# developer comparisons



## blackdoglab (May 24, 2007)

Do any of ya know where I can see a side by side comparision of film developers?  I'm usin' d-76 and was wondering what other developers can do for me.  Mostly I've been usin' tri-x and agfapan 100.


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## Alpha (May 26, 2007)

To be completely honest, this is a relatively impossible task. There are limitless combinations of developers, concentrations, and times.

BTW standard developer for agfapan is rodinal IIRC. D-76 should be perfectly fine for TX, though you might try some other kodak developers such as HC-110 or XTOL.


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## ann (May 26, 2007)

the best method to see the differences would be to run your own test.

we do a specific class for this very thing.
It is a very intense project, but will give you a "tool box" for which film/combo will produced a specific look.

i would suggest limiting your choices as this can get very expensive both with time and cost.

perhaps you could find a class in your area that offers something along the same lines that would give you help and direction as to the best method to do the testing.


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## fightheheathens (Jun 1, 2007)

i personally like Ilford DDX and Kodak XTOL. I use The DDX to develop Ilford PanF +  and XTOL to develop all the rest. I've used lots of stuff and thats what i found i like best.


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## deanimator (Jun 8, 2007)

If you are developing only a few rolls, and only from time to time, I´d recommend the T-Max developer for the Tri-X.
It´s quite stable and produces very good results.


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## blackdoglab (Jun 10, 2007)

What about Clayton liquid developer?


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## JC1220 (Jun 11, 2007)

There are dozens of decent off the shelf developers and if you mix your own, hundreds upon hundreds.  Each imparts it's own properties on the film you choose, fine grain, acutance, staining, etc.  The film choice with the developer will also vary those results and on top of that so will your paper choice when it comes time to print and your print developer.

Pick a combination of what you want to see in your negative results and a paper that can handle the scale of that film and start from there.  Don't like the grain you get - switch developers or film, like the way your negatives are coming out but can't fit the scale on your paper - switch papers, and so on until you get the results you are looking for.  Oh, and you'll need to test your combinations with contrasty scenes, flat and normal ones.  It may sound like a lot to do, but you should be able to figure it out in a day or two in the darkroom.


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