nonuniform
Established
The datasheet with the film is a little, um, conflicted. Sounds like a paper developer is the way to go, but thought I'd see if anyone here had more experience.
I've done a search and found the thread from 2 years ago, super helpful, thanks!
Just hoping for more info.
I've done a search and found the thread from 2 years ago, super helpful, thanks!
Just hoping for more info.
Godfrey
somewhat colored
I have used Ilford Multigrade with good results, mixed 1:9 and processed for 3 min, I seem to get about ASA 5-6 out of Washi-W 120 format.
Some photos: https://flic.kr/s/aHskWWZVev
G
...
Ah I see those were in the thread from 2017. I still have at least seven rolls of Washi 120 to play with...
Some photos: https://flic.kr/s/aHskWWZVev
G
...
Ah I see those were in the thread from 2017. I still have at least seven rolls of Washi 120 to play with...
Ljós
Well-known
German website monochrom recommends Tetenal Eukobrom (paper developer) 1:1 for an ISO of 25.
Godfrey
somewhat colored
Yes. Sadly, it's not very easily found in the USA, and it's expensive. Freestyle has it, at $23 for a 1L supply (plus shipping and tax). That's a good bit of money for not so many rolls of film processed "once in a while" with a one-shot 'mix and dump' strategy.
A 16oz bottle of Ilford Multigrade at 1:9 will process 11 rolls of film for $12, and I can get it at almost any photo store that carries any film processing chemistry.
It all comes down to choices...
G
nonuniform
Established
Thanks everyone. Yeah, the Tetenal is pricey, not even sure it's still in stock at Freestyle, have to call them tomorrow. Since this is an experiment while I'm at home for a while, might be interesting to run some back to back tests! Have 2 boxes of film coming.
Godfrey
somewhat colored
I ran a roll of Washi-120 in my Fuji GS645S Wide 60, exposing it at ISO 4 ... I used my Sekonic L358 in incident mode to establish a baseline for exposure.
The roll I ran in the Hasselblad 500CM the other week and processed in MultiGrade @ 1:9 for three minutes seemed a bit off, too contrasty; I thought the Washi-120 lkneeded more dilution and a longer processing time.
So I increased the dilution to 1:19 and processed for 8 minutes, with minimal agitation. (I also thought the Ilford Rapid Fixer's recommendation of 1:4 dilution seemed way too strong for this incredibly thin paper/film, and increased dilution to 1:9, fixed for 8 minutes as well.) I thought to myself, 'hmm, this might not even have enough developer energy to get this emulsion going in only 8 minutes...' but I was willing to risk it.
To my shock and surprise, upon opening the processing tank what should I see but 14 nearly perfect, rich negatives? Dense against the paper backing but very little blocking up, nicely expressed tonal curve, and yet the beautiful rice paper structure is easily apparent on inspection! Here's a quick render of one typical frame ... captured to a raw file with the Hasselblad 907x and a Macro-Elmarit-R 60mm f/2.8, quickly rendered to positive by inverting the Tone Curve in LR Classic, and cropped to the negative area plus a little rebate .. no other tweaking applied:
quick_washi_render_no-mods
Click on it to go to the Flickr.com page, you can click on it twice there and see the full resolution if you really want to see the paper structure embedded in the image.
Washi-120 emulsion is *extremely* fragile. I probably created the scratches loading it into the developing tank or carefully moving it through my current makeshift scanning jig. Truth is, however, I kinda like the look of the deterioration.
I'm also evaluating the benefits of using the Hasselblad 907x vs my Leica CL as a capture camera. The Leica CL is very well worked out for my use in this endeavor: I know just how to set it up and get the most out of it. The Hassy is still a work in progress ... but its 16bit depth and double the pixel resolution has some promise for even better capture qualities. So I also scanned the entire roll with both cameras and am comparing the raw files, using the same lens.
One thing that this is pointing out to me is that, aside from the simple facts of twice the pixels and more tonal range editability for the Hassy, the Leica CL sensor is incredibly good and produces very nearly identical quality negative captures despite being a quarter the size of the 907x/CFVII 50c sensor. The Leica CL's performance for these negatives is very nearly indistinguishable from the Hasselblad, using the same lens and the same ISO setting. Truly remarkable performance from that little APS-C sensor!
Fun stuff for sure.
G
The roll I ran in the Hasselblad 500CM the other week and processed in MultiGrade @ 1:9 for three minutes seemed a bit off, too contrasty; I thought the Washi-120 lkneeded more dilution and a longer processing time.
