I see differently articles on alternative film developers like Caffenol, Mytol or PC-Tea you can do yourself, especially for fun on my side.
I’ve ordered chemicals for PC-Tea and I’m impatient to test further.
Anyone use these recipes, and what are your thoughts and experiences about them?

All images are generated by AI (Gemini/ChatGPT) to illustrate the post.

#photography #darkroom #filmdeveloper #pctea #caffenol

You can never have too many D76 clones, especially when they come from the fine folks at the FPP. It's Dalzell76!

http://www.alexluyckx.com/blog/2024/04/02/developer-review-blog-no-49-fpp-dalzell76/

#filmphotography #photography #believeinfilm #shootfilmbenice #filmdeveloper #filmphotographyproject

A developer with a couple of names and some familiar dilutions. But Fotospeed FD10 delivers some excellent results! #filmdeveloper #filmphotography #fotospeed #believeinfilm #shootfilmbenice

http://www.alexluyckx.com/blog/2023/07/24/developer-review-blog-no-43-fotospeed-film-developer-fd10/

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. 26 – Ilford ID-11

When it comes to basic bare-bones developers, you can't get any simpler these days than Metol and Hydroquinone. And there are a lot of these developers out there, my first developer review, Kodak D-76, is one such developer, and there are numerous clones of the developer. Each has its little takes on this foundational developer. So it only makes sense that I review several different options, so today, I will be talking about Ilford ID-11. Often called the British D-76, ID-11, while at its core is the same as D-76, it does have a few things that set it apart from the colonists over in Rochester.

Technical Details
Manufacture: Ilford
Name: ID-11
Primary Developer: Metol & Hydroquinone
Type: Reusable/One-Shot
Mix From: Powder

Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Ilford Delta 100 @ ASA-200 - Ilford ID-11 (Stock) 10:30 @ 20CMamiya m645 - Mamiya-Sekor C 150mm 1:3.5 N - Ilford Delta 100 @ ASA-200 - Ilford ID-11 (Stock) 10:30 @ 20CMamiya m645 - Mamiya-Sekor C 150mm 1:3.5 N - Ilford Delta 100 @ ASA-200 - Ilford ID-11 (Stock) 10:30 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Ilford Delta 100 @ ASA-200 - Ilford ID-11 (Stock) 10:30 @ 20C

Handling
One of the first things people will notice about ID-11 is that it comes in various volumes. Unlike D-76, which comes in a single 1-gallon volume, ID-11 comes in 1 litre and 5-litre volumes. That means that you can tailor your size to the amount of film you have to process. The developer comes in 1-litre packages making it easy to store in small spaces. To mix, the developer comes in powder form and dissolves quickly in warm water, first pouch A and then pouch B to make up the stock solution. Once done, you can use the developer at ten rolls per litre, reusing the stock solution. Or you can dilute it 1+1 or 1+2 as a one-shot developer. A full bottle will last six months capped and in a cool dark place.

Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Ilford HP5+ @ ASA-400 - Ilford ID-11 (Stock) 7:30 @ 20CMamiya m645 - Mamiya-Sekor C 150mm 1:3.5 N - Ilford HP5+ @ ASA-400 - Ilford ID-11 (Stock) 7:30 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Ilford HP5+ @ ASA-400 - Ilford ID-11 (Stock) 7:30 @ 20CMamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Ilford HP5+ @ ASA-400 - Ilford ID-11 (Stock) 7:30 @ 20C

Applications
If you're not looking for any unique and want something that will develop your film without too much trouble, then ID-11 is a superb choice for a developer. Especially if you're learning home black & white development, ID-11 is a no-nonsense choice that will get your film developed and show what the film can do without anything special. While you can push and pull develop with ID-11, I would limit yourself to only a single stop, either over or under. But where ID-11 shines is when you're shooting the film stock at the box speed. And it doesn't matter what film you're working with, fast or slow; ID-11 will give you a baseline on the film stock. If you're concerned about a film's grain or contrast, then you can dilute 1+1 for a bit of reduction in both or 1+2 for more. But you will see a bit of quality loss. One other application for ID-11 is as a paper developer; while not dedicated as such, you can use ID-11 for that application in a pinch. And to be honest, I did not encounter a film that didn't do well with development in ID-11. And that's both modern T-Grain (Delta) emulsions and classic emulsions.

