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Hi Don -
I agree with Jim in that high heat is obviously not good for color
film. However, all my PJ400 images on my website are with hypering @
50C. I have not noticed any degradation of the PJ film from the high
heat.
Just remember...............it is all voodoo!!!!!!!! <g>
Chris
Hi Don,
I live in the desert of California and I used to
own a one hour photo lab. In the lab I would regularly get film that was
left in a car during the heat of the day. This film was badly damaged by
the heat and almost impossible to print. Based on this, my personal
opinion is to hyper B&W at 50 and color at 30 degrees C. Exposing
color film to 122 degrees F is the same as leaving it in the hot
car.
All of the PPF on my web page was hypered at 30
degrees C, which is ambient in my garage in the summer. (G)
Just my 29 cents........
Jim
----- Original Message -----
Sent: Thursday, April 18, 2002 12:25
PM
Subject: [APML] 50°C vs 30°C
Hypering
Question: What is the
benefit of hypering at 50°C vs 30°C?
Is it to save time? Has
any testing shown a difference in color shift? In sensitivity?
I have surveyed the APML archives and several current web sites for
info on hypering recipes (time, temp and pressure) for color negative
films. It seems that most
APML’s are using 50°C for color neg film. The Lumicon instructions state that
the 50°C controller is for open reel, and the 30°C controller is best to
“sensitize film left rolled up in its cartridge”. I’m sure that 50°C isn’t
bad for color film, or it wouldn’t be popular.
I have been hypering using a Lumicon model 300 for several years now
at 30°C, with 35mm film in cartridge.
I am in the process of testing several currently available films for
extended astrophotos exposure times.
I would like to make my data relevant to the APML film
shooters.
Thanks,
Don
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