The regular firmware update of my printer ended in a seemingly bricked machine.
Neither in the manual nor in the online portal this problem was mentioned.
I found several posts in forums and groups, no solution was offered.
But … a long search session later there was one anonymus post which solved my problem:
Error message:
„Printer Mode
Set Jig
Push [OK] BT“
Unplugging the printer and various other voodoo doesn’t work, but I found a way to force it to technician mode.
Make sure the unit is off.
Then, while holding down the Home button, press the Power button for a few seconds. Eventually, you’ll get a screen with 4 options on it.
Go to 4, Normal mode.
On my machine, it defaulted to Japanese, which I don’t read like I suspect most of you don’t either. To Change the Language:
You need to go the Gear icon (Settings) and hit OK on the control panel.
Right arrow on the control panel once (to 2 / 10)
Click OK
Right arrow on the control panel 3 tunes (to 4 / 8)
Find your language on the list by using the up and down arrows on the control panel
Click OK
I had to reset my printer to work with my network by going to the WiFI Setup.
I then found the Print Network settings option on the printer and printed out the details so I’d have them when I finished setting up the printer on my PC.
Once that was done, I had to go to my PC (Windows 10-64 bit OS) and go to Printer Properties to find and install a „new“ printer.
Another way (epson recommendation) would be to use the utility at https://www.wic.support/download/
I never tried. I will rather buy a new printer if epson will not fix the annoying and repeating set Jig problem.
4,4′-Diazidostilbene-2,2′-disulfonic acid, disodium salt, tetrahydrate, it’s much easier to call it DAS, which is currently being used by the world’s leading color-carbon printer, Tod Gangler.
This sensitizer is a non-carcinogenic and non-toxic alternative to the dichromates. In addition to being environmentally friendly and safe to work with, it has no „dark reaction“ like the dichromates. What this means it that tissues can be made with incorporated sensitizer (pre-sensitized) and they will keep for long periods of time. UltraStable tissues from the mid-90’s will still make prints today.
All the information we’ve been seeing tells us that pre-sensitized tissues should keep on the scale of years, depending on humidity and temperature. Refrigerated tissues should keep well for several years and frozen tissues… who knows.
Differences in working technique with DAS are minimal.
The manner in which the sensitizer is incorporated into pigmented gelatin or „glop“ is elucidated, and there is a simple clearing bath which uses a minute amount of potassium permanganate. Also, the sensitizer powder should be refrigerated and kept away from light. With refrigeration it will keep well, even better with freezing.
As an incorporated sensitizer it’s recommended to use DAS at 0.6% as a starting point. For 500mL of pigmented gelatin, that’s only 3 grams of sensitizer. Contrast is affected by changes in sensitizer concentration, just like dichromates. I believe that printing times are generally a bit longer however. DAS is sensitive to UV light just like the dichromates (its sensitivity peak is 335nm).
DAS“ ist ein starkes Oxidationsmittel . Als photosensibilisierendes Reagenz kann es zur Sensibilisierung von Gelatine und anderen Kolloiden in fotografischen Druckverfahren als Ersatz für Ammoniak oder Kaliumdichromat verwendet werden.
Es funktioniert nicht mit Gummi arabicum. Im Gegensatz zu Dichromaten ist Diazidostilben nicht mutagen, nicht krebserregend. Die Kolloide, aus denen es besteht, können über lange Zeiträume gelagert werden, während ihre lichtempfindliche Kapazität intakt bleibt. Diazidostilben mit einem Empfindlichkeitspeak von 335 nm muss unter inaktinischem Licht gehandhabt, gemischt und verwendet werden, idealerweise unter einer Niederdruck-Natriumlampe. die eine Spitzenempfindlichkeit bei 589 nm aufweisen und eine hohe Leuchtkraftrate bieten, was die Handhabung und Messung erleichtert. Sie sollten keiner offenen Flamme oder heißen Oberflächen ausgesetzt werden. Oberhalb von 100 ° C kann es brennbar werden. Seine Zersetzung beginnt bei 160 ° C und ist bei 220 ° C abgeschlossen. Wie alle Azide neigt es dazu, sich unter mechanischer oder thermischer Einwirkung heftig zu zersetzen.