Nikon FE - AI Nikkor 24mm 1:2.8 - Agfa APX 100 @ ASA-100 - Ilford ID-11 (Stock) 9:00 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Agfa APX 100 @ ASA-100 - Ilford ID-11 (Stock) 9:00 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Agfa APX 100 @ ASA-100 - Ilford ID-11 (Stock) 9:00 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Agfa APX 100 @ ASA-100 - Ilford ID-11 (Stock) 9:00 @ 20C

Qualities
One of the best parts about ID-11 is that it delivers only development. It will neither add nor subtract any qualities to a film stock providing an excellent baseline for what a film can do. If you have a sharp film, it will remain sharp; if it's a fine-grained film, it will remain fine-grains. Same with contrast, it will neither add nor subtract from a film's inherent contrast. That does change once you start diluting the developer. Once you go to 1+1, you'll see a bit of lowering of a film's contrast and some grain reduction. It is nothing to the same extent as Microphen, but it can work in a pinch. Plus, it does give a bit more of a classic look to a film stock like TMax 100. In the end, you need to balance things out between economy and overall image quality. While some may call ID-11 boring, sometimes you need something boring to get results when they matter most.

Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Ilford ID-11 (Stock) 6:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Ilford ID-11 (Stock) 6:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Ilford ID-11 (Stock) 6:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Ilford ID-11 (Stock) 6:30 @ 20C

Lowdown
Like D-76 or the number of clones out there, ID-11 is an excellent choice for beginners or advanced processors alike. Because it can be reused, it makes it excellent for volume work, and if you can get ten rolls out of a litre of stock solution, it is an economical choice. A one-litre box will cost approximately 9.50$, which comes to 95 cents per developer cycle, which isn't too bad, to be honest. And it is readily available here in Canada through both online and brick and mortar stores and hasn't been affected too much by shortages. Since Ilford is still produced domestically at their factory in England, I have heard of no quality control issues. While it isn't overly toxic, you should not be drinking the stuff and ensure it is properly disposed of when exhausted. While I still have a soft spot for D-76, ID-11 is the perfect analogue for the classic Kodak developer.

Mamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak Tri-X 400 @ ASA-200 - Ilford ID-11 (Stock) 6:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak Tri-X 400 @ ASA-200 - Ilford ID-11 (Stock) 6:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak Tri-X 400 @ ASA-200 - Ilford ID-11 (Stock) 6:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak Tri-X 400 @ ASA-200 - Ilford ID-11 (Stock) 6:00 @ 20C

Recommended Reading
Don't just take my word on ID-11 check out these other blogs on the subject!
Darkroom User - Ilford ID-11

#developerreviewblogs #acton #agfaapx100 #blackwhitedeveloper #cambridge #canada #chemistry #developer #filmdeveloper #galt #haltonhills #harmantechologies #id11 #ilford #ilforddelta100 #ilfordhp5 #ilfordid11 #ilfordpanf #ilfordphoto #kodaktrix400 #mamiyam645 #minoltamaxxum9 #niagaraonthelake #nikonfe #ontario #stmarys #stratford

