Sorry for not publishing for a while

It has been a week or so, maybe two that I have not published anything. This was because I found myself selecting and reproducing photographs. This was due to the fact that I am part of a photographic group that is turning LX (60) years old. To celebrate this accomplishment we decided to mount an exposition of photographs that has been donated trough the years or left because they were part of past exhibitions.

To give you a little bit more of context, the association is called Foto Club Ingenieros (Engineers Photo Club), it was founded on 1954 to teach to the students photography, it started in the former building were the Engineering school held lessons, when the Universidad Nacional Autónoma de México (UNAM), unified in a single campus in the southern zone of Mexico City, the Club then moved with the school to its nowadays location. At that time, only analogue photography existed. But that tradition is still taught in our complex.

To commemorate our LX Anniversary we are going to held and exposition of our historical archive in the same building where our Club was founded. If someone is planning to visit Mexico City by august trough september we cordially invite you to the exhibition at Palacio de Minería, Tacuba street #5, at downtown Mexico City, near the Fine Artes building and the Allende subway station.

I leave you with an image that is going to be part of the exhibition.

Soon I will publish more useful information…

Something about developing.

As far as we have come, we may be ready to start developing. For now, we know how to use the camera, we also told something about darkrooms, and then a little about developing tanks. The next logical step is going to be doing the develop itself.

The process to develop a photosensitive material is the procedure, in which, we are going to bring the images that are stored in the film, and making it no longer sensitive to light. 

You may look on internet, and almost everyone is going to have it's own developing process, this is because we are free to experiment as much as it suits one. that is why I would like to explain what I think is the standard process. I also will highlight the steps that must be done, and explain why some are kind of optional.

1. Presoak
2. Develop*
3. Stop Bath
4. Wash
5. Fix*
6. Wash
7. Hypo solution
8. Final rinse*
9. Coating
10. Dry

The entries marked with the * means that they must be done. 

Presoak

This step is intended to be done with water. This is to clean the film from any dust particle, finger marks and humidifies it so the developer will not act suddenly. We need to agitate the tank, with water, at least for 30 sec.

Develop

The whole process is around it, and this is going to be the chemical in charge to bring the images stored in the film and become visible, but not just free from light sensitivity (if we take our film out of the tank it will be ruined as the light will still react with the emulsion). 

But when you go to the photo store, and you say to the store clerk: "Could you give me a developer?" he immediately will reply "Which one Mr./Mrs.?". So yes, there is going to be a developer from each major brand, and within the brand they may have several, and each one could be able to be mixed in different ways… what a haze!

A starting point, and one that I recommend most, is to search our film's user manual. This ones do not come with the film in the box, so google it! (the key words are the brand, the name of the film and fact sheet). But for now on I will explain about my own experience with the developers I know. As a big part of the whole, most developers are designed so they work perfect at temperatures between 20 to 24 º C (68 to 75.2 F). I most often try to use the developer as nearest to 20 ºC (68 F), in future references this is going to be the temperature.

Also very important to have at hand, is the developing chart for our film, this one most of the times comes with the original packaging.

Types of developers

Single use

There is a family of developers that will only work for once, and then we have to dispose them. The most popular of this kind of developers is Kodak's D-76. This developer is quite easy to mix, we only heat 3 liters (0.79 US gal) of  water until 52 ºC (125.6 F), pour the powder that comes in the packaging, once all mixed ad more water, 0.8 l (complete the US gallon). When the temperature goes down to room temp. ca. 20 ºC (68 F), we now have a developer in stock, meaning that is at its purest dilution. We are going to be able to mix it with water so we reduce its developing power for making more "softer" processes, in which we could bring more details, but at cost of our contrast.

In this type of developers we may see something like this on the developing chart 1+0, 1+1, 1+3. What do these mean? This is a sum, in which the first number is the quantity of developer we need plus the quantity of water we are going to use to dilute.

1+0 means that we are only use the chemical

1+1 means that we are going to use half developer, half water

1+3 means that we are going to use one part of developer and three of water

Are some developers like Agfa's Rodinal (I do not like it) that uses dilutions like 1+59, 1+60. But how do we know how much do we need. Well, in the bottom of the plastic tanks it says something like 135 x 1 = 300 cc, means that for one 135 film we need at least 300 cc (cubic centimeters) of developer, 100 ml (nearly 10.2 fl. oz.), so 300 is our goal, and we want to do a 1+3 dilution. The first step is to divide our goal by the sum of the 1+3, is 4, so 300 divided by 4, that equals 75. The next step is: we need one of developer plus 3 of water, 75 multiplied by 3 is 225, we take that and then ad the 75 of developer we needed an now we have our developer in 1+3. Single metal tanks need 250 ml (8.5 fl. oz.).

Once our developer is ready for the job, we pour it in the tank, put our clock in the time the chart indicated, at the right temperature, and we start the process. Regardless the type or the brand of developer one of the most recurrent habits is to agitate the tank, there is fact sheet recommendation, that tells us to agitate the tank 10 seconds each minute. You can agitate more often, just to blow up the grain, but you can not do it, this helps that the development process occurs as even as posible. As we cycle the particles inside, moving fresh chemical near the emulsion.

