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How do different developing fluids affect black and white film?
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I have returned from a month long trip in America, and when I was there I took over 30 rolls of black and white film. Now that I'm in the UK, I'd like to get these developed. Because of the cost I would like to try and develop these myself, something I've never done before. The films are all black and white, and are a mix of Ilford HP5, Fomopan 400, Fomapan Retropan 320, Kentmere 400 and two Rollei Infrared films.
I've read several articles, watched several videos on the subject, and I don't think it's beyond me to do it. From all of my research though I've had one nagging question created by a few videos that mention the developer fluid.
A few sources have said that different fluids give different results to the negative, but I haven't been able to find any examples of what specific developers do to different types of film. I'd like to know from a purely artistic viewpoint, not so much whether one developer develops a film quicker than another. I've even seen instant coffee being used as a developer - but as I don't have a baseline for the other developers out there I'm not keen on making the coffee my first choice!
I'd be interested to know whether, actually, the developers make any difference to the final production of the negative or not. But as I said, I've not seen any definitive source on the subject.
film developing 35mm
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I have returned from a month long trip in America, and when I was there I took over 30 rolls of black and white film. Now that I'm in the UK, I'd like to get these developed. Because of the cost I would like to try and develop these myself, something I've never done before. The films are all black and white, and are a mix of Ilford HP5, Fomopan 400, Fomapan Retropan 320, Kentmere 400 and two Rollei Infrared films.
I've read several articles, watched several videos on the subject, and I don't think it's beyond me to do it. From all of my research though I've had one nagging question created by a few videos that mention the developer fluid.
A few sources have said that different fluids give different results to the negative, but I haven't been able to find any examples of what specific developers do to different types of film. I'd like to know from a purely artistic viewpoint, not so much whether one developer develops a film quicker than another. I've even seen instant coffee being used as a developer - but as I don't have a baseline for the other developers out there I'm not keen on making the coffee my first choice!
I'd be interested to know whether, actually, the developers make any difference to the final production of the negative or not. But as I said, I've not seen any definitive source on the subject.
film developing 35mm
edited 7 mins ago
Reid
12.9k44287
asked 6 hours ago
mickburkejnr
1211
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mickburkejnr is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
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1
Have you ever handled a meter long roll of film? Do you know how you will alternately put it into the developer, stop, fixer, and then wash? Using a "daylight" tank takes a bit of practice. Get some unexposed film and practice loading it in daylight with your eyes open, eyes closed, then with the lights off. Become proficient with this before you consider the processing. It's a teeny-weeny bit tougher than you can imagine to do this without touching the surfaces of the film. You can only touch the edges of the film without leaving a finger print, scratch, or oily smudge.
– Stan
5 hours ago
@Stan Nope, never. But I have some rolls of spare film and ruined film that I've set aside to practice the loading of the tank. I am intending on using a "bag" as I don't have a suitable room dark enough to do it as a dark room. I've also made a note to wear gloves, for the chemical side and to prevent the fingerprinting of the film.
– mickburkejnr
5 hours ago
Get a decent sized bag to play in. Handling film and loading it onto a spool can be tricky for a beginner in a closet. Also, with 35mm you need a tool to crack the canister and scissors to cut the film from the reel. Since these tools will be in the bag with you, take care not to scratch your film while loading. Personally, I use an open ended change-bag in an almost light tight room so that tools can be easily taken out of the bag.
– Hueco
5 hours ago
Tip: Do not use a changing bag until you have much experience. It will limit your movements and make things much tougher to do. Do not use gloves when handling film as a sensitive touch is vital. Wash your hands and dry them well. You may want to have a light-tight bag to put things in (to take a break if things don't go well) mid-load. Work at night with the lights out to get your loading area dark enough. Stuff towels at the bottom of the door to keep the dark in. Use a can-opener to open the cassette if it isn't a re-useable one.
– Stan
4 hours ago
add a comment |Â
up vote
4
down vote
favorite
up vote
4
down vote
favorite
I have returned from a month long trip in America, and when I was there I took over 30 rolls of black and white film. Now that I'm in the UK, I'd like to get these developed. Because of the cost I would like to try and develop these myself, something I've never done before. The films are all black and white, and are a mix of Ilford HP5, Fomopan 400, Fomapan Retropan 320, Kentmere 400 and two Rollei Infrared films.
I've read several articles, watched several videos on the subject, and I don't think it's beyond me to do it. From all of my research though I've had one nagging question created by a few videos that mention the developer fluid.
A few sources have said that different fluids give different results to the negative, but I haven't been able to find any examples of what specific developers do to different types of film. I'd like to know from a purely artistic viewpoint, not so much whether one developer develops a film quicker than another. I've even seen instant coffee being used as a developer - but as I don't have a baseline for the other developers out there I'm not keen on making the coffee my first choice!
I'd be interested to know whether, actually, the developers make any difference to the final production of the negative or not. But as I said, I've not seen any definitive source on the subject.
film developing 35mm
edited 7 mins ago
Reid
12.9k44287
asked 6 hours ago
mickburkejnr
1211
New contributor
mickburkejnr is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
I have returned from a month long trip in America, and when I was there I took over 30 rolls of black and white film. Now that I'm in the UK, I'd like to get these developed. Because of the cost I would like to try and develop these myself, something I've never done before. The films are all black and white, and are a mix of Ilford HP5, Fomopan 400, Fomapan Retropan 320, Kentmere 400 and two Rollei Infrared films.
I've read several articles, watched several videos on the subject, and I don't think it's beyond me to do it. From all of my research though I've had one nagging question created by a few videos that mention the developer fluid.
A few sources have said that different fluids give different results to the negative, but I haven't been able to find any examples of what specific developers do to different types of film. I'd like to know from a purely artistic viewpoint, not so much whether one developer develops a film quicker than another. I've even seen instant coffee being used as a developer - but as I don't have a baseline for the other developers out there I'm not keen on making the coffee my first choice!