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

Developer Review Blog No. 23 – Adox Atomal 49

Being in North America and raised on Kodak and Ilford developers, I did not even know that Atomol existed, other than seeing it listed on the Massive Dev chart and just passing it by as another European developer. But when I was hunting for more Rollei developers at Freestyle, I came across Atomol 49 as an 'other people purchased' listing. I was excited to give this a shot, and after mixing it up, I posted in a Film Photography Chat group on Facebook and asked if anyone else had used the stuff. The response was overwhelming how many people used the stuff. However, the best was from Cheyenne Morrison, who sent me a whole pile of information on the stuff. Adox Atomol 49 is not a new developer and not even originally produced by Adox. It is originally an Agfa product. When World War Two divided Germany there also ended up being two Agfa factories, one continuing under the name of ORWO in 1964. Originally named Atomol and Atomol F before the war, the formula had a slight change after the war and took the name Atomol 49. ORWO and other companies continued to produce their own versions of Atomol known as A49, ATM49, or A03. And like a lot of Agfa chemistry it was picked up by Adox in the 21st Century the formula being nearly identical to the original Agfa/ORWO formulation. What I found is a developer that checks all the boxes for me, it's reusable, does a high volume of films per litre, is compensating, fine-grain and sharp.

Technical Details
Manufacturer: Adox
Name: Atomol 49
Primary Developer: Phenidone & Hydroquinone
Type: Reusable/One-Shot
Mix From: Powder

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 (Yellow-12) - Efke KB100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 (Yellow-12) - Efke KB100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 (Yellow-12) - Efke KB100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 (Yellow-12) - Efke KB100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20C

Handling
If you're already used to mixing up powdered developer, then Atomol will be a breeze to mix up. Now unlike developers like D-76, this is not an all in one pouch. Atomol comes in three separate pouches, each labelled A, B, and C. Now it is important to mix these in order with 900mL of water. Mix each pouch in until it is totally dissolved then top up the full 1L. Thankfully you don't have to overheat the water as you mix it between 20-26°C but don't have the water hotter than 30°C. The good news about these temp values is that you can start using it right away. Although I usually let my freshly mixed developers sit for about a day before using. In actual use in the lab, you're going to be working with the stuff in either stock solution or diluting it down 1+1 or 1+2. Your one-litre bottle will developer ten rolls of film without any dilution. Your stock solution is not long-lasting, with a full container, unused last for six weeks. Thankfully, I could use my standard agitation pattern, constant for the first minute then five inversions every minute.

Minolta XE-7 - Minolta W.Rokkor-X 28mm 1:2.8 - Ilford FP4+ @ ASA-125 - Adox Atomal 49 (Stock) 8:00 @ 20CMinolta XE-7 - Minolta W.Rokkor-X 28mm 1:2.8 - Ilford FP4+ @ ASA-125 - Adox Atomal 49 (Stock) 8:00 @ 20CMinolta XE-7 - Minolta W.Rokkor-X 28mm 1:2.8 - Ilford FP4+ @ ASA-125 - Adox Atomol 49 (Stock) 8:00 @ 20CMinolta XE-7 - Minolta W.Rokkor-X 28mm 1:2.8 - Ilford FP4+ @ ASA-125 - Adox Atomal 49 (Stock) 8:00 @ 20C

Applications
One of the first and best applications for this developer is with high silver content films. Think Adox Silvermax and CHS 100 II or if you're lucky to have some leftover Efke or OG Adox films. And I can say, that Efke sings in Atomol! But don't limit yourself to those films, modern emulsions work like magic, both traditional and cubic grained films. And it seems that speed doesn't matter. The sweet orange is 100-400 but again, being a compensating developer you can easily push and pull, and I did that with Fomapan 400 earlier in the year shooting the stock at both 200 and 400 without any trouble. And a developer that can make Fomapan 400 sing is solid in my book. But it also runs well with FP4+, Acros TMax 100, HP5+, TMax 400 and Tri-X 400, all films that I count as among my favourites, and Atomol makes me love the films all the same. Besides general-purpose development, Atomol would easily fit it with shooting in a historical context, being a developer that can trace its history back before the war, like D-23. It works well with classic film stocks and provides a classic look. I can see using this with Fomapan 400 through the Contax IIIa or Rolleiflex during a WW2 event would make for amazing shots.

