I think you may have it wrong in your description - overdeveloped negs are dense and contrasty,not 'almost clear', and underdeveloped negs are very 'thin' in density not as you described, dark. I think it's the EXPOSURE wrong- the almost clear negs are under-exposed and the dark ones are over-exposed.

You DID use a thermometer to measure the temperature did you-not just guess? In a school I was trying to help the teacher didn't realise the importance of temperature for developing films and was just giving the time in the instructions sheet but at a very LOW temperature!

I don't think he would get the orange mask by using B/W chemistry as the mask is formed with colour developer. I think newspapers in London would process colour film in B/W chemistry if there was a 'Hot News' pic on the film so they could get 'something' printable but really it is a waste of time an...

I have been wanting to try FX2 but I do not have the 'special' Potassium Carbonate ( the crystalline version Crawley says) only the powder type - could I use THAT do you think? I DID use FX1 years ago with Kodak Panatomic X when I had free access to distilled water and I could make up the very dilut...

Pirate; thanks for your message : I don't belong to 'Club Rollei' as it was but I have found their site once - it has moved from Jersey - I have found the 'Rollei White Face'collection site and a site with the serial numbers and dates of Rolleis.

Yes, I have 2.8F Planar (1961),3.5F Planar (1962-3)and a Rolleicord Vb f3.5 Xenar (1962) I USE them all with REAL FILM! I went to the 1940's Severn Valley Railway re-enactment weekend with my 'cord Vb loaded firstly with Ilford XP2 Super 400ASA and when it ran out loaded with 1996 Kodak T-max 100 rated at 50ASA as it was old and got some good photos. I developed XP2 in C41 and T-Max 100 in Crawley's Acutol S Formula 1+1 for 9 mins @ 68oF and got good negs.
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1940's Loung/Kitchen T-max 100 1/30th at f6.3 + small amount flash.
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1940's couple-T-max 100 + small amount Mecablitz 45CT1 flash
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The guard whistling off the train: XP2 Super no flash fill.
The sepia ones I toned in PhotoShop 7

I have such a camera too: on the shutter speed dial there is a section in GREEN with numbers- you can set it anywhere in the green and you will get 'B'exposure setting; use a cable release with a lock if you want to give quite long exposures.

I have always wanted to try this formula but the 'Meritol' was unobtainable. I think you have to make it as an'addition product' with PPD and Catchetol

'Promicrol' in it's new liquid form gives a very 'plucky'negative and you can give less exposure so I should try that developer, or the Ilford Microphen diluted 1+4 and give it 45 minutes, occasional agitation.

I was introduced to Kentmere in 1958 when I was a photographer in the Civil Service, Ministry of Aviation. The boss there had an account. It was much CHEAPER than Ilford, Kodak or Agfa papers. I used thousands of sheets about 15 years ago doing press prints for some clients until they were forced to...

Let's hope his shutter was running slow!

Ornello : Yes, I agree with you about rollfim in tanks needing agitation. Years ago when I was a part-time tutor at Barking College Diploma Course in photography I tried to introduce the student to home-made developing and mixed up some Two-Bath. Told them it should be very good for Panatomic X roll...

Just reading what you did : If the negatives are 'very dense' (ie black) then you need to CUT the development time, not extend it. I use lots of outdated films; I have developed recently some 1978 Ilford PanF 120 rollfilm : I rated it at 25ASA instead of the 50 and used 'the dreaded Rodinal' at 1+50...

I meant the style of using un-cropped prints with the black border is a 'modern' thing; Cartier-Bresson was mentioned because he wouldn't allow any croppping of his negs for reproduction in the magazines.

Yes; I'm 'Old Fashioned' and do not bow to 'Street Cred' - I even wear my hats with peak at the front! I crop as necessary as the aspect ratio of the film may not fit the subject are properly, but then everyone has heard of Cartier-Bresson, not many have heard of Peter Elgar !