The "How I Develop Film" thread

[timor]

I never use Photo-Flo and consider it to be one of the worst menaces of B&W photography.

Similar feelings here.

 

[amolitor]

Hmm? What are the negative effects of photoflo? You perceive it as making squeegeeing (either with fingers or squeegee) necessary? I use it, because without it I get water spots (which I agree distilled water would help with) but I don't squeegee or otherwise let anything whatsoever touch the film's surface.

 

[ceeboy14]

Many people have suggested using their fingers to rid the excess water which I never advocate for the obvious reasons. Photo-flo leaves a residue on the film's surface which if dried in an uneven drying environment can cause uneven exposure in the enlarger. Under ideal circumstances it can have its use but with students, I soon learned their are no ideal situations after the first fifteen minutes of the darkroom in operation. Distilled water works everytime. Try to envision a 25 enlarger/four film loading rooms/four film development /two alternative darkroom stations maxxed to capacity for 6 hours a day and then you will understand why I went back to my first photography teacher's advice and learned not to use Photo-Flo. I simply could not afford excess use of paper and chemicals due to uneven negatives.

Hey, but if it works for you, I'd certainly not change. It actually costs less than distilled water over the course of a year's operation. Another reason to use distilled water is to rid any of your local water's impurities from the film surface such as lime, iron, sulphur, etc.

 

[timor]

I don't really know, it works for some people, doesn't for others. For me if used in light dilution still lives water spots on the film, if used in stronger dilution it leaves own gunk on the film. It seems that photoflo does not provide enough sheeting action to carry itself out of the film. I prefer distilled water mix with some alcohol, clean and no potentially smudging soaps and detergents.

 

[gsgary]

Many people have suggested using their fingers to rid the excess water which I never advocate for the obvious reasons. Photo-flo leaves a residue on the film's surface which if dried in an uneven drying environment can cause uneven exposure in the enlarger. Under ideal circumstances it can have its use but with students, I soon learned their are no ideal situations after the first fifteen minutes of the darkroom in operation. Distilled water works everytime. Try to envision a 25 enlarger/four film loading rooms/four film development /two alternative darkroom stations maxxed to capacity for 6 hours a day and then you will understand why I went back to my first photography teacher's advice and learned not to use Photo-Flo. I simply could not afford excess use of paper and chemicals due to uneven negatives.

Hey, but if it works for you, I'd certainly not change. It actually costs less than distilled water over the course of a year's operation. Another reason to use distilled water is to rid any of your local water's impurities from the film surface such as lime, iron, sulphur, etc.

All i do is hold each end of the film and pull my hands apart quickly 7 times and it flicks most of the water off i was taught this years ago when i was about 10 from an old photographer that lived next door and worked for a national newspaper

 

[timor]

All i do is hold each end of the film and pull my hands apart quickly 7 times and it flicks most of the water off i was taught this years ago when i was about 10 from an old photographer that lived next door and worked for a national newspaper

You must be a tall guy. 6'6" ?

 

[gsgary]

You must be a tall guy. 6'6" ?

not that tall but my arms are long enough couldnt do it when i was 10

 

[timor]

You must be a tall guy. 6'6" ?

not that tall but my arms are long enough couldnt do it when i was 10

I will keep my distance. On the other hand I quit using 36 frames films long time ago, now only 12 to 18 max. Sure, I am loosing some film but I can develop my film with more precision as usually I use about 12 frames on one subject.

 

[smerchant]

I'm going to revive this thread a bit with an E-6 question. I've been reading a bit about the archival properties of E-6 with Fujichrome vs. Kodachrome and how formaldehyde is important for making slides last longer and is something that you don't get with the 3-bath kits such as the Arista and Tetenal kits and that also heated drying is also necessary. I'm hoping that I'm on the right track. Does this mean that in order to have slides that will last longer I would be better off having them sent off to be developed? I've read a lot about a Kodak at home developing kit that is no longer in production but found online documentation and created this wishlist of products: Wish List | B&H Photo Video

If I was able to get these products from my local shop, would this allow me to develop E-6 at home that would have optimal archival properties or would the 3-bath kits work and I'm just getting information wrong? (I hope this question makes sense). Thanks!

This is one of the threads I was reading if it helps: Tetenal E6 Chemistry? [Archive] - APUG

 

[vintagesnaps]

I'm wondering if the home processing chemistry and kits may not have the same formulas as what labs use. Isn't formaldehyde uh, not the best thing to have around the house maybe?? or possibly toxic/hazardous to use at home?? or not used as much anymore because of safety concerns?? seems like I've read somethng about it but I'm not sure what.