I'd be interested to know whether, actually, the developers make any difference to the final production of the negative or not. But as I said, I've not seen any definitive source on the subject.
film developing 35mm
film developing 35mm
edited 7 mins ago
Reid
12.9k44287
asked 6 hours ago
mickburkejnr
1211
New contributor
mickburkejnr is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
edited 7 mins ago
Reid
12.9k44287
asked 6 hours ago
mickburkejnr
1211
New contributor
mickburkejnr is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
edited 7 mins ago
Reid
12.9k44287
edited 7 mins ago
Reid
12.9k44287
edited 7 mins ago
Reid
12.9k44287
12.9k44287
asked 6 hours ago
mickburkejnr
1211
New contributor
mickburkejnr is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 6 hours ago
mickburkejnr
1211
asked 6 hours ago
mickburkejnr
1211
1211
New contributor
mickburkejnr is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
mickburkejnr is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
mickburkejnr is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
1
Have you ever handled a meter long roll of film? Do you know how you will alternately put it into the developer, stop, fixer, and then wash? Using a "daylight" tank takes a bit of practice. Get some unexposed film and practice loading it in daylight with your eyes open, eyes closed, then with the lights off. Become proficient with this before you consider the processing. It's a teeny-weeny bit tougher than you can imagine to do this without touching the surfaces of the film. You can only touch the edges of the film without leaving a finger print, scratch, or oily smudge.
– Stan
5 hours ago
@Stan Nope, never. But I have some rolls of spare film and ruined film that I've set aside to practice the loading of the tank. I am intending on using a "bag" as I don't have a suitable room dark enough to do it as a dark room. I've also made a note to wear gloves, for the chemical side and to prevent the fingerprinting of the film.
– mickburkejnr
5 hours ago
Get a decent sized bag to play in. Handling film and loading it onto a spool can be tricky for a beginner in a closet. Also, with 35mm you need a tool to crack the canister and scissors to cut the film from the reel. Since these tools will be in the bag with you, take care not to scratch your film while loading. Personally, I use an open ended change-bag in an almost light tight room so that tools can be easily taken out of the bag.
– Hueco
5 hours ago
Tip: Do not use a changing bag until you have much experience. It will limit your movements and make things much tougher to do. Do not use gloves when handling film as a sensitive touch is vital. Wash your hands and dry them well. You may want to have a light-tight bag to put things in (to take a break if things don't go well) mid-load. Work at night with the lights out to get your loading area dark enough. Stuff towels at the bottom of the door to keep the dark in. Use a can-opener to open the cassette if it isn't a re-useable one.
– Stan
4 hours ago
add a comment |Â
1
Have you ever handled a meter long roll of film? Do you know how you will alternately put it into the developer, stop, fixer, and then wash? Using a "daylight" tank takes a bit of practice. Get some unexposed film and practice loading it in daylight with your eyes open, eyes closed, then with the lights off. Become proficient with this before you consider the processing. It's a teeny-weeny bit tougher than you can imagine to do this without touching the surfaces of the film. You can only touch the edges of the film without leaving a finger print, scratch, or oily smudge.
– Stan
5 hours ago
@Stan Nope, never. But I have some rolls of spare film and ruined film that I've set aside to practice the loading of the tank. I am intending on using a "bag" as I don't have a suitable room dark enough to do it as a dark room. I've also made a note to wear gloves, for the chemical side and to prevent the fingerprinting of the film.
– mickburkejnr
5 hours ago
Get a decent sized bag to play in. Handling film and loading it onto a spool can be tricky for a beginner in a closet. Also, with 35mm you need a tool to crack the canister and scissors to cut the film from the reel. Since these tools will be in the bag with you, take care not to scratch your film while loading. Personally, I use an open ended change-bag in an almost light tight room so that tools can be easily taken out of the bag.
– Hueco
5 hours ago
Tip: Do not use a changing bag until you have much experience. It will limit your movements and make things much tougher to do. Do not use gloves when handling film as a sensitive touch is vital. Wash your hands and dry them well. You may want to have a light-tight bag to put things in (to take a break if things don't go well) mid-load. Work at night with the lights out to get your loading area dark enough. Stuff towels at the bottom of the door to keep the dark in. Use a can-opener to open the cassette if it isn't a re-useable one.
– Stan
4 hours ago
1
1
Have you ever handled a meter long roll of film? Do you know how you will alternately put it into the developer, stop, fixer, and then wash? Using a "daylight" tank takes a bit of practice. Get some unexposed film and practice loading it in daylight with your eyes open, eyes closed, then with the lights off. Become proficient with this before you consider the processing. It's a teeny-weeny bit tougher than you can imagine to do this without touching the surfaces of the film. You can only touch the edges of the film without leaving a finger print, scratch, or oily smudge.
– Stan
5 hours ago
Have you ever handled a meter long roll of film? Do you know how you will alternately put it into the developer, stop, fixer, and then wash? Using a "daylight" tank takes a bit of practice. Get some unexposed film and practice loading it in daylight with your eyes open, eyes closed, then with the lights off. Become proficient with this before you consider the processing. It's a teeny-weeny bit tougher than you can imagine to do this without touching the surfaces of the film. You can only touch the edges of the film without leaving a finger print, scratch, or oily smudge.
– Stan
5 hours ago
@Stan Nope, never. But I have some rolls of spare film and ruined film that I've set aside to practice the loading of the tank. I am intending on using a "bag" as I don't have a suitable room dark enough to do it as a dark room. I've also made a note to wear gloves, for the chemical side and to prevent the fingerprinting of the film.
– mickburkejnr
5 hours ago
@Stan Nope, never. But I have some rolls of spare film and ruined film that I've set aside to practice the loading of the tank. I am intending on using a "bag" as I don't have a suitable room dark enough to do it as a dark room. I've also made a note to wear gloves, for the chemical side and to prevent the fingerprinting of the film.
– mickburkejnr
5 hours ago
Get a decent sized bag to play in. Handling film and loading it onto a spool can be tricky for a beginner in a closet. Also, with 35mm you need a tool to crack the canister and scissors to cut the film from the reel. Since these tools will be in the bag with you, take care not to scratch your film while loading. Personally, I use an open ended change-bag in an almost light tight room so that tools can be easily taken out of the bag.