Diazidostilben muss in einer luftdichten Flasche aufbewahrt werden, um Schwankungen der Luftfeuchtigkeit zu vermeiden, und für lichtempfindliche Produkte undurchsichtig, um eine Veränderung zu vermeiden. Bei längerer Lagerung sollte es so kühl wie möglich gehalten werden – idealerweise im Gefrierschrank oder im Kühlschrank, wenn es häufiger verwendet wird. Das folgende Verfahren sollte angewendet werden, um Kondensation oder Austrocknung beim Herausnehmen aus dem Gefrierschrank zu verhindern: Etwa 24 Stunden im Kühlschrank lagern. Warten Sie beim Herausnehmen aus dem Kühlschrank einige Stunden, bevor Sie die Flasche öffnen. Diese Verbindung ist brennbar, wenn sie vollständig dehydriert ist, während sie bei einem Feuchtigkeitsgehalt von 3% (Herstellungsrate) keine Gefahr für die normale Handhabung darstellt.
Diazidostilben ist in Wasser schwer löslich – etwa 3%. Eine ca. 2,5% ige Arbeitslösung in Wasser kann in braunen Flaschen aufbewahrt und für Arbeitssitzungen verwendet werden. Diese Lösung kann ohne Änderung der Empfindlichkeit mehrere Monate gelagert werden. Es wird empfohlen, die 2,5% ige wässrige Lösung für pigmentierte Zubereitungen zu verwenden, um die Bildung von Klumpen zu vermeiden. Für den Kollotyp kann das DAS vor dem Filtrieren direkt mit der wässrigen Gelatinelösung gemischt werden, da kein Pigment zugesetzt wird (warten Sie einige Minuten nach dem Einbau, bevor Sie filtrieren, damit die Lösung klar wird). Eine verminderte Empfindlichkeit wird gemeldet, wenn das Mischen bei einer zu hohen Temperatur durchgeführt wird. Hier ein Beispiel für eine Methode zur Herstellung und Sensibilisierung von Kohlepapier: 1. Fügen Sie 1,5 g DAS zu 50 ml Wasser bei 29,4 ° C hinzu und geben Sie Wasser hinzu, um 60 ml zu erhalten. 2. Fügen Sie dies langsam zu 190 ml 13% pigmentierter Gelatine bei 40,6 ° C hinzu. Sie erhalten 250 ml 9,8% Gelatine (24,7 g) und 0,6% SAR-Lösung. Eine Konzentration von 6% ist ein guter Ausgangspunkt für die Herstellung vorsensibilisierter Kohlepapiere.
Wie bei Dichromat werden Kontrast und Empfindlichkeit durch Änderungen der Konzentration, der Stärke der UV-Exposition und anderer Faktoren beeinflusst.
Einzelne Parameter Carbon-Drucke oder Collotype-Platten, die mit DAS hergestellt wurden, erfordern einen zweistufigen Sensibilisierungsprozess. Das 1. Bad ist eine verdünnte Lösung von Kaliumpermanganat (oder Wasserstoffperoxid für den Kollotyp) in Salzwasser (das Salz wird durch Natriumbicarbonat für den Kollotyp und den Oleotyp ersetzt) und das 2. Bad ist Sulfit / Bisulfit. Die Anweisungen für das Carbonfoto stammen aus dem UltraStable-Handbuch …
Carbon: Zur Herstellung der Entwickler-Aufbewahrungslösung – Bad A: Wasser bei 43,3 ° C / 110 ° F 500 ml Kaliumpermanganat 3,2 g Natriumchlorid (Tafelsalz) 7,5 g Lösung Arbeiten: Bad A 1:20 mit kaltem Wasser verdünnen, um die Aufbewahrungslösung für das Bad zu stoppen – Bad B: Wasser bei 43,3 ° C / 110 ° F 500 ml Natriumbisulfit (Meta) 16 g Sulfit Natrium 16 Gramm Arbeitslösung: Bad B 1:20 mit kaltem Wasser verdünnen
Druck 1 Minute in Entwicklerbad A eintauchen
Kurz in kaltem Wasser spülen
Druck einweichen im Stoppbad B für eine weitere Minute.