Nikon FE - AI-S Nikkor 35mm 1:2.8 (Yellow-12) - Kodak TMax 100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 (Yellow-12) - Kodak TMax 100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 (Yellow-12) - Kodak TMax 100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 (Yellow-12) - Kodak TMax 100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20C

Qualities
Probably the strongest quality that you get with Atomol is the dynamic tonality that it delivers. It is across all films, Efke, Acros, Tri-X, HP5+, and TMax 100 that I shot for this review but also found it with Fomapan films 100, 200, and 400. And that tonality comes from the developer's compensating nature, which means that if you combine the developer with a film with a lot of latitude and forgiveness means that you can take full advantage of those even in less-than-ideal lighting or metering mistakes. When it comes to grain and sharpness, the developer handles both with ease thanks to the two developing agents, Phenidone which we know with Rodinal gives you that sharpness, while Hydroquinone keeps the grain tamed. And it does a wonderful job at both when combined with a film that already has that fine grain and sharpness, but even in films not known for that, I'm looking at you Fomapan 400. I noticed right off the bat that the grain on Fomapan 400 even at ASA-400 is far less than what you would expect.

Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Adox Atomal 49 (Stock) 7:30 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Adox Atomal 49 (Stock) 7:30 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Adox Atomal 49 (Stock) 7:30 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Adox Atomal 49 (Stock) 7:30 @ 20C

Lowdown
Atomol is the film developer that you didn't know you needed. And when I was initially shooting the film to try out Atomol for the first time, I purchased a new batch of film to keep using the developer throughout the ongoing 52-roll project and for my first all Adox film review (Silvermax). While not readily available in North America in most photography stores you can order it online through Argentix.ca, but you can also order through Freestyle Photographic for US readers. But the best way is to order directly from Adox through their Fotoimpex storefront. But if you want to save some money on the stuff, eBay is the way to go as there is still plenty of the ORWO stuff floating around online and in a sealed pouch will last for a long time, even the Cold War-era stuff. If you're a little concerned about age, I've been assured that it will still work from a trusted source. So if you're looking for something different or have a huge stash of Efke film floating around, then I highly recommend Atomol.

Hasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Fuji Neopan Acros 100 @ ASA-100 - Adox Atomal 49 (Stock) 7:15 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Fuji Neopan Acros 100 @ ASA-100 - Adox Atomal 49 (Stock) 7:15 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Fuji Neopan Acros 100 @ ASA-100 - Adox Atomal 49 (Stock) 7:15 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Fuji Neopan Acros 100 @ ASA-100 - Adox Atomal 49 (Stock) 7:15 @ 20C

Recommended Reading
Don't just take my word on Atomol 49 check out these other blogs on the subject!
No other Reviews Found

#developerreviewblogs #adox #adoxatomal49 #atomal #atomal49 #bwdeveloper #believeinfilm #canada #chemical #chemistry #developer #efkekb100 #filmdeveloper #filmisalive #filmisnotdead #fujineopanacros100 #guelph #hasselblad500c #ilfordfp4 #ilfordhp5 #kodaktmax100 #mamiyam645 #milton #minoltamaxxum9 #minoltaxe7 #nikonfe #oakville #ontario

Developer Review Blog No. 19 – Adox HR-DEV

When a developer and a film stock are so intertwined or one was made for the other it makes you think of a closed image system. I have plenty of experience working with those, not surprisingly also from Adox, but also Kodak Techincal Pan comes to mind. While the film and the developer are specifically designed for each other, both can be used in other developers and on other films. However, don't think of Adox HR-DEV as a one or two-trick pony as despite the name it is a wonderful developer that does more than just develop Adox HR-50. While the bottle only lists two films, the massive dev chart lists thirty-seven. Of the two listed (HR-50 and Silvermax) I will only be including the roll of HR-50 for this review. I did use a roll of Silvermax with HR-DEV, which you can find in that review. And you will get to read the review of Adox HR-50 next month. But don't kid yourself that this is an economical developer, it isn't, by a long shot. You can only get the developer in a 100mL bottle and the dilutions are the strangest I've seen since Adox Silvermax and Kodak HC-110. But with the cost of the stuff combined with wanting to finally review Adox HR-50, I had to run a review on the developer as well to get at least two posts out of a single bottle without having to buy another whole batch of HR-50 as both are a fairly special product.