I suppose you might ask at your local camera shop that carries these supplies and see what they can tell you. I think Freestyle Photographic Supplies - Traditional Black & White Film, Paper, Chemicals, Holgas and ULF carries the kits for C41 etc. but are probably the ones you're talking about that may not preserve slides as well. Maybe using a lab would be the way to have slides processed to make sure they'll be better preserved, if they still use different chemistry than the home kits.

 

[smerchant]

I just asked someone at my local camera shop today while I was in having some C-41 processed and the guy I spoke had no doubt that the at home stuff was any different than the photo lab chemicals. He only was familiar with the Kodak kit that is no longer in production and said that in that particular shop they don't sell any E-6 or C-41 processing chemicals since there just isn't the demand and the cost for shipping is too much to justify even special ordering. They charge $16 a roll for send-out processing but I have seen other services that look reputable charge half that and take less time. I think I'm going to do some research on some send-out services and probably stick with those since what I am going to use slides mostly for is travel and I don't want to risk those and I'd also like to have them last as long as possible.

 

[matt_89]

Hi,

I'm completely new to home processing and due to my local developer not being able to develop B&W (seems ridiculous I know) I am going to attempt to develop my 120 B&W myself.

My sister already has a processing drum and she's developed film before but she was always given the chemicals without knowing brand names and things like that. So she's fairly knowledgeable when it comes to the process of development but we're completely lost at which chemicals to get and things like that.

From my knowledge, what we'll need is some developer, stop bath and fixer. And also a timer and maybe even a thermometer to ensure consistent results.

It would be much appreciated if somebody could point me in the right direction in terms of the equipment/chemicals needed. As I said before, we'll be processing this through a development drum.

Thanks in advance.

Edit: Also, will there be any differences between processing standard film like Ilford and lomography film?

 

[Josh66]

Edit: Also, will there be any differences between processing standard film like Ilford and lomography film?

The steps will be the same, but the times will be different.

B&W Film Developing Times | The Massive Dev Chart

The Massive Dev Chart is a good starting point. The packaging the film came in should also have times for common developers on it.


If you have the tank and reels already, then all you need is storage containers of the appropriate capacity, and a graduated cylinder or two for measuring chemicals. And the thermometer. And the timer... But you could use your phone or watch for that. I use the chronograph on my watch.


You're right though - developer, stop bath, and fixer is what you need. Photo Flo, or some other wetting agent would be good to have as well.

 

[matt_89]

I was thinking of getting this as it seems to come with all the chemicals you need except the wetting agent. Although some people seem happy enough just using water to clean their film but I'll decide on that later.

RK Photographic B&W Film Processing Kit

It comes with a rapid fixer though. What are people's experience of this? Are they more or less the same as traditional fixer or are there variations in results to consider?

Furthermore, I'd like t achieve a warm tone on my B&W films. Is there a way this can be achieved whilst developing the films?


Ok, so everything kind of seems simple enough. It's just seems to be about learning the timings which is the most important thing. But how to people load their film. Just do it blind in the dark?

Edit:

http://www.digitaltruth.com/devchart.php?Film=Lady+Grey&Developer=Ilfosol+3&mdc=Search&TempUnits=C

There isn't a reading for 120 film under my likely choice of developer on this chart. Will there be much difference with the 35mm timing of 6.5 minutes?

Double Edit:

http://www.thedarkroom.co.uk/tradit...accessories/paterson-film-processing-kit.html

This kit seems to contain all the equipment I need...

 

[Josh66]

Provided that the developer it comes with will work for both films you plan to develop, it should be as good as anything else. Not what I use, personally, but there's nothing wrong with it. Typically, you will use different developers for fast and slow films. Not sure which films you will be using it on...

For fixer, I have always used Kodak Kodafix - that is the only thing I have ever used, so I can't really make recommendations about anything else.


For loading the film into the reel (and then the reel into the tank), either a darkroom or a changing bag will work. You'll have more freedom of movement in a darkroom (or a 'dark room' - just make sure it's actually dark, no light at all) but a changing bag is very convenient if you don't have a dedicated darkroom. Once it's in the closed tank, you can bring it into the light.


For a 'warm tone', I think you'd have to use a staining developer - there are a few. I haven't used them though, so won't comment on them other to say that they exist.