Nach einer letzten Spülung von einigen Minuten wird der Druckvorgang durchgeführt
Für weitere Übersetzungsinformationen ist ein Ausgangstext erforderlich Feedback geben Seitenleisten Zeichenbeschränkung: 5.000. Du kannst mithilfe der Pfeile weiter übersetzen.
1 Papierentwickler normal bis etwas höher verdünnt (für schwache Kontraste) 2. Rotes Blutlaugensalz 40 Gramm pro Liter an. 3. Klärbad 90g Natriumsulfit in einem Liter Wasser. 4. Ein Blitzgerät zur Nachbelichtung (oder Lampe)
Fotopapier mit dem Dia 2 bis 3 Blenden überbelichten. Falls das Endergebniss (Positiv) noch zu dunkel ist, noch mehr überbelichten.
2. Erstwicklung. Ausentwickeln. Es entsteht zunächst ein Negativ. Wegen der Überbelichtung ist dies sehr dunkel. – kurz in Wasser abspülen –
3. Bleichbad. Mindestens 2 Minuten. Es bleibt ein Restbild stehen. Wenn sich absolut nichts mehr tut, -kurz mit Wasser abspülen-
4. Klärbad. Auch mindestens 2 Minuten. Zum Ende hin wird das Restbild etwas flacher, milchiger. – in Wasser mit Bild nach oben legen-
5. Nachbelichten. Blitz mit kleinster Leistungstufe und ca 1m Abstand.
(Variante : Wer eine Schwefel/Sephiatonung macht, kann sich die Nachbelichtung und Zweitentwicklung sparen, das erledigt der Schwefeltoner zusammen).
5. Zweitentwicklung im selben Entwickler (wer die etwas besser steuern möchte, kann 1+1 verdünnen).
5. Fixieren, wässern.
Bei Licht Ergebnis beurteilen.
Finetuning. Falls das Positiv zu hart oder zu dicht ist: (Das Bild muss sehr gut gewässert sein nach dem Fixieren. Fixierreste plus Bleiche frisst Lichter unwiederbringlich weg!)
Nochmals bei Licht in die Bleiche (ggf. stärker verdünnen 1+5) und so lange bleichen, bis die Schatten so sind, wie man sie haben möchte und dann schnell in Wasser und bewegen. Die Lichter werden dann mit sehr stark verdünntem Erstentwickler (1+10) zurück entwickelt. Ggf. wiederholen. Dann nochmals fixieren und wässern.
Geht praktisch schneller, als es hier den Anschein hat.
Looking the internet up I found some interesting thoughts
If you draw a ray diagram you may see a problem if you bring it very close to your subject, and your film sensitivity curve isn’t narrow.
For one thing the material in which the hole is made would need to be very thin, or you’ll get some odd vignetting.
But also remember that pinhole does a very poor job of focusing different wavelengths to the same plane. As the subject gets closer to the pinhole, that issue should get more noticeable: rays containing all the colours will need to approach the pinhole from more extreme angles.
Hence my suggestion to use a film with a narrow sensitivity curve… it’d be best if it were sensitive to a single wavelength
Danie Keating regularly comes up with useful and very interesting ideas of alternative developers. Find him on flickr.