Technical Details
Manufacturer: Adox
Name: HR-DEV
Primary Developer: Hydroquinone
Type: One-Shot
Mix From: Liquid

Olympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22COlympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22COlympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22COlympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22C

Handling
Sadly the only bottle size to get of HR-DEV is 100mL and that was just enough to process the five rolls of film I shot for this review. If you're just using the developer for Adox HR-50 film you have enough in one bottle to process at least 20 rolls of film. That is assuming that you mix up 500mL each cycle and process two rolls of film per tank. As I developed several different films at different dilutions I was not able to maximize the bottle. Handling the developer is easy, it pours well and the bottle seals nicely without a gasket. The tiny hole allows you to squeeze the concentrate out in a controlled manner, I never over measured the concentrate. The dilutions are pretty weird, even by my standards, and that's with using HC-110! You also have to note that you should not use standard agitation with the developing cycle, the bottle calls for an initial agitation of thirty seconds and then one agitation every following minute. That also changes from film to film. Check the notes on the Massive Dev chart to see what is recommended and stick with that method. Usually, when it says 1 agitation, I gave two very gentle agitations and got excellent results. Surprisingly HR-DEV has a decent shelf life, thanks to the addition of glycol, with over a year for an unopened bottle. Once you open the bottle, the shelf life does decrease, starting at about six months and lessens as you use the concentrate. I managed to use up the bottle in about a month just to be safe.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20C

Applications
The number one film that will perform the best with Adox HR-DEV is the paired HR-50 film, and the two go together like peanut butter and honey. But don't just limit yourself, although a bottle of 100mL is truly tailored for a large number of HR-50 rolls. Honestly, if you want some of the best results out of your slower films, then HR-DEV will not let you down. I got excellent results from Ilford FP4+, Fomapan 200 (which surprised me), Fuji Acros 100, and Adox Silvermax. If you're looking for no bump in contrast and amazing edge sharpness then HR-DEV will deliver. The downside is that there is a limited number of films that you can process with HR-DEV. As I mentioned in the introduction, only thirty-seven films, not bad, but this isn't your average Adox FX-39 developer. It also doesn't matter the style of grain (traditional or modern) it seems to handle both well. The single question you should ask before picking up that bottle is the inherent grain of the film, is it a fine-grained film naturally?

Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Fomapan 400 @ ASA-200 - Adox HR-DEV (1+30) 15:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Fomapan 400 @ ASA-200 - Adox HR-DEV (1+30) 15:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Fomapan 400 @ ASA-200 - Adox HR-DEV (1+30) 15:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Fomapan 400 @ ASA-200 - Adox HR-DEV (1+30) 15:00 @ 20C

Qualities
If there is one thing that this developer will deliver is sharpness. Every film I ran through the developer ended up being incredibly sharp. But as we in the film photography world know, there is always a payoff. When it comes to HR-DEV that is you will not get any reduction in the presence of grain. So if you're not scared of grain, then you'll be good with whatever film you run through the developer. Thankfully I used mainly naturally fine-grained films, and even in the case of Fomapan 200, I ended up with decently sharp images without too much added in the way of visible grain. I was not as lucky with Fomapan 400, even with a one-stop pull and shooting on 120, there is a lot of visible grain in the images. HR-DEV has nearly no effect on the film's contrast, so a low contrast film remains low and vice-versa. Another interesting thing is that HR-DEV is all over the place with film speeds, I only had two films where I shot them at box speed (HR-50 and Acros 100). In two cases, both of them with Foma film, it was a pull. And with FP4+ a push. Strange indeed, but in all cases, the images turned out and I was pleased with the results.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 @ ASA-100 - Adox HR-DEV (1+35) 11:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 @ ASA-100 - Adox HR-DEV (1+35) 11:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 @ ASA-100 - Adox HR-DEV (1+35) 11:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 @ ASA-100 - Adox HR-DEV (1+35) 11:00 @ 20C