– Hueco
5 hours ago
Get a decent sized bag to play in. Handling film and loading it onto a spool can be tricky for a beginner in a closet. Also, with 35mm you need a tool to crack the canister and scissors to cut the film from the reel. Since these tools will be in the bag with you, take care not to scratch your film while loading. Personally, I use an open ended change-bag in an almost light tight room so that tools can be easily taken out of the bag.
– Hueco
5 hours ago
Tip: Do not use a changing bag until you have much experience. It will limit your movements and make things much tougher to do. Do not use gloves when handling film as a sensitive touch is vital. Wash your hands and dry them well. You may want to have a light-tight bag to put things in (to take a break if things don't go well) mid-load. Work at night with the lights out to get your loading area dark enough. Stuff towels at the bottom of the door to keep the dark in. Use a can-opener to open the cassette if it isn't a re-useable one.
– Stan
4 hours ago
Tip: Do not use a changing bag until you have much experience. It will limit your movements and make things much tougher to do. Do not use gloves when handling film as a sensitive touch is vital. Wash your hands and dry them well. You may want to have a light-tight bag to put things in (to take a break if things don't go well) mid-load. Work at night with the lights out to get your loading area dark enough. Stuff towels at the bottom of the door to keep the dark in. Use a can-opener to open the cassette if it isn't a re-useable one.
– Stan
4 hours ago
add a comment |Â
4 Answers
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First, I advise against developing the rolls from your trip. Beginners face numerous pitfalls, and what can go wrong will go wrong. Having said that, it’s lots of fun to develop film, so go for it -- just select sacrificial rolls until you get past the learning curve.
Now about developers: All developers are reducing agents, they reduce (split apart) the light sensitive salts of silver that are the goodies that make film work. Film consists of a transparent plastic base, over coated with a gelatin layer. The gelatin acts like a glue; it holds the light sensitive goodies in place. These goodies are crystals of silver plus a halogen (Swedish for salt maker). The halogens used are bromine, chlorine and iodine.
The silver halogen crystal is relatively stable if care is taken to prevent it from seeing light energy. When the shutter of the camera clicks, an image of the outside world is projected onto the surface of photographic film. Light energy bombards the film. The brightness of this light and shadow image is proportional to the vista being recorded. Thus, the silver halogen crystals receive photon hits and each hit weakens the bond that binds the silver to the halogen. The camera exposure is insufficient to fracture the crystal, however the tying bond is weakened.
When the film is submerged in a developer solution, the silver halogen crystal is tested. If the bond is weak, the developer reduces (separates) the crystal into metallic sliver and a halogen. The halogen is water soluble; it dissolves into the developer, which is mainly water. It is the liberated metallic sliver that comprises the image, as this metal is opaque, as such it appears black. When the developing step is completed, an image has been formed. The metallic silver is present in proportion to the brightness of the vista.
There are countless different developing agents available to do this task. The developer you select will likely be comprised of combination of metol and hydroquinone. Either can be used however most developer formulas contain these two in various combinations. Metol yields images with softer contrast whereas hydroquinone yields higher contrast. Most fine-grain developers (allow superior ability to enlarge) contain solvents or other means to reduce the size of the metallic silver fluff that make up time image. Again there are countless combinations, each has advantages and disadvantages.
answered 3 hours ago
Alan Marcus
23.3k12655
FWIW, 'halogen' is not a Swedish word.
– jarnbjo
12 mins ago
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up vote
2
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Be prepared to dive into a world of mystery. Using the 'only right'™ developer with a secret pinch of a raw chemical in a water bath kept at a fraction of a degree and stopping the development time at the correct tenth of a second is just as vital to an artistic photographer as it is for an ambitious luthier to have the tonewood for his violins to be logged on the first Sunday after the first full moon after the first snowfall before winter or for the audiophile to have his equipment powered through oxygen free copper cables from a purified mains source.
But seriously, it is for most combinations of film and developer nearly impossible to see any difference at all. Unless you have very specific requirements and want to 'tweak' your negatives for a tiny amount in any specific direction, you will do just well with any general purpose developer. Ilford ID11 or Kodak D76 as suggested by Hueco (both are equivalent) is a good suggestion. The only specific suggestion I can give you is that with faster films (400 ASA or more), you might want to avoid developers typically known to emphasize the grain structure (like Rodinal), unless you are really going for a very grainy expression.
Remember though, that there is no 'undo' function when developing film. If you don't like the result, you can't rollback and try again with different settings. If the images from your trip are important to you, I would perhaps consider to give those films to a lab and practice with less important material.
answered 4 hours ago
jarnbjo
1,05359
Dude, +1 for that first paragraph alone. :-D
– Hueco
2 hours ago
add a comment |Â
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Developers can be broken down into a couple of large categories:
Fine Grain Developers / Solvent Developers
Examples include Kodak D-76 and XTOL. They tend to soften the grains, creating a very fine grain look at the cost of some acutance.
Non-Solvent Developers
Examples include Rodinal and HC-110. These developers leave the grains full-sized and are often used in highly dilute solutions (1+100 for example) which brings out the acutance even more. Until you have a bit more experience, I'd stay away from non-solvent dev's. By all means, play around with them, just not on any shots you wouldn't throw into the "test" category.
Getting into the grain structure of each film and how different developers and techniques can change things is a long discussion. I'd encourage you to post more targeted questions on the matter as you have them.
For now, my best advice to you is to use something tried and true, as the results should be good for you. Kodak D-76 is a great place to start. If you're ever unsure of your dev times, the internet is here to save you.
As for getting the film on the reel - I understand predicaments. My wife and I had to spend time in a 500sqft studio with a massive window and in the city, causing there to not be a light-proof room in the whole place. The bathroom door gapped so bad I would have had to plaster towels all the way around it, even at night. So, the use of a change bag was necessitated.
This, however, is not ideal - especially as a beginner. Though, I will say it's not impossible. Just make sure that you become very comfortable handling film first, in loading a reel in the light...second, loading in the dark...and third, loading in the dark in a change bag.
answered 4 hours ago
Hueco
8,66732143
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You're right. I also don't think it's beyond you; but, it will take some time and a few tries to get things as desired. Avoid learning with things you don't mind trashing.