The formulas are as follows—assuming 300ml single reel 35mm tank:
Keating’s T42 Green Tea Phenol Developer
300ml tap water room temp
4ml 10% solution of sodium hydroxide (lye drain cleaner)
0.7g sodium bicarbonate (common baking soda)
0.5g ascorbic acid (vitamin C powder)
0.25g Green tea Phenol powder
Times will vary with film speed 20 mins to 1 hour semi stand
Keating’s Peppermint Twisted Developer
*Same 300ml assumption
300ml room temp tap water
2g Sodium Metasilicate (this is sold as TSP/90 wall wash for paint prep at hardware stores)
0.7g sodium bicarbonate
1g ascorbic acid
0.25g dried peppermint extract
40mins-1 hour stand—expect more grain with this formula on higher speed films. Use either formula soon after mixing.
Personally, I prefer the Green Tea version but you may want more grit for street photography. These small footprint formulas solve for the following:
Less expensive than caffenol. 250G of green tea is $26 and 0.25g per roll means you can realize 1000 rolls at 2.6 cents per roll. Instant coffee is about 30 cents per roll for Caffenol.
Less consumptive of total weight of chems—far smaller overall footprint or impact on what goes down the drain.
No exposure to metol or sodium sulfite so contact dermatitis is avoided.
Nothing has to come from a chemist.
Image quality looks quite good to me
Another post from Daniel:
same negative Smena MZ3, the whimpy washed out scan was fixed in Kodak Rapid fix. The higher density one was achieved by re-fixing it in Arista non-hardening fixer. These are both raw scans of the same negs from same scanner. Easily a 1.5 stop boost
Instructions for the 8x11film- Reel for JOBO Tank System 1500
With this reel your existing 8x11mm negative and slide films can be developed using the JOBO 1500 developing tank. It is based upon the small and medium format reel for the JOBO 1500 system (DuoSet 1501) and was developed jointly by 8x11film in co-operation with Minox GmbH. This is the first genuine alternative to the original MINOX daylight developing tank that is no longer in production.
The product from JOBO have a reputation for extreme dependability and easy of loading and our transformation of the spiral does not change anything. Please read the instructions carefully to learn from our 12 months experience and testing to get the most out of this product and avoid damages to the spiral parts.
The development of an 8×11 film reel to use in the inversion tank has several advantages over the discontinued Minox daylight developing tank. 35mm and roll film can be developed with the same solution and at the same time depending on the choice of JOBO tank several reels can be loaded at the same time.
The same temperature and duration of processing follow those supplied by the manufacture of the film and of the developer. The same techniques for temperature control, inversion, tilting and processing that apply to conventional film can be followed.
With some skill and care is possible to develop two 36 exposure MINOX films on one reel. However we recommend that separate reels are used for each film to avoid the films moving and overlapping during the developing process. This is particularly a problem with films that have a strong tendency to curl. These may not be successfully developed at the out edge of the spiral.
The development in the rotation processor becomes possible with the 8×11 film spool but only with drastically lowered rotational speed. This is because the exposed area the negative strip, despite the large clearance between the adjacent parts of the spiral or helix can come into contact with it aided by the constant linear direction of flow of the developer in connection with turbulence at the outside edges of the spiral – both can lead to different velocities of flow and thus creating locally different effects of the developing chemistry. This phenomenon does not occur if the rotation is accompanied by tilting (please note however the tips for the coil of the film as well as for the movement of the tank during the process!). The use of the 8×11 film spool with the combined tilting rotation (e.g. JOBO Autolab) is under test.
Assembly: Preparing the spool for use in the JOBO tank
The spool is composed four parts, as shown in the photograph:
Part A.: the lower reel flange with the collar for the central column to anchor the upper flange in place.Part B.: the upper reel flange Part C.: the bayonet locking collar Part D.: a plastic locking pin, which serves as fixture for the upper spiral to prevent twisting during loading and development.
First of all set the upper reel flange (B) on the centre tube fixed to the lower reel flange (A, picture left). The position of the bayonet pins are not symmetrical and the upper reel will have to be turned to slide into place. The upper reel flange must ultimately rest on the lower reel flange.