Lowdown
To be honest with all of you, I wasn't exactly planning on doing a review on Adox HR-DEV, I saw it as a one-trick pony. Similar to what I found with Rollei RPX-D, yet I'm honestly glad I got my hands on the stuff because HR-DEV is a surprising developer. And it takes a lot for a developer to surprise me these days. Now I also put the stuff through the wringer. And I purposefully picked a couple of film stocks that I have not had the best results with in the past, namely Fomapan 200 and a film stock that isn't exactly well-liked. As a speciality developer don't expect it at every camera store you frequent, you do need to pick it up from specialised stores like Argentix, Freestyle, or B&H. There's also Fotoimpex, which is Adox's retail storefront. And supply lines are tight right now, I was surprised to find HR-DEV and HR-50 in stock in Canada when I purchased it there was a lack of Adox films and chemistry on this side of the pond. But my final say, if you have a need for the sharpest negatives, or a mess of HR-50 to process, HR-DEV will not let you down.

Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-200 - Adox HR-DEV (1+35) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-200 - Adox HR-DEV (1+35) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-200 - Adox HR-DEV (1+35) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-200 - Adox HR-DEV (1+35) 9:00 @ 20C

Recommended Reading
Don't just take my word on HR-DEV check out these other blogs on the subject!
Down the Road - Shooting Adox HR-50

#developerreviewblogs #adox #adoxhrdev #bw #believeinfilm #blackwhite #burlington #canada #chemistry #crawfordlake #developer #filmdeveloper #filminotdead #filmisalive #fomapan200 #fomapan400 #fujifilmneopanacros100 #hrdev #ilfordfp4 #mamiyam645 #milton #olympusom2n #ontario #portcolborne #portdalhousie #rolleiflex28f #stcatharines #welland

Developer Review Blog No. 17 – Ilford Ilfotec DD-X

Let me start this by saying that DD-X and I have not had the best of relationships. The first time I used it I wasn't happy with my results and decided that I was never going to touch the stuff again. But hey, almost every filmstock and developer are worth a second glance. DD-X, like its Kodak cousin, TMax developer was initially designed for use with the Delta range of films, specifically Delta 3200. Ilford has two versions of this developer, Ilfotec DD which is designed mainly for automated film processors that will use a dedicated replenisher and used in the stock formulation. White DD-X designed more for home processing how I do things. If I got that wrong, please leave a comment with the correction, and I can update this post.

Technical Details
Manufacturer: Harman Technologies/Ilford Photo
Name: Ilfotec DD-X
Primary Developer: Hydroquinone
Type: One-Shot
Mix From: Liquid

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-200 - Ilford Ilfotec DD-X (1+4) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-200 - Ilford Ilfotec DD-X (1+4) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-200 - Ilford Ilfotec DD-X (1+4) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-200 - Ilford Ilfotec DD-X (1+4) 6:00 @ 20C

Handling
DD-X is an easy developer to handle; you'd almost think that it had been mixed up from powder. The first thing that I noticed is how easily it pours; it's near perfectly liquid with no viscosity at all, even Kodak TMax developer is much more viscous. Most of the developing combinations used with DD-X calls for a 1+4 dilution although you can also use at 1+7 or 1+9. The official documentation calls for all dilutions are one-shot, yes even at 1+4. However, you can use that 1+4 for up to ten rolls of film, with an appropriate adjustment in developing times, with a 10% increase after that first roll and a 90% increase for roll number 10. Ilford does warn that the more you reuse that stock solution even with the time adjustments you will lose image quality. If you do want to increase the life of your concentrate, use the 1+9 dilution and adjust your times. Ilford also warns to ensure that you use at minimum 10mL of the concentrate when mixing up your working solution. DD-X has a good shelf-life a sealed bottle is shelf-stable and has a decent life when opened. Although it will yellow, it can still function normally, although you might see some degradation of image quality the longer it stays open. Even the working solution has a decent life, with it lasting up to twenty-four hours once mixed.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford DD-X (1+4) 10:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford DD-X (1+4) 10:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford DD-X (1+4) 10:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford DD-X (1+4) 10:30 @ 20C