The developer affects the grain structure of the silver halide, the acutance, resolution, peak density, and contrast (gamma) among other things.
Most everything about developers is a concession of one image characteristic over another. High acutance is usually at the expense of contrast and vise-versa.
There are compensating developers that work disproportionately in shadows more than highlights.
High-energy developers such as D-72 is typically used for big grain - called "popcorn." It is a low-acutance, high-contrast developer usually used for paper emulsions.
My favourite "solution" is a two-part, two-step, A & B developer which has a two, or three-minute soak (no agitation) in solution A, then remove, drain, and soak (no agitation) in solution B for the same time - continue with stop, and fix.
The correct agitation technique is vital. Too much and the edges of your image will be over developed and irregular compared to a proper agitation.
The temperature is an issue. All solutions must be and remain at the desired temperature including the wash water afterward. This can't be overstated.
I suggest that before you process shots you can't replace you shoot and process some "throw-away" local subjects until you can with some confidence proceed with what you have.
Every different film-developer combination will give you a different effect which will become evident only after you try them.
There is no certain predictor of how a latent image will appear with any given processing. We use curves and sensitometric data averages.
answered 4 hours ago
Stan
3,428820
I use a bathroom for my loading area with a piece of plywood over the counter sink as a flat, clean, space to load my tank and the kitchen for the processing. It's relatively easy to darken a small bathroom and mine has no window.
– Stan
4 hours ago
add a comment |Â
4 Answers
4
active
oldest
votes
4 Answers
4
active
oldest
votes
active
oldest
votes
active
oldest
votes
up vote
3
down vote
First, I advise against developing the rolls from your trip. Beginners face numerous pitfalls, and what can go wrong will go wrong. Having said that, it’s lots of fun to develop film, so go for it -- just select sacrificial rolls until you get past the learning curve.
Now about developers: All developers are reducing agents, they reduce (split apart) the light sensitive salts of silver that are the goodies that make film work. Film consists of a transparent plastic base, over coated with a gelatin layer. The gelatin acts like a glue; it holds the light sensitive goodies in place. These goodies are crystals of silver plus a halogen (Swedish for salt maker). The halogens used are bromine, chlorine and iodine.
The silver halogen crystal is relatively stable if care is taken to prevent it from seeing light energy. When the shutter of the camera clicks, an image of the outside world is projected onto the surface of photographic film. Light energy bombards the film. The brightness of this light and shadow image is proportional to the vista being recorded. Thus, the silver halogen crystals receive photon hits and each hit weakens the bond that binds the silver to the halogen. The camera exposure is insufficient to fracture the crystal, however the tying bond is weakened.
When the film is submerged in a developer solution, the silver halogen crystal is tested. If the bond is weak, the developer reduces (separates) the crystal into metallic sliver and a halogen. The halogen is water soluble; it dissolves into the developer, which is mainly water. It is the liberated metallic sliver that comprises the image, as this metal is opaque, as such it appears black. When the developing step is completed, an image has been formed. The metallic silver is present in proportion to the brightness of the vista.
There are countless different developing agents available to do this task. The developer you select will likely be comprised of combination of metol and hydroquinone. Either can be used however most developer formulas contain these two in various combinations. Metol yields images with softer contrast whereas hydroquinone yields higher contrast. Most fine-grain developers (allow superior ability to enlarge) contain solvents or other means to reduce the size of the metallic silver fluff that make up time image. Again there are countless combinations, each has advantages and disadvantages.
answered 3 hours ago
Alan Marcus
23.3k12655
FWIW, 'halogen' is not a Swedish word.
– jarnbjo
12 mins ago
add a comment |Â
up vote
3
down vote
First, I advise against developing the rolls from your trip. Beginners face numerous pitfalls, and what can go wrong will go wrong. Having said that, it’s lots of fun to develop film, so go for it -- just select sacrificial rolls until you get past the learning curve.
Now about developers: All developers are reducing agents, they reduce (split apart) the light sensitive salts of silver that are the goodies that make film work. Film consists of a transparent plastic base, over coated with a gelatin layer. The gelatin acts like a glue; it holds the light sensitive goodies in place. These goodies are crystals of silver plus a halogen (Swedish for salt maker). The halogens used are bromine, chlorine and iodine.
The silver halogen crystal is relatively stable if care is taken to prevent it from seeing light energy. When the shutter of the camera clicks, an image of the outside world is projected onto the surface of photographic film. Light energy bombards the film. The brightness of this light and shadow image is proportional to the vista being recorded. Thus, the silver halogen crystals receive photon hits and each hit weakens the bond that binds the silver to the halogen. The camera exposure is insufficient to fracture the crystal, however the tying bond is weakened.
When the film is submerged in a developer solution, the silver halogen crystal is tested. If the bond is weak, the developer reduces (separates) the crystal into metallic sliver and a halogen. The halogen is water soluble; it dissolves into the developer, which is mainly water. It is the liberated metallic sliver that comprises the image, as this metal is opaque, as such it appears black. When the developing step is completed, an image has been formed. The metallic silver is present in proportion to the brightness of the vista.
There are countless different developing agents available to do this task. The developer you select will likely be comprised of combination of metol and hydroquinone. Either can be used however most developer formulas contain these two in various combinations. Metol yields images with softer contrast whereas hydroquinone yields higher contrast. Most fine-grain developers (allow superior ability to enlarge) contain solvents or other means to reduce the size of the metallic silver fluff that make up time image. Again there are countless combinations, each has advantages and disadvantages.
answered 3 hours ago
Alan Marcus
23.3k12655
FWIW, 'halogen' is not a Swedish word.
– jarnbjo
12 mins ago
add a comment |Â
up vote
3
down vote
up vote
3
down vote
First, I advise against developing the rolls from your trip. Beginners face numerous pitfalls, and what can go wrong will go wrong. Having said that, it’s lots of fun to develop film, so go for it -- just select sacrificial rolls until you get past the learning curve.
