Color Tint in TRI-X by accident?

[p.giannakis]

Overfixing will always become evident in the thinnest part of a print or negative. It being a negative, it does the inverse of what overfixing a print does - it eats out the shadow detail. And I've seen it happen to film, when screwing up times and concentrations (mixing 1:4 and applying the 1:9 time).

Thank you, that's something to be mindful of.

 

[Moogie77]

Thanks again to everybody for your very experienced answers and the interesting discussion points.

Now I can focus next time on the adjustments in Silverfast and not only setup B&W negative as scanning source and select TRI-X as the scanned film in it. I always thought this would be enough and did not pay attention to any other settings as I believed it would be already sufficient.

Also wash longer or extend the fixing time a bit I can try to achieve maybe already a pure black and white negative without color traces. But I will be careful not to push this too far.

BTW as I am normally not a fan of changing the picture (in this case negative) I am curious what in this case the darkroom result would be? Would it also shows the color tint? Or is it in most cases just the scan (software) to also add the color tint to the pure black and white negative you leave the RGB setting or saturation up (or mostly a combination of both)?

I wish you all a good day.

Cheers, Miguel

 

[Pherdinand]

darkroom printing would - normally - be done on black and white paper which of course does not support any colors 🙂

 

[Moogie77]

Hehe, so much I am not knowing 🙂

Thanks for the clarification.

 

[sara]

In the lab when I scan b/w film especially XP2, there's always a tint of colour and it's not 100% b/w unless you totally convert it in Photoshop.

 

[FujiLove]

It's very subtle, but I like them. I don't think you have anything to worry about. Convert to monotone or keep them as-is. I would keep them as they are personally as they have a unique feel.

I also like hand coloured B&W images such as the ones Roger Hicks posted recently on another thread.

 

[LSI_Ketelhohn]

Hello,

for many B&W films it is normal to show a slight blueish or greenish tint. Many users even like to keep those.
To get true greyscale B&W images try selecting 16->8 Bit or 16 Bit output.
You can also desaturate images by using the Saturation slider in the Picture settings or even the ACR slider in the Selective CC dialog.


Kind regards,
Arne

 

[kb244]

I wonder what impact if any the slight pink or purple tint would have on variable contrast paper.

 

[Peter Jennings]

You forum moderator is a miserable pedant, by the way.

Seconded!!

 

[Dante_Stella]

If you can see it in person as a faint pink/purple, needs to stay in the fixer a little longer (it's by design).

Since Pink and Purple are the two common colors the negs stay with their designed fixers until it's completely fixed.

Fixer removes the unexposed/undeveloped silver halide and the opacifier layer. It has little to do with the purple dye, which will come out with

- hypo-clear and extending the wash, or

- simply hanging your fixed (by the book) film in sunlight for about an hour.

It's an extremely unstable dye. In fact, it is highly soluble in alkaline solutions, which is why when you use Rodinal, it all seems to end up in your developer.

The problem with relying on fixer, especially acid fixer, to get this out is that what is removing the dye is the water, not the fixer dissolved in it. Your fixer saturates with the dye, and the fixer then becomes less and less effective at getting it out (which leads to longer and longer fixing times if color is how you gauge fixing). That, I suspect, is why people think that "freshly mixed fixer" is needed to get it out (which is an amazingly expensive and environmentally unfriendly way of addressing the problem). But your fixer is not becoming less effective at its core mission, which is to stabilize the image.

Among fixers, TF4 is the best.

Dante