hitting an excellent stride with reviewing developers—best of all, hitting a tonne of new developers to my kit and found favourites along the way. The true star was Adox, with the Atomal 49, HRDEV, Silvermax Developer, and XT-3. Adox XT-3 being the newest of the group and getting me back into Ascorbic Acid developers. And don't worry, the review work for next year is already well underway on all fronts, cameras, films, lenses, and developers. In some cases, I have close to four months worth of reviews up and ready to publish. And I have some exciting media up for review this year! Fuji colour film, black & white slide, and some colour chemistry.

January's Camera Review - The Canon EFJanuary's Film Review - Fujifilm Superia X-Tra 800

The one thing you will notice for next year is more attention to consistency in the reviews. This subject was brought up by a comment on a previous post that I should use the same lens and camera body for a film review to help ensure that the film's true nature is shown. What I dismissed at the time, I made a point to try and head down that route for the new year. So in 2022, I will be working on keeping things a bit more consistent. While I won't use the same camera over the year, I'll ensure that each film review is done with the camera and lens. I'll continue to follow the same pattern of using T-Grain/Delta films for each lens review and developing in some General Purpose developer. At the same time, I've already slipped by having to use a couple of rolls of Eastman Double-X due to a lack of foresight on my part. However, I feel that I'll be leaning more heavily on Ilford films this year for my review work, both in-camera and lens reviews. Developer reviews will continue to use the same selection of cameras and films as it fits the style to show off how the developer works.

January's lens review - The Zuiko 50mm f/.8 Chrome Nose.January's developer review - a return to an old favourite, PMK Pyro.

YouTube Channel
Probably one of the most fun aspects of 2021 after successfully relaunching my YouTube channel in late 2020 was seeing where the medium could take my work. And I certainly have improved my work from those first couple of videos I produced. My original goal was to release a pair of videos each month, usually on a Tuesday on the week's where an episode of CCR was not being released on a Friday. That number grew into three for a couple of months as I found other events a good fit for a video format. I started the year with my Sony a6000 with a proprietary on-camera video microphone that did not yield good results on the audio side of things. Sure, I could do some voice over work, but on a video with walking and talking that never fit fell. And I certainly didn't want to try and synchronize everything in post-processing. I found my audio was far better after investing in new gear, a Nikon D750 and some external Rhode microphones, including a wireless unit. Plus figuring out suitable adjustments in post-production to allow for voice over a musical backing track.

And there is also the ongoing analysis on which videos do better than others. It seems that video reviews of cameras and light meters get the most traction. My review of the Gossen Lunasix F being the most popular this year with close to 3000 views. While they are highly technical videos that often include a lot more talking-head style video work. I have been trying to avoid talking for long periods as I tend to get tripped up, even after writing a script on what to say. I quickly discovered while I can use a two-camera setup, matching things up is a pain in the butt, but I do hope to try that a little more in 2022. As for next year, I already have a bunch of work done, including a couple of "On The Road Videos" and some reviews. Thankfully I can film these all out of order and set them up on YouTube to auto-publish, making my life much easier. I plan on following a similar idea as last year, with most months having a pair of videos released on a Tuesday. With a few months having three if there are that many Tuesdays. I also have a little fun 'series' in the works, and we can see if that pans out into anything.

Classic Camera Revival

The Amazing CCR team that has kept everything going through 2021 and will continue through 2022.

Toronto Film Shooters Meetup
For the Toronto Film Shooters group, 2021 has been a rough year; having been unable to meet in person due to restrictions through 2020, early 2021 did take its toll. I'm happy to say that the group has remanded stronger than ever. Over the first part of 2021, we hosted a couple of virtual meetups. Where you would go out and explore an area with your camera, pick up a take-out meal of choice with a beverage and join a Zoom meeting to discuss where you went and what you were shooting with. This worked for the first couple of months but eventually became a smaller group. We're all having a bit of Zoom fatigue, but it kept the group connected. The Facebook group has been abuzz with activities with people sharing.

Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 400 @ ASA-200 - Adox XT-3 (1+1) 8:00 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 (Yellow-12) - Adox CHS100II @ ASA-100 - Adox XT-3 (1+1) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kodak Tri-X 400 @ ASA-400 - Adox XT-3 (Stock) 7:00 @ 20C

Thankfully as vaccination rates climbed and restrictions started to lift, we began to hold meetups again. And managed to squeeze in almost a year's worth of meets into a few months. With a group meeting in the middle of October, along with early November and late November. And it felt good to get out and enjoy the company of fellow photographers and talk shop. And most important is that through 2022 the meetups will continue on a limited basis and in accordance with public health regulations. The task of running and planning is being delegated out too long time members and good friends Bill Smith and John Meadows, as I will have certain other activities that are going to be taking up a majority of the time. But I hope to make it out a couple of times, and parenting allows.

#newsupdates #2022 #afadedglory #blog #camerareview #canadianhistory #developerreview #filmreview #lensreview #news #railroad #reviews #update #website