Now about developers: All developers are reducing agents, they reduce (split apart) the light sensitive salts of silver that are the goodies that make film work. Film consists of a transparent plastic base, over coated with a gelatin layer. The gelatin acts like a glue; it holds the light sensitive goodies in place. These goodies are crystals of silver plus a halogen (Swedish for salt maker). The halogens used are bromine, chlorine and iodine.
The silver halogen crystal is relatively stable if care is taken to prevent it from seeing light energy. When the shutter of the camera clicks, an image of the outside world is projected onto the surface of photographic film. Light energy bombards the film. The brightness of this light and shadow image is proportional to the vista being recorded. Thus, the silver halogen crystals receive photon hits and each hit weakens the bond that binds the silver to the halogen. The camera exposure is insufficient to fracture the crystal, however the tying bond is weakened.
When the film is submerged in a developer solution, the silver halogen crystal is tested. If the bond is weak, the developer reduces (separates) the crystal into metallic sliver and a halogen. The halogen is water soluble; it dissolves into the developer, which is mainly water. It is the liberated metallic sliver that comprises the image, as this metal is opaque, as such it appears black. When the developing step is completed, an image has been formed. The metallic silver is present in proportion to the brightness of the vista.
There are countless different developing agents available to do this task. The developer you select will likely be comprised of combination of metol and hydroquinone. Either can be used however most developer formulas contain these two in various combinations. Metol yields images with softer contrast whereas hydroquinone yields higher contrast. Most fine-grain developers (allow superior ability to enlarge) contain solvents or other means to reduce the size of the metallic silver fluff that make up time image. Again there are countless combinations, each has advantages and disadvantages.
answered 3 hours ago
Alan Marcus
23.3k12655
First, I advise against developing the rolls from your trip. Beginners face numerous pitfalls, and what can go wrong will go wrong. Having said that, it’s lots of fun to develop film, so go for it -- just select sacrificial rolls until you get past the learning curve.
Now about developers: All developers are reducing agents, they reduce (split apart) the light sensitive salts of silver that are the goodies that make film work. Film consists of a transparent plastic base, over coated with a gelatin layer. The gelatin acts like a glue; it holds the light sensitive goodies in place. These goodies are crystals of silver plus a halogen (Swedish for salt maker). The halogens used are bromine, chlorine and iodine.
The silver halogen crystal is relatively stable if care is taken to prevent it from seeing light energy. When the shutter of the camera clicks, an image of the outside world is projected onto the surface of photographic film. Light energy bombards the film. The brightness of this light and shadow image is proportional to the vista being recorded. Thus, the silver halogen crystals receive photon hits and each hit weakens the bond that binds the silver to the halogen. The camera exposure is insufficient to fracture the crystal, however the tying bond is weakened.
When the film is submerged in a developer solution, the silver halogen crystal is tested. If the bond is weak, the developer reduces (separates) the crystal into metallic sliver and a halogen. The halogen is water soluble; it dissolves into the developer, which is mainly water. It is the liberated metallic sliver that comprises the image, as this metal is opaque, as such it appears black. When the developing step is completed, an image has been formed. The metallic silver is present in proportion to the brightness of the vista.
There are countless different developing agents available to do this task. The developer you select will likely be comprised of combination of metol and hydroquinone. Either can be used however most developer formulas contain these two in various combinations. Metol yields images with softer contrast whereas hydroquinone yields higher contrast. Most fine-grain developers (allow superior ability to enlarge) contain solvents or other means to reduce the size of the metallic silver fluff that make up time image. Again there are countless combinations, each has advantages and disadvantages.
answered 3 hours ago
Alan Marcus
23.3k12655
answered 3 hours ago
Alan Marcus
23.3k12655
answered 3 hours ago
Alan Marcus
23.3k12655
answered 3 hours ago
Alan Marcus
23.3k12655
23.3k12655
FWIW, 'halogen' is not a Swedish word.
– jarnbjo
12 mins ago
add a comment |Â
FWIW, 'halogen' is not a Swedish word.
– jarnbjo
12 mins ago
FWIW, 'halogen' is not a Swedish word.
– jarnbjo
12 mins ago
FWIW, 'halogen' is not a Swedish word.
– jarnbjo
12 mins ago
add a comment |Â
up vote
2
down vote
Be prepared to dive into a world of mystery. Using the 'only right'™ developer with a secret pinch of a raw chemical in a water bath kept at a fraction of a degree and stopping the development time at the correct tenth of a second is just as vital to an artistic photographer as it is for an ambitious luthier to have the tonewood for his violins to be logged on the first Sunday after the first full moon after the first snowfall before winter or for the audiophile to have his equipment powered through oxygen free copper cables from a purified mains source.
But seriously, it is for most combinations of film and developer nearly impossible to see any difference at all. Unless you have very specific requirements and want to 'tweak' your negatives for a tiny amount in any specific direction, you will do just well with any general purpose developer. Ilford ID11 or Kodak D76 as suggested by Hueco (both are equivalent) is a good suggestion. The only specific suggestion I can give you is that with faster films (400 ASA or more), you might want to avoid developers typically known to emphasize the grain structure (like Rodinal), unless you are really going for a very grainy expression.
Remember though, that there is no 'undo' function when developing film. If you don't like the result, you can't rollback and try again with different settings. If the images from your trip are important to you, I would perhaps consider to give those films to a lab and practice with less important material.
answered 4 hours ago
jarnbjo
1,05359
Dude, +1 for that first paragraph alone. :-D
– Hueco
2 hours ago
add a comment |Â
up vote
2
down vote
Be prepared to dive into a world of mystery. Using the 'only right'™ developer with a secret pinch of a raw chemical in a water bath kept at a fraction of a degree and stopping the development time at the correct tenth of a second is just as vital to an artistic photographer as it is for an ambitious luthier to have the tonewood for his violins to be logged on the first Sunday after the first full moon after the first snowfall before winter or for the audiophile to have his equipment powered through oxygen free copper cables from a purified mains source.
