To process large format sheet film with Jobo gear, you need a used CPP2 or new CPP3 processor unit and expert drums (3005 for 5 sheets of 8×10 or 3010 for 10 sheets of 4×5).
If you are trying to decide between going all in and doing 8×10 vs. staying with 4×5, you should read my 4×5 vs. 8×10 section at the bottom of this page.
Buying a new or relevant used Jobo Processor and Expert Drums to develop 4×5 and 8×10 large-format sheet film is expensive. The processor and the two drums cost about as much as your large format camera kit, possibly more.
If you purchased all new equipment, you would spend about $6,000. This allows you to develop 8×10 and 4×5, but as you will read below, you could significantly reduce your cost if you only need to develop 4×5.
If the $6000 price tag doesn’t make you run, then you are either crazy or a fully committed large-format film 8×10 photographer who is destined to create amazing photographs.
It is possible to save about $1000 to $1500 by buying a used CPP2 processor over buying a new CPP3, but I don’t think it is worth the risk. If you plan to buy a used CPP Jobo Processor, read the serial number section below before making a purchase to ensure you are making an informed and smart purchase.
If you only plan to develop 4×5 sheet film, you could get a new CPE-3 Processor for half the price of the CPP-3, $2000. Then, you would use a 2500 series Multitank with the 2509 reel to develop up to 6 sheets of 4×5 for about $200 vs. the huge costs of the Expert Drums. The 2500/2509 tank is $200 vs. nearly $1400 for the two Expert drums. In other words, the cost of developing 4×5 is less than half if you want to develop 8×10.
This is how it goes with 4×5 vs. 8×10 in just about every aspect of the workflow. Once you go larger than 4×5, the expenses mushroom quickly, and the grief factor increases exponentially. If you are drawn to extreme challenges, 8×10 may be worth it.
You can still buy a new CPP3 Jobo Processor from trustworthy sources like B&H Photo along with the 3005 and 3010 Expert Drums (3005 for 5 sheets of 8×10 or 3010 for 10 sheets of 4×5).
CPP2 SERIAL NUMBER INFO
If you plan to buy a used CPP2 processor, you should be fully aware of the motor in the processor because this is the single biggest reason for failure when using the more demanding Expert Drums.
If you already own a CPP3 processor and want to know if your unit is capable of using the Expert drums, read the information below.
The extra load can slow the tank or drum’s rotation speed. The 3000 series Expert Drums create the heaviest possible load for the rotation motor circuit.
Beginning production of the CPP and CPA had a single-bearing rotation motor. You don’t want these units.
CPP Serial # ARXXXX-10593
CPA Serial # ARXXXX-10312
1st Upgrade: A double-bearing rotation motor replaced the single-bearing rotation motor. I would not buy these units.
CPP Serial # 10594-20455
CPA Serial # 10313-13309
2nd Upgrade: The rotation motor circuit was strengthened to accommodate larger loads, 3000 series Expert Drums. In my opinion, this is the minimum criteria for buying a CPP processor, but you need to consider the unit’s price with the risk in the context of the cost of the new CPP3. If you already own a CPP2 in this serial number range, I suggest using it until it dies before investing more money.
CPP Serial # 20456-21999
CPA Serial # 13310-21999
3rd Upgrade: A stronger rotation motor (the same as in the ATLs) was introduced, and the rotation-motor circuit was strengthened to accommodate the new motor. These units, which include the new CPP3 processors, are the most desirable.
CPP Serial # 22000-present
CPA Serial # 22000-present
4×5 vs. 8×10 Large Format Film
If you are using or considering using large format film, you have likely thought about 4×5 vs. 8×10. Based on over 35 years of experience, I will share my perspective with you in hopes it may help in some way.
I categorize my advice into two categories: full analog and hybrid analog to digital workflows.
For the full analog workflow, meaning you are making prints in the darkroom, then deciding between 4×5 and 8×10 is more difficult and depends on your specific requirements. If you want to make world-class silver gelatin enlargements, then you will need an 8×10 enlarger and you will make amazing large prints. Or, you possibly want to make 8×10 contact prints, silver gelatin or RA-4, then this could make sense too. These would be the main reasons why most photographer would justify 8×10 large format.
Another reason to consider the expense and hassle of 8×10 is if you plan to view your massive 8×10 chromes on a light table as your final product. This means you want to experience the joy and wonder of your 8×10 large-format slides on a light table, and you may or may not choose to scan and make mural-sized prints. However, this comes with a massive price increase over 4×5, and I wouldn’t recommend it for the average person. It also means you will be dealing with depth of field issues that are much more limiting than 4×5. It is indeed a heavy burden, but it can be worth the struggles if you understand the ramifications of your choice.
For the hybrid analog-to-digital workflow, which involves exposing on film and then scanning to make digital-based prints, there is no practical reason to go beyond 4×5. A high-resolution drum or pixel-shift scan of 4×5 will allow you to make mural-sized gallery-quality artwork. In my mind, the expense and difficulty factor, along with many other limitations that come with 8×10, have to be a defensible reason. Even if you scan your 4×5 film with a consumer flat-bed scanner like the Epson V750/850 and you want to make up to 17×22 prints at home, you will be pleased with the results. I have also found that high-resolution scans of my Fuji 690 6×9 and Pentax 67II 6×7 medium format films allow me to make big 40×50 prints. This requires a drum scan or a high-resolution pixel-shift wet mount scan, but the results can be amazing if you are seeking to make big prints versus enjoying the slides on a light table.
Very few use cases exist where 8×10 large format can be justified, but only you can make that call.
Over the last four decades, I started with 4×5 large format, then went to 8×10, and eventually ultra large format up to 20×24 for silver gelatin and alternative contact prints. In my retirement years, I am back to where I started, primarily using 4×5 with the occasional 8×10 when I know I want to enjoy that massive chrome on the light table when I can no longer get out and photograph. I affectionally call this my “nursing home plan.”