Applications
Despite my initial thoughts on DD-X, I now realise that the developer is no one-trick pony. Honestly, I first thought that the only film that worked well with DD-X is Delta 100. And it's true, Delta 100 sings in DD-X. But you can get amazing results from other films so don't let DD-X go by. Before we continue, one of the best films to develop with DD-X is Delta 3200. Also, it's one of the films that I did not include in this review. Thinking back, I probably should have, but what can you do? Either way, DD-X works well with any modern emulsion, Kodak's TMax line, Ilford Deltas, along with Fomapan 400 and 200 and Fuji Acros II. But there are some surprising additions, including Adox HR-50, making it a viable developer when you cannot or don't want to invest in a bottle of HR-DEV. And it also does a good job processing traditional or classic grained films like Ilford FP4+ It also does a good job with push and pull processing thanks to its nature as being semi-compensating.

Nikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak TMax 100 @ ASA-100 - Ilford Ilfotec DD-X (1+4) 7:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak TMax 100 @ ASA-100 - Ilford Ilfotec DD-X (1+4) 7:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak TMax 100 @ ASA-100 - Ilford Ilfotec DD-X (1+4) 7:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak TMax 100 @ ASA-100 - Ilford Ilfotec DD-X (1+4) 7:00 @ 20C

Qualities
Let's start with tonality, if there's one thing that DD-X can give you is amazing tonality especially when you nail the exposure on the negative, but that's your usual goal eh? The idea is to create a negative that prints easily both in a traditional darkroom or even an alternative process. And in addition to the beautiful greys, you get excellent deep blacks and bright whites. But DD-X will also deliver excellent sharpness and fine-grain. Although there is a drawback, that added tonality does step down the contrast, and if you aren't careful with your exposure, you do get a little muddled. While not a low-contrast developer, it's more of a middling force for your contrast and that probably helps knockback that contrast when pushing your film.

Mamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak TMax 400 @ ASA-400 - Ilford Ilfotec DD-X (1+4) 8:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak TMax 400 @ ASA-400 - Ilford Ilfotec DD-X (1+4) 8:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak TMax 400 @ ASA-400 - Ilford Ilfotec DD-X (1+4) 8:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak TMax 400 @ ASA-400 - Ilford Ilfotec DD-X (1+4) 8:00 @ 20C

Lowdown
Despite my initial aversions to the developer, I think I have come to like DD-X and might even use it more than TMax Developer. First off, I now have a good local source for the chemical, no need to head into Toronto or pay for shipping, and I find it easier to handle while processing film. Sure you still have the issues that the chemistry is a bit more expensive, and a bottle doesn't last too long unless I decide to try the time extension, which thanks to Ilford they include all that information in the datasheet. And also if I decide to get some Delta 3200 again, DD-X will certainly be the developer of choice. These days Ilford chemistry is getting easier to find in local camera stores in Canada which is excellent because I certainly will want to continue to work and support an excellent company that is a big supporter of the film photography community.

Nikon F5 - AF Nikkor 35mm 1:2D - Adox HR-50 @ ASA-50 - Ilford Ilfotec DD-X (1+4) 7:30 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Adox HR-50 @ ASA-50 - Ilford Ilfotec DD-X (1+4) 7:30 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Adox HR-50 @ ASA-50 - Ilford Ilfotec DD-X (1+4) 7:30 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Adox HR-50 @ ASA-50 - Ilford Ilfotec DD-X (1+4) 7:30 @ 20C

Recommended Reading
Don't just take my word on DD-X check out these other blogs on the subject!
No Reviews Found on the Subject

#developerreviewblogs #adoxhr50 #bwdeveloper #believeinfilm #canada #chemistry #ddx #developerreview #film #filmdeveloper #filmisalive #filmisnotdead #harmantechnologies #ilford #ilforddelta100 #ilforddelta400 #ilfordilfotecddx #ilfordphoto #ilfotecddx #kodaktmax100 #kodaktmax400 #mamiyam645 #milton #minoltamaxxum9 #nikonf5 #nikonfe #oakville #ontario #review #rolleiflex28f #thorold