But seriously, it is for most combinations of film and developer nearly impossible to see any difference at all. Unless you have very specific requirements and want to 'tweak' your negatives for a tiny amount in any specific direction, you will do just well with any general purpose developer. Ilford ID11 or Kodak D76 as suggested by Hueco (both are equivalent) is a good suggestion. The only specific suggestion I can give you is that with faster films (400 ASA or more), you might want to avoid developers typically known to emphasize the grain structure (like Rodinal), unless you are really going for a very grainy expression.
Remember though, that there is no 'undo' function when developing film. If you don't like the result, you can't rollback and try again with different settings. If the images from your trip are important to you, I would perhaps consider to give those films to a lab and practice with less important material.
answered 4 hours ago
jarnbjo
1,05359
Dude, +1 for that first paragraph alone. :-D
– Hueco
2 hours ago
add a comment |Â
up vote
2
down vote
up vote
2
down vote
Be prepared to dive into a world of mystery. Using the 'only right'™ developer with a secret pinch of a raw chemical in a water bath kept at a fraction of a degree and stopping the development time at the correct tenth of a second is just as vital to an artistic photographer as it is for an ambitious luthier to have the tonewood for his violins to be logged on the first Sunday after the first full moon after the first snowfall before winter or for the audiophile to have his equipment powered through oxygen free copper cables from a purified mains source.
But seriously, it is for most combinations of film and developer nearly impossible to see any difference at all. Unless you have very specific requirements and want to 'tweak' your negatives for a tiny amount in any specific direction, you will do just well with any general purpose developer. Ilford ID11 or Kodak D76 as suggested by Hueco (both are equivalent) is a good suggestion. The only specific suggestion I can give you is that with faster films (400 ASA or more), you might want to avoid developers typically known to emphasize the grain structure (like Rodinal), unless you are really going for a very grainy expression.
Remember though, that there is no 'undo' function when developing film. If you don't like the result, you can't rollback and try again with different settings. If the images from your trip are important to you, I would perhaps consider to give those films to a lab and practice with less important material.
answered 4 hours ago
jarnbjo
1,05359
Be prepared to dive into a world of mystery. Using the 'only right'™ developer with a secret pinch of a raw chemical in a water bath kept at a fraction of a degree and stopping the development time at the correct tenth of a second is just as vital to an artistic photographer as it is for an ambitious luthier to have the tonewood for his violins to be logged on the first Sunday after the first full moon after the first snowfall before winter or for the audiophile to have his equipment powered through oxygen free copper cables from a purified mains source.
But seriously, it is for most combinations of film and developer nearly impossible to see any difference at all. Unless you have very specific requirements and want to 'tweak' your negatives for a tiny amount in any specific direction, you will do just well with any general purpose developer. Ilford ID11 or Kodak D76 as suggested by Hueco (both are equivalent) is a good suggestion. The only specific suggestion I can give you is that with faster films (400 ASA or more), you might want to avoid developers typically known to emphasize the grain structure (like Rodinal), unless you are really going for a very grainy expression.
Remember though, that there is no 'undo' function when developing film. If you don't like the result, you can't rollback and try again with different settings. If the images from your trip are important to you, I would perhaps consider to give those films to a lab and practice with less important material.
answered 4 hours ago
jarnbjo
1,05359
answered 4 hours ago
jarnbjo
1,05359
answered 4 hours ago
jarnbjo
1,05359
answered 4 hours ago
jarnbjo
1,05359
1,05359
Dude, +1 for that first paragraph alone. :-D
– Hueco
2 hours ago
add a comment |Â
Dude, +1 for that first paragraph alone. :-D
– Hueco
2 hours ago
Dude, +1 for that first paragraph alone. :-D
– Hueco
2 hours ago
Dude, +1 for that first paragraph alone. :-D
– Hueco
2 hours ago
add a comment |Â
up vote
1
down vote
Developers can be broken down into a couple of large categories:
Fine Grain Developers / Solvent Developers
Examples include Kodak D-76 and XTOL. They tend to soften the grains, creating a very fine grain look at the cost of some acutance.
Non-Solvent Developers
Examples include Rodinal and HC-110. These developers leave the grains full-sized and are often used in highly dilute solutions (1+100 for example) which brings out the acutance even more. Until you have a bit more experience, I'd stay away from non-solvent dev's. By all means, play around with them, just not on any shots you wouldn't throw into the "test" category.
Getting into the grain structure of each film and how different developers and techniques can change things is a long discussion. I'd encourage you to post more targeted questions on the matter as you have them.
For now, my best advice to you is to use something tried and true, as the results should be good for you. Kodak D-76 is a great place to start. If you're ever unsure of your dev times, the internet is here to save you.
As for getting the film on the reel - I understand predicaments. My wife and I had to spend time in a 500sqft studio with a massive window and in the city, causing there to not be a light-proof room in the whole place. The bathroom door gapped so bad I would have had to plaster towels all the way around it, even at night. So, the use of a change bag was necessitated.
This, however, is not ideal - especially as a beginner. Though, I will say it's not impossible. Just make sure that you become very comfortable handling film first, in loading a reel in the light...second, loading in the dark...and third, loading in the dark in a change bag.
answered 4 hours ago
Hueco
8,66732143
add a comment |Â
up vote
1
down vote
Developers can be broken down into a couple of large categories:
Fine Grain Developers / Solvent Developers
Examples include Kodak D-76 and XTOL. They tend to soften the grains, creating a very fine grain look at the cost of some acutance.
Non-Solvent Developers
Examples include Rodinal and HC-110. These developers leave the grains full-sized and are often used in highly dilute solutions (1+100 for example) which brings out the acutance even more. Until you have a bit more experience, I'd stay away from non-solvent dev's. By all means, play around with them, just not on any shots you wouldn't throw into the "test" category.
Getting into the grain structure of each film and how different developers and techniques can change things is a long discussion. I'd encourage you to post more targeted questions on the matter as you have them.
For now, my best advice to you is to use something tried and true, as the results should be good for you. Kodak D-76 is a great place to start. If you're ever unsure of your dev times, the internet is here to save you.
