efke film, any users?

dcsang said:
Use a "hardening" fixer (like Kodak's - as long as they don't stop making it after filing Chapter 11 :D) ...
Cheers,
Dave
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I too was concerned about a replacement for Kodak's hardening fixer (I shoot Efke's IR820 Aura) and noticed that Freestyle carries this:

http://www.freestylephoto.biz/10198...Makes-1-Gallon-of-Working-Solution?cat_id=303

Once my Kodak bottle o' hardening fixer runs out, I'll start buying the Legacy Pro instead. They also have a photo-flo replacement.
 
I tried Efke 25 in the late 90's in 120 size. The pro lab I used at the time was not familiar with it. I gave up after a few bad rolls.
 
Hardening fixer only hardens film emulsion once it is dry. Wet, the inherent strength of the gelatin (called 'Bloom' after the inventor of the test for tensile strength of the product) is the major determinant of hardness or resistance to damage. You need to be very careful with Efke film irrespective of what fixer you use.

Marty
 
Efke 25 in Rodinal is a nice combination. Exceptional tonal range (great blacks!) when shot on cloudy day, but somewhat contrasty on sunny day.

The emulsion is soft when wet, so exercise caution when unloading.

Jim b.
 
I've only used the 50 version in 120. I must say it's one of my favorite films for daylight in summer. Rodinal is fabulous with it but it works with just about any soup I throw it in. Never had any problems with the emulsion.

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Btw. I've read the 25 is a good replacement for Acros 100 for pinhole work. It has very low reciprocity error.
 
I hope to find out soon

I hope to find out soon

Matus said:
I would just add a question - how do these slow Efke films compare to something like PanF+ ?
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I bought some of the 50 specifically to see that. It was a bit cheaper than PanF+ at Freestyle, though I haven't developed it yet.
 
I like the Efke 25 most. They all have clear Polyester layer so it will curl more then a regular tri-acetate film and you have to load clear layer films always in subdue light.

For iso 100 (and in 120 roll film format) I am using the Rollei Retro 100 TONAL film, in fact Efke 100 in orthopan, like the Efke 25.

IMO Efke films are their best in a very high acutance type developer. I am using Rodinal or Beutler for it.

The first example Efke 25 in Beutler, M7 + Summarit 2,5/75mm (35mm).
The second example Retro 100 TONAL in 6x7cm roll film format.

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35mmdelux said:
BREAKING NEWS: who makes Efke?
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eFKe is made in Samobor, Croatia. Also, it's rebranded a lot and sold on different markets.

eFKe used to make KB400, which was 400ASA film, and in fact that was the remaining stock of old HP5 (before HP5+), they bought from Ilford. Once they ran out, stopped producing 400ASA film.

KB25 and KB50 are essentially the same film, but KB100 comes in two versions, old (grey) and new (blue) emulsion. Unfortunately, eFKe keeps saying that this is the same film, however development times and tonality are completely different.

There was a funny situation when guy in eFKe told me like 50x it's absolutely the same film, no difference at all, and I brought him completely undeveloped new (blue) KB100 to the factory... he still claimed I messed something up :)

eFKe used to be really, really great, loved kb50, now they're not so good, IMHO... if you can find some old stock, that would work fantastic
 
Efke changed (already for some years) for 35mm and 120 roll film to clear Polyester layer. Non-developed it looks a bit Blue. But the dye should go out. This in contrast with Fomapan 120 roll film. The dye is inside the Polyester so their roll films always look a bit Blue and you can not wash it out.
 
Fotohuis said:
Efke changed (already for some years) for 35mm and 120 roll film to clear Polyester layer. Non-developed it looks a bit Blue. But the dye should go out. This in contrast with Fomapan 120 roll film. The dye is inside the Polyester so their roll films always look a bit Blue and you can not wash it out.
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they started producing new version about 2 years ago, yes, but you can still find old stock. Looks blue undeveloped, and dye comes out completely in development...

anyway, I gave up on it completely once they switched, not the same any more
 
I process my 4x5" Efke PL100 in ADOX Borax MQ (D76 Derivitive), or Pyro PMK+.

Recently I picked up 500 sheets of 6x9cm PL100, to use in my Plaubel Makiflexes.

It's really great film, once you figure it out.
 
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Efke 50 in Pyrocat HD, 8.5 min. 120 format with Bessa III and Heliar 80f3.5. Most likely at f4 or thereabouts.
I found that the Pyrocat worked very well with the Efke.
Until the film is dry you have to treat if with care - scratches easily when wet.
 
I love Efke films. I use the 25 a lot. Still have to try the 50 though.
Compared to Pan F+, I think it's a contender for sure, but I still have not been able to match Pan F+ with any film I've used so far. I think Pan F+ is more forgiving than most others.

M3, KB25, Voigtlander 50mm Nokton
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Speed Graphic 3x4, PL 100
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M3, KB25, Voigtlander 50mm Nokton
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Old KB25 & R25 are fantastic

Old KB25 & R25 are fantastic

I got KB25 when it was "new" and the "cheapie" at Freestyle, for US$30 for 100 feet. Then everybody found out how good it was. The newer backing/formulation is different, but I still develop it "old school" - either Fomadon RO9 at 1+40 for six minutes or D76 (1+3) for ten minutes. All at 20C/68F.
I tried a roll or two of KB50 but the speed-niche in my life was already filled by PanF. Ditto 100 speed has other options.

The "old" look of the "original" Efkes is why I'm not looking forward to "somebody" buying Kodak's B&W gear/recipes. The Fifties look disappeared from the West during the Sixties, but lived on behind "the curtain". Try & enjoy Efke, and you do get differing results with different chemistries.
 
In common with most of the posts here.. I like KB25 and KB50 for the classic tonal look (particularly when developed using Rodinal 1:100) and fine grain.
 
I'm digging through some rolls of Efke 50.
So far I like it a lot; I expose it at 32 and process in Xtol 1+2, with a lenghty prebath to get rid of the blue antihalo layer.
It's very curly.
I love the clear base (I scan the film, no wet prints) and the tonal richness.
Grain is fine, but the sharpness is nothing to write home about (vs. for example Acros 100, which is very sharp).

Fernando
 
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