Solvent developers such as ID, D76, Perceptol, Microphen and XTOL, when mixed at stock or a weak dilution, provide fine grain and are forgiving enough to cover a wide range of exposures on a single roll of film. To complicate things further, most fine-grain developers can be diluted at various strengths to increase sharpness, although this often comes at the cost of grain. Again, this is likely down to personal taste. Diluting provides more working solution for more film, but stock can usually be re-used up to ten times with increased development time.
Working solutions for development: fixer left bottle and developer right bottle. Both ID and D76 are widely regarded as industry standards and are the most accepting of a wide variety of development times and temperatures. From my own experience, most different types of fixer and stop bath will work similarly. I generally use Ilford Rapid Fixer as instructed on the packaging and have had no problems with this. There are a few safety precautions you need to take before starting this development process.
If you feel faint, dizzy or otherwise unwell, make sure to take a break or leave the room. The liquids used in these photographs are for demonstrative purposes, but you should always make sure to use rubber gloves when handling potentially hazardous chemicals. Working solutions of developer and fixer for one roll of 35mm film. Measure this using your digital thermometer. Measurements for the amount of chemistry required for different film types are usually located on the bottom of the developing tank.
This is so you can twist the agitator, thereby moving the reel with the film inside on the inside through the developer and fixer while ensuring that all parts of the film consistently have access to fresh chemicals. The center of the developing tank holds the reel in place and connects to the agitator to allow you to agitate the chemistry and ensure that the film constantly receives chemicals.
Next, place the tank with film, center, lid, and agitator included , film, scissors and bottle opener inside the changing bag and ensure that it is fully zipped up and closed. You want to make sure that the tank is light-tight during the entire film developing process. The next steps must take place blind inside the closed changing bag so the film is continuously in complete darkness.
At no point until the film is wound on to the reel and then placed into the tank and the tank firmly closed can you open the changing bag. Take the developing tank lid off and the reel out before applying your bottle opener to the top or bottom of your film canister.
Unfurl the film from the spool before cutting the film at the end attached to the spool unless you want to accidentally cut into your undeveloped pictures. The scissors and bottle opener are both used to open the film canister and cut the film from its spool within the canister. Next is the tricky part. Taking one end of the film fat end without the leader recommended , you need to feed it into the film reel.
This counts doubly when using film, which due to its larger size is more prone to bending and friction and is subsequently more difficult to wind. Once the film is wound, place your reel onto the center, firmly place the lid on the tank and ensure the agitator is placed in the developing tank lid. You can now open the changing bag and remove the tank. The pre-wash step is to prevent air bubbles from forming on the film.
These can occur when the developer is added to dry film. As a rough estimate, soak the film for 2 to 5 minutes. After soaking, pour the water out of the tank. The best way to do this is to fill your sink with warm water, place the beaker within it and wait for the solution to warm.
You now need to check the developing times for both your film and developer. Either the technical information included with your developer, datasheets from the company producing the film, or the massive development chart will help with this. Most developers will specify an agitation routine for developing. Whatever timing you use, ensure that your agitation times are consistent so that the film is constantly receiving fresh developer.
Repeat this periodically, while agitating to the recommended routine. If you choose to forgo the stop bath step, rinse the film in the tank for at least a minute with lukewarm water.
Next, we need to pour the required amount of fixer into the tank to remove the silver halide crystals from the film, or fix the image. Rinse the tank for a couple of minutes, before opening the lid and rinsing the film directly. With film, I really have nothing to upgrade to.
You can still get lens GAS— wanting to buy more lenses. Or you might want to buy more medium-format cameras. This is just personal preference— I think film still looks far better than digital. But in my experience, film will always have a nicer aesthetic than digital. Digital photographs tend to be almost too perfect and clinical.
The best analogy I have about the aesthetic difference between shooting film versus digital cameras is like reading a paperback book versus reading it on an E-reader. However the experience is different. With paper books, you can hold the book in your hand. You can smell the pages. You can flip the pages. You can underline directly on the page.