As for getting the film on the reel - I understand predicaments. My wife and I had to spend time in a 500sqft studio with a massive window and in the city, causing there to not be a light-proof room in the whole place. The bathroom door gapped so bad I would have had to plaster towels all the way around it, even at night. So, the use of a change bag was necessitated.
This, however, is not ideal - especially as a beginner. Though, I will say it's not impossible. Just make sure that you become very comfortable handling film first, in loading a reel in the light...second, loading in the dark...and third, loading in the dark in a change bag.
answered 4 hours ago
Hueco
8,66732143
add a comment |Â
up vote
1
down vote
up vote
1
down vote
Developers can be broken down into a couple of large categories:
Fine Grain Developers / Solvent Developers
Examples include Kodak D-76 and XTOL. They tend to soften the grains, creating a very fine grain look at the cost of some acutance.
Non-Solvent Developers
Examples include Rodinal and HC-110. These developers leave the grains full-sized and are often used in highly dilute solutions (1+100 for example) which brings out the acutance even more. Until you have a bit more experience, I'd stay away from non-solvent dev's. By all means, play around with them, just not on any shots you wouldn't throw into the "test" category.
Getting into the grain structure of each film and how different developers and techniques can change things is a long discussion. I'd encourage you to post more targeted questions on the matter as you have them.
For now, my best advice to you is to use something tried and true, as the results should be good for you. Kodak D-76 is a great place to start. If you're ever unsure of your dev times, the internet is here to save you.
As for getting the film on the reel - I understand predicaments. My wife and I had to spend time in a 500sqft studio with a massive window and in the city, causing there to not be a light-proof room in the whole place. The bathroom door gapped so bad I would have had to plaster towels all the way around it, even at night. So, the use of a change bag was necessitated.
This, however, is not ideal - especially as a beginner. Though, I will say it's not impossible. Just make sure that you become very comfortable handling film first, in loading a reel in the light...second, loading in the dark...and third, loading in the dark in a change bag.
answered 4 hours ago
Hueco
8,66732143
Developers can be broken down into a couple of large categories:
Fine Grain Developers / Solvent Developers
Examples include Kodak D-76 and XTOL. They tend to soften the grains, creating a very fine grain look at the cost of some acutance.
Non-Solvent Developers
Examples include Rodinal and HC-110. These developers leave the grains full-sized and are often used in highly dilute solutions (1+100 for example) which brings out the acutance even more. Until you have a bit more experience, I'd stay away from non-solvent dev's. By all means, play around with them, just not on any shots you wouldn't throw into the "test" category.
Getting into the grain structure of each film and how different developers and techniques can change things is a long discussion. I'd encourage you to post more targeted questions on the matter as you have them.
For now, my best advice to you is to use something tried and true, as the results should be good for you. Kodak D-76 is a great place to start. If you're ever unsure of your dev times, the internet is here to save you.
As for getting the film on the reel - I understand predicaments. My wife and I had to spend time in a 500sqft studio with a massive window and in the city, causing there to not be a light-proof room in the whole place. The bathroom door gapped so bad I would have had to plaster towels all the way around it, even at night. So, the use of a change bag was necessitated.
This, however, is not ideal - especially as a beginner. Though, I will say it's not impossible. Just make sure that you become very comfortable handling film first, in loading a reel in the light...second, loading in the dark...and third, loading in the dark in a change bag.
answered 4 hours ago
Hueco
8,66732143
answered 4 hours ago
Hueco
8,66732143
answered 4 hours ago
Hueco
8,66732143
answered 4 hours ago
Hueco
8,66732143
8,66732143
add a comment |Â
add a comment |Â
up vote
1
down vote
You're right. I also don't think it's beyond you; but, it will take some time and a few tries to get things as desired. Avoid learning with things you don't mind trashing.
The developer affects the grain structure of the silver halide, the acutance, resolution, peak density, and contrast (gamma) among other things.
Most everything about developers is a concession of one image characteristic over another. High acutance is usually at the expense of contrast and vise-versa.
There are compensating developers that work disproportionately in shadows more than highlights.
High-energy developers such as D-72 is typically used for big grain - called "popcorn." It is a low-acutance, high-contrast developer usually used for paper emulsions.
My favourite "solution" is a two-part, two-step, A & B developer which has a two, or three-minute soak (no agitation) in solution A, then remove, drain, and soak (no agitation) in solution B for the same time - continue with stop, and fix.
The correct agitation technique is vital. Too much and the edges of your image will be over developed and irregular compared to a proper agitation.
The temperature is an issue. All solutions must be and remain at the desired temperature including the wash water afterward. This can't be overstated.
I suggest that before you process shots you can't replace you shoot and process some "throw-away" local subjects until you can with some confidence proceed with what you have.
Every different film-developer combination will give you a different effect which will become evident only after you try them.
There is no certain predictor of how a latent image will appear with any given processing. We use curves and sensitometric data averages.
answered 4 hours ago
Stan
3,428820
I use a bathroom for my loading area with a piece of plywood over the counter sink as a flat, clean, space to load my tank and the kitchen for the processing. It's relatively easy to darken a small bathroom and mine has no window.
– Stan
4 hours ago
add a comment |Â
up vote
1
down vote
You're right. I also don't think it's beyond you; but, it will take some time and a few tries to get things as desired. Avoid learning with things you don't mind trashing.
The developer affects the grain structure of the silver halide, the acutance, resolution, peak density, and contrast (gamma) among other things.
Most everything about developers is a concession of one image characteristic over another. High acutance is usually at the expense of contrast and vise-versa.
There are compensating developers that work disproportionately in shadows more than highlights.
High-energy developers such as D-72 is typically used for big grain - called "popcorn." It is a low-acutance, high-contrast developer usually used for paper emulsions.
My favourite "solution" is a two-part, two-step, A & B developer which has a two, or three-minute soak (no agitation) in solution A, then remove, drain, and soak (no agitation) in solution B for the same time - continue with stop, and fix.
The correct agitation technique is vital. Too much and the edges of your image will be over developed and irregular compared to a proper agitation.