The bayonet locking (C) is put on in the same way. It will slide on in only one way, no force is needed. The narrower slots must be downwards towards the lower reel flange. Rotate clockwise, looking down, to firmly lock into place.
(G) The bayonet locking should not be twisted up to the end of the slot. It is sufficient to turn it so that the pins are centrally placed within the slots. (G)
The illustration left shows the correctly locked reel. The openings of both flange halves are positioned to face each other accurately (illustration right).
Insert the plastic locking pin (D) into the hole in the base of the lower flange. The pin head is flat one side, this points out towards the spiral so that it lies flush when fitted. In this position it locks the upper flange. Push the reel over the centre tube, thus the head of the pin is prevented from falling out. The reel is now ready for action.
Loading 8×11 film
(G) The JOBO developing tank is not for daylight loading, therefore all following steps up to locking the box with the transferred film must take place in absolute darkness! (G)
Remove the caps of the MINOX film cassette. These held in place by small clips. Carefully use a thumbnail to lift the caps away and pull off. If the film has not been wound through it may be easier to take both caps off.
Cut off the end of the film with the keyhole with sharp scissors and round the corners. If the corners are not rounded the film can hook itself then moving along the spiral.
Tip: Use a clean porcelain plate as a dust free container to layout all the small articles and aid in finding them by touch. Take the prepared film in the left hand and the spool in the right. Feel for the reel opening the right thumb and slowly slide the negative strip with the rounded off end into the groove. By holding the negative strip with thumb and index finger (as shown) push the film completely into the reel.
(G) It is recommended that the film be pushed completely into the reel. The fact that the reel has a narrower part tapering towards the centre exposes the edge of the film and so you can continue to hold the film along the edge and push towards the middle. Thus there are fewer pressure points on the film material with the spiral. With films of extreme coiling tendency this helps, along with small rotation and agitation of the tank to prevent under-development of the edges of the negative. (G)
Still in the dark insert the reel into the tank. Push on the lid and firmly push down the sealing and clamping ring. If done correctly the remaining steps can be done in daylight. It is advisable to practice these steps with out film in the daylight until you are confident of doing the same process in the dark with the film to be processed.
The developing of the film
You can develop your film now according to manufacturer’s instructions, (G) although we do recommend to deploy a particular motion technique of the tank (G), by which as even a washing of the film as is possible to be ensured during the process. This is necessary, since the film with the exposed negative area overlaps with the spiral of the reels and must also be well washed. In addition this helps to possibly carry away last bubbles of air stuck on the emulsion and is done in conjunction with the traditional inversion and taping of the tank.
Tilting agitation, as in holding the tank and rotating the wrist, is not sufficient. The developing tank should additionally be tilted and rotated so that the liquid is rotated around the vertical axis. This is similar to the movement of liquid in a cognac glass. This auxiliary movement needs to be performed from the beginning and along with the applied tilting rhythm.
Tilting agitation, as in holding the tank and rotating the wrist, is not sufficient. The developing tank should additionally be tilted and rotated so that the liquid is rotated around the vertical axis. This is similar to the movement of liquid in a cognac glass. This auxiliary movement needs to be performed at the beginning and along with minimum every second applied tilting rhythm.
It has no large influence on the developing time (depending on the sort of developer and the time of development). You may have to adjust the development times accordingly.
(G) Tilting time intervals by more than a half minute should be avoided! (G)
The developing solution with this reel must be at least 150ml and the reel must be positioned full down on the centre tube. When developing with several reels at the same time (8×11 and 35mm for example) the 8×11 reel should also be placed completely down on the centre tube.
Now follow the manufacturer’s instructions for the use of a stop bath (to neutralize the developer) and fixer. The first washing is often done in the tank.