You get a better sense of progress when going through a book. A book takes physical space on your bookshelf. It is easier to recall which part of a book you might have written down a note for you to refer to. You can fold the pages. But I always enjoy the experience of reading on a paper-book more, and I am actually currently planning on just taking the extra bulk of traveling with physical books because it makes me that much happier.
To continue using this book analogy— you can hand a physical book to your grandchildren in 60 years, and they will still be able to read the book. I have old papers that I wrote on Windows 95 that I can no longer access they were saved to a floppy disk.
Remember Iomega Zip Drives? Remember hard discs? In years, it will be easier to access a roll of film and look at images than it will be accessing digital RAW files in years. Therefore in that sense, film has a longer longevity than digital. It is easier to store film for a longer period of time than it is archiving digital data. Sure you can make the argument that you can just keep everything on the cloud or backed up on hard drives.
But who will keep paying for your cloud service years from now? A hard drive with a spinning disc on average fails every 3 years. Flash drives last a long longer, but how much longer? Nobody really knows. I like the ideas that if I shoot photographs of my kids, they will be able to access the original negatives 50 years from now.
I doubt that will be the case with my digital cameras. To continue this little essay on shooting film, let me talk more about the specific details of how I shoot film, how I get my film processed and scanned, and how I store my film.
Some people have reported that scanning your film ruins the image quality. First of all, they are the most affordable place to get color C41 film processed in the states.
What about quality? And as long as you find a Costco with competent technicians, your results will come out great. I highly recommend the Costco in Culver City in California and the Costco in Livonia in Michigan to get your film developed and scanned.
However for the last batch of film I got processed rolls , I got it done at the Costco in Mountain View, California. I have to say— I was massively disappointed, because many of the scans I got had a lot of dust in them. Then based on the results of that, give them larger numbers of film. I just use a changing bag, hand-develop, and scan it myself. What I generally do when I get film back from Costco is this: I copy all the photos of each CD to a folder that also references the number on an envelope.
Therefore if I ever need to go back to find the original negative of a scanned file, I can get a better sense of where to find that original negative. In regards to storage of film, I am a mess. I generally toss them into boxes, which are marked by year , , It took me forever. I honestly have a horrible way of sorting my negatives. My friends generally keep their film very ordered and sleeved in in folders, which are marked with dates. They have a much easier time finding their original negatives if they ever need to.
So note to self— shoot more photographs of friends, family, and those close to me not just street photographs. In I also tried experimenting something new: trying to slightly over-expose my photos. Some of my friends told me this lead to nicer saturation and colors. However I found that based on my experiences, the photographs when I just listened to my meter turned out to look better.
The images had more contrast, better saturation, and looked aesthetically more pleasing. I also need to remember to shoot more when the light is actually nice. I mostly shoot during the day when the light tends to be flat, which tends to create flat-looking images. However when I did shoot when the light was divine sunrise, sunset, or window lighting the photos came out absolutely amazingly.
They rarely evoked an emotional response from me. Why is that? Because the Contax T3 is so small, compact, and easy-to-use, I end up shooting a lot more on it in unexpected situations. The Leica MP takes a while to take out of my bag, to setup, to put on a flash, etc. I think for any type of photography compact cameras generally tend to win. The smaller and easier-to-operate your camera, the more likely you are to take photographs.
And the more likely you are to shoot in unlikely situations like in the grocery store, in a restaurant, or in-between appointments. As a note, in I plan to shoot more with my Contax T3. But if I want a camera that can live with me, the Contax is perfect. Of course, your iPhone or smartphone is also ideal — because you always have it with you.
If your exposure is off or under-exposed , the photos look like crap. Fortunately my Contax T3 has a built-in flash that I use a lot. Whenever in-doubt, I also generally take two photographs: one with flash, and one without a flash. My street photographs tend to be very simple and straightforward.
I generally photograph people close-up 1 meter away , with a flash, single-subject, and directly in the center of the frame. Regards, john from Melbourne, Australia. John King's gear list: John King's gear list. F Forum M My threads. Latest sample galleries.
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