The temperature is an issue. All solutions must be and remain at the desired temperature including the wash water afterward. This can't be overstated.
I suggest that before you process shots you can't replace you shoot and process some "throw-away" local subjects until you can with some confidence proceed with what you have.
Every different film-developer combination will give you a different effect which will become evident only after you try them.
There is no certain predictor of how a latent image will appear with any given processing. We use curves and sensitometric data averages.
answered 4 hours ago
Stan
3,428820
I use a bathroom for my loading area with a piece of plywood over the counter sink as a flat, clean, space to load my tank and the kitchen for the processing. It's relatively easy to darken a small bathroom and mine has no window.
– Stan
4 hours ago
add a comment |Â
up vote
1
down vote
up vote
1
down vote
You're right. I also don't think it's beyond you; but, it will take some time and a few tries to get things as desired. Avoid learning with things you don't mind trashing.
The developer affects the grain structure of the silver halide, the acutance, resolution, peak density, and contrast (gamma) among other things.
Most everything about developers is a concession of one image characteristic over another. High acutance is usually at the expense of contrast and vise-versa.
There are compensating developers that work disproportionately in shadows more than highlights.
High-energy developers such as D-72 is typically used for big grain - called "popcorn." It is a low-acutance, high-contrast developer usually used for paper emulsions.
My favourite "solution" is a two-part, two-step, A & B developer which has a two, or three-minute soak (no agitation) in solution A, then remove, drain, and soak (no agitation) in solution B for the same time - continue with stop, and fix.
The correct agitation technique is vital. Too much and the edges of your image will be over developed and irregular compared to a proper agitation.
The temperature is an issue. All solutions must be and remain at the desired temperature including the wash water afterward. This can't be overstated.
I suggest that before you process shots you can't replace you shoot and process some "throw-away" local subjects until you can with some confidence proceed with what you have.
Every different film-developer combination will give you a different effect which will become evident only after you try them.
There is no certain predictor of how a latent image will appear with any given processing. We use curves and sensitometric data averages.
answered 4 hours ago
Stan
3,428820
You're right. I also don't think it's beyond you; but, it will take some time and a few tries to get things as desired. Avoid learning with things you don't mind trashing.
The developer affects the grain structure of the silver halide, the acutance, resolution, peak density, and contrast (gamma) among other things.
Most everything about developers is a concession of one image characteristic over another. High acutance is usually at the expense of contrast and vise-versa.
There are compensating developers that work disproportionately in shadows more than highlights.
High-energy developers such as D-72 is typically used for big grain - called "popcorn." It is a low-acutance, high-contrast developer usually used for paper emulsions.
My favourite "solution" is a two-part, two-step, A & B developer which has a two, or three-minute soak (no agitation) in solution A, then remove, drain, and soak (no agitation) in solution B for the same time - continue with stop, and fix.
The correct agitation technique is vital. Too much and the edges of your image will be over developed and irregular compared to a proper agitation.
The temperature is an issue. All solutions must be and remain at the desired temperature including the wash water afterward. This can't be overstated.
I suggest that before you process shots you can't replace you shoot and process some "throw-away" local subjects until you can with some confidence proceed with what you have.
Every different film-developer combination will give you a different effect which will become evident only after you try them.
There is no certain predictor of how a latent image will appear with any given processing. We use curves and sensitometric data averages.
answered 4 hours ago
Stan
3,428820
answered 4 hours ago
Stan
3,428820
answered 4 hours ago
Stan
3,428820
answered 4 hours ago
Stan
3,428820
3,428820
I use a bathroom for my loading area with a piece of plywood over the counter sink as a flat, clean, space to load my tank and the kitchen for the processing. It's relatively easy to darken a small bathroom and mine has no window.
– Stan
4 hours ago
add a comment |Â
I use a bathroom for my loading area with a piece of plywood over the counter sink as a flat, clean, space to load my tank and the kitchen for the processing. It's relatively easy to darken a small bathroom and mine has no window.
– Stan
4 hours ago
I use a bathroom for my loading area with a piece of plywood over the counter sink as a flat, clean, space to load my tank and the kitchen for the processing. It's relatively easy to darken a small bathroom and mine has no window.
– Stan
4 hours ago
I use a bathroom for my loading area with a piece of plywood over the counter sink as a flat, clean, space to load my tank and the kitchen for the processing. It's relatively easy to darken a small bathroom and mine has no window.
– Stan
4 hours ago
add a comment |Â
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1
Have you ever handled a meter long roll of film? Do you know how you will alternately put it into the developer, stop, fixer, and then wash? Using a "daylight" tank takes a bit of practice. Get some unexposed film and practice loading it in daylight with your eyes open, eyes closed, then with the lights off. Become proficient with this before you consider the processing. It's a teeny-weeny bit tougher than you can imagine to do this without touching the surfaces of the film. You can only touch the edges of the film without leaving a finger print, scratch, or oily smudge.
– Stan
5 hours ago
@Stan Nope, never. But I have some rolls of spare film and ruined film that I've set aside to practice the loading of the tank. I am intending on using a "bag" as I don't have a suitable room dark enough to do it as a dark room. I've also made a note to wear gloves, for the chemical side and to prevent the fingerprinting of the film.
– mickburkejnr
5 hours ago
Get a decent sized bag to play in. Handling film and loading it onto a spool can be tricky for a beginner in a closet. Also, with 35mm you need a tool to crack the canister and scissors to cut the film from the reel. Since these tools will be in the bag with you, take care not to scratch your film while loading. Personally, I use an open ended change-bag in an almost light tight room so that tools can be easily taken out of the bag.
– Hueco
5 hours ago
Tip: Do not use a changing bag until you have much experience. It will limit your movements and make things much tougher to do. Do not use gloves when handling film as a sensitive touch is vital. Wash your hands and dry them well. You may want to have a light-tight bag to put things in (to take a break if things don't go well) mid-load. Work at night with the lights out to get your loading area dark enough. Stuff towels at the bottom of the door to keep the dark in. Use a can-opener to open the cassette if it isn't a re-useable one.
– Stan
4 hours ago