After the development process
The washing should follow a fixing bath, for which distilled water with a minimum (!) additive of wetting agent should be used. Lift the reel from the developing tank, let the drips run off. Holding the lower flange in the left hand unlock the bayonet with the right hand and a twist anticlockwise. Do not twist the top flange as the pin is still in place. It will lift off easily when the bayonet locking collar has been removed.
If you are using a large JOBO developing tank it is easier to remove the reels from the centre tube first by pushing the tube downwards. The film can now be removed to dry. Rinse all the reel parts off before the next use with warm water and dry these carefully before storing.
We hope you have a successful start developing with the 8x11film-Reel but we are always grateful for suggestions and improvement. Technical specifications and guide are subject to change and correction. All rights reserved.
Last updated 31st August 2007.
Yours sincerely, Marcus Michael Dunkmann, 8x11film.com
First you have to decide if you want to do colour or b/w.
If you want to get colour images , use a 630 up to 720 filter, the filters below this wavelenght (750…950) will give you nearly no colour information…
Different sensors or films give remarkable different results!
The Standard IR Filter (720nm) is the classic IR filter. It allows some visible light to pass for color processing and gives good contrast for black and white. E.A: the Hoya R72 and Wratten 89b.
The 550nm IR Filter lets in the lots of visible light creating blue skies and blood crimson reds. It has the look of old IR films. It’s also good for infrared portraits, it keeps rather neutral skin tones (the 590nm will expose veins) and still provides color information.
The665nm filter is in between the 720nm and the 590nm, showing more vibrant colors than the 720nm. The 665 comes out more reliably between different cameras and lighting conditions.
The 850nm filter and 920nm are good for black and white IR and will show bright whites and pronounced darks. With a custom white balance in camera, the picture is close to pure B+W. E.a. the Wratten 87c.
With film test your focus and your exposure time with bracketing, both can be rather difficult to find and change rapidly and sometimes unpredictable with light conditions (we cannot see infrared;-) ).
Try to have the sun in the back or at your side, pics toward the sun often have very low contrast and lots of flares.
Best are sunny days and the trees and grasses should be green to get the „wood“ effect.
The best light source is the sun, but moonlight works well, too.
Camera flashes emit infrared as well as visible light so they can be used for infrared flash photography. It is possible to cover the flash with an IR filter to get rid of the visible portion of the flash and have a dedicated IR flash.
If you go digital:
Use raw files!
Use a modded camera with no infrared filter (or give it a try with a tripod and take your (long) time)
Use „live view“ if possible, so you should be able to rely on the automatic metering and autofocus.
In your raw converter:
If you shoot b/w use the LAB modus and the L (red) channel.
For colour
Set your white balance on the (white) greens
Use the cannel mixer to switch the red and blue channel.
(This is the usual result:
Red Channel: Red=0, Green=0, Blue=100 Blue Channel: Red=100, Green=0, Blue=0 Green Channel: Red=0, Green=100, Blue=0
Sometimes this is giving a better result:
Red Channel: Red=0, Green=0, Blue=100 Blue Channel: Red=100, Green=100, Blue=-100 Green Channel: Red=0, Green=0, Blue=100
Add Hue/Saturation
Apply contrast / use curves / dynamic contrast…
Add structure/details/clarity or however your software names it
Play with blending modes (contrast etc, e.a. luminosity)
Small variations in my White Balance or Channel Mixer settings (the two most important settings for IR) as well as the sequencing of the processing steps have often led to very different results.
Your IR results will depend on several more factors:
Camera make/model and sensor
Infrared filter used (there may be even variations between vendors)
RAW or JPEG processing
Your Lens
Type of vegetation and its ability to reflect IR light
Still for me to try:
Vittorio Sergi : If you like the usual 720nm faux color conversion with a blue sky, just skip the channel swapping step altoghether, grab a hue and saturation Adj. layer and slam the hue slider one all the way left or right so that the value reads 180 or -180, there you have a nicely done blue hue as it should be, given that you nailed white balance