So I increased the dilution to 1:19 and processed for 8 minutes, with minimal agitation. (I also thought the Ilford Rapid Fixer's recommendation of 1:4 dilution seemed way too strong for this incredibly thin paper/film, and increased dilution to 1:9, fixed for 8 minutes as well.) I thought to myself, 'hmm, this might not even have enough developer energy to get this emulsion going in only 8 minutes...' but I was willing to risk it.
To my shock and surprise, upon opening the processing tank what should I see but 14 nearly perfect, rich negatives? Dense against the paper backing but very little blocking up, nicely expressed tonal curve, and yet the beautiful rice paper structure is easily apparent on inspection! Here's a quick render of one typical frame ... captured to a raw file with the Hasselblad 907x and a Macro-Elmarit-R 60mm f/2.8, quickly rendered to positive by inverting the Tone Curve in LR Classic, and cropped to the negative area plus a little rebate .. no other tweaking applied:
quick_washi_render_no-mods
Click on it to go to the Flickr.com page, you can click on it twice there and see the full resolution if you really want to see the paper structure embedded in the image.
Washi-120 emulsion is *extremely* fragile. I probably created the scratches loading it into the developing tank or carefully moving it through my current makeshift scanning jig. Truth is, however, I kinda like the look of the deterioration.
I'm also evaluating the benefits of using the Hasselblad 907x vs my Leica CL as a capture camera. The Leica CL is very well worked out for my use in this endeavor: I know just how to set it up and get the most out of it. The Hassy is still a work in progress ... but its 16bit depth and double the pixel resolution has some promise for even better capture qualities. So I also scanned the entire roll with both cameras and am comparing the raw files, using the same lens.
One thing that this is pointing out to me is that, aside from the simple facts of twice the pixels and more tonal range editability for the Hassy, the Leica CL sensor is incredibly good and produces very nearly identical quality negative captures despite being a quarter the size of the 907x/CFVII 50c sensor. The Leica CL's performance for these negatives is very nearly indistinguishable from the Hasselblad, using the same lens and the same ISO setting. Truly remarkable performance from that little APS-C sensor!
Fun stuff for sure.
G
Godfrey
somewhat colored
Here's one of the exposures I like from the roll:
Fence, Trash Can, Loading Dock - Santa Clara 2020
Fujinon GS645S Wide 60 Professional
Washi-120 film
ISO 4, f/4, 1/30
Scanned with Hasselblad 907x + Macro-Elmarit-R 60mm f/2.8
Click image to view on Flickr.com; click twice on image to see 1:2 scan resolution.
Love the texture of this film when you get the exposure and processing just right.
G
Fence, Trash Can, Loading Dock - Santa Clara 2020
Fujinon GS645S Wide 60 Professional
Washi-120 film
ISO 4, f/4, 1/30
Scanned with Hasselblad 907x + Macro-Elmarit-R 60mm f/2.8
Click image to view on Flickr.com; click twice on image to see 1:2 scan resolution.
Love the texture of this film when you get the exposure and processing just right.
G
Godfrey
somewhat colored
More Fuji GS645S Wide 60, more Washi-120.
Olive Tree - Santa Clara 2020
Fujinon GS645S Wide 60 Professional
Washi-120 film
ISO 4, f/4, 1/30
Scanned with Hasselblad 907x + Macro-Elmarit-R 60mm f/2.8
Click image to view on Flickr.com; click twice on image to see 1:2 scan resolution.
Enjoy!
G
Olive Tree - Santa Clara 2020
Fujinon GS645S Wide 60 Professional
Washi-120 film
ISO 4, f/4, 1/30
Scanned with Hasselblad 907x + Macro-Elmarit-R 60mm f/2.8
Click image to view on Flickr.com; click twice on image to see 1:2 scan resolution.
Enjoy!
G
Godfrey
somewhat colored
Tree And Telephone Pole on Suburban Street - Santa Clara 2020
Fuji GS645S Wide 60 Professional
Washi-120 film
ISO 4, f/4, 1/30
Scanned with Hasselblad 907x + Macro-Elmarit-R 60mm f/2.8
Click image to view on Flickr.com; click twice on image to see 1:2 scan resolution.
Enjoy!
G
Godfrey
somewhat colored
Another roll, this time exposed in a Hasselblad 500CM with Makro-Planar CF120mm lens fitted. Hanging and drying ...
The Good Olde Days
Waiting for a freshly processed roll to dry.
My Ilford multigrade paper developer is again nearly exhausted just from sitting. Sigh.
But I think there are maybe two or three decent exposures on this roll to play with, so I'm happy.
G
The Good Olde Days
Waiting for a freshly processed roll to dry.
My Ilford multigrade paper developer is again nearly exhausted just from sitting. Sigh.
But I think there are maybe two or three decent exposures on this roll to play with, so I'm happy.
G