Just one the clocks hits zero, we toss it to the drainage. And be ready to pour the next chemical, but for now is time to explain about the other kind of developer.

Multiple use

It may seem a little bit logical, this developers are able to work even after certain number of uses, this developers are once prepared and there is nothing else to do. The most common developers are Kodak's HC-110 (dilution B, is for film) and T-Max, Ilford's ID-11 and Microphen. These four can only hold 10 processes, after the tenth the results are uneven.

The only problem with those is that with each use the developer looses it power, but it can be compensated with more time. For example with HC-110, we have used it like 6 times, for each use we add 10 seconds to the chart time, this means, if the chart says, the film develops with 5 min, we add sixty seconds to it, a whole minute, our develop time will become 6 min.

While with Ilford is a little bit different, in this case we have to ad percentages, for example it is going to be the 8th process, so I have to ad the 70% of the original time, in this case 8 min. the 70% of 8 is 5.6 min, so we have to sum it to the original time, 13.6 min is our developing time.

Just as a little note, ID-11 and Microphen can be diluted, if we do so, they will become single use developers.

When you become more familiar there exist other classifications to developers, multi-propuse, fine grain, being the most common. In this case I recommend giving each one a try to find the one that likes you most.

Stop Bath

This chemical is the easiest one to prepare and can be switched with vinegar. The job is going to do, is to stop the effects of the developer, so our developing time comes as closer as the chart says. It will only work for 30 seconds and we have to agitate all the time.

Wash

This little wash is to clean all the residues could be left during the developing and the stop bath, it is made with tap water, and it lasts 30 seconds with constant stir.

Fix

The second most important step during the process, this chemical will transform the silver halides to silver salts, that are no longer sensitive to light. So once the film is bathed with this, it will become light safe, you cant take it out and nothing will not happen. It will also give the longevity to your processed film, a well done fix will make your film endure at least 20-30 years.

The fixer I found most easy in Mexico City is the Rapid Fixer from Kodak, I do not know any other, so I am not able to tell you if is fast or no, but I can tell you that it is working properly or not. The time I recommend for the fixing process is to let it be in the tank for at least 10 minutes, with the same agitation scheme as with the developer. You can take out the film and if it is still purplish it still needs fixer, if more than 20 min with this, that means you need to change your fixing solution with new.

Rapid fixer for film is easily prepared, it comes in two bottles, the fixer and a hardener, use 1.9 liters (0.5 US gal.), pour the fixer bottle, mix it well, pour the hardener bottle, mix well and ad enough water to fill 3.8 liters (1 US gal.). This will endure as long as six months in a well closed bottle.

Hypo solution

The fixer tend to left undesired residues on the film, that will cause stains in the emulsion, so this Hypo solution will help to wash it quickly. Before pouring the Hypo, do a wash, just like the one before the fix process. 

This Hypo, here, it is sold in small bags, to prepare just one liter (33.8 US fl. oz.), just heat water, pour the powder, mix it, and presto, you have Hypo solution.

During the process it just needs two minutes with the same agitation scheme as the developer.

Final rinse

This is done with tap water and the time will depend on the usage of Hypo solution, if it was used you have to add water for five minutes, changing the water each minute. With the same scheme of agitation as the developer.

If you have not used Hypo solution, be prepared to left the film almost a day in water, and keep changing the water at least one hour, agitation… try to do it from time to time. This step must be done to wash the film from any residue from the steps before.

Coating

With time, Kodak, created a chemical called Photo-Flo, that is aimed to protect from small scratches and make the emulsion static free, so dust will not stick to it. Also gives the film a shiny finish to it. In this case left it one minute and any agitation, this chemical is soapy, so it will form foam if stirred, so avoid it.

Dry

The last part of the whole process, find a place to hang the film, cloth clippers are good for this, and do not forget to use a counter weight to keep the film stretched and avoid the natural curvature. The drying time will depend on where do you leave it, but for most of times it will take 30 min to one hour.

This has been the steps I usually do to develop a film, as said before there are some steps that are not essential, but aid in making the process cleaner and leaving better results. The next question is how to keep you film, in the US is a brand called Print File, they manufacture special sheets with sleeves to preserve the strips. I think they are the most easy to find and economic too. Just do not forget to find a dry cool place at your house to preserve your films, as humidity will damage them.

More about darkrooms!

In the last entry I told you that I will not be leaving a lot of time before I post something new, well in this video I show some of the other things you must consider to get for starting a darkroom. I hope you enjoy it!

How to start a Darkroom

For now on, the core of the posts are going to be oriented on things that really more into Darkroom things, and with time I will start to teach some photo technics.

But first things first, what is a Darkroom? Do I need one? The first answer may seem obvious, but it has to requiere certain elements. While on the second tough, it will depend highly on if you want to just develop film and scan it, or if you want to do the whole process, make prints.

In the first option, there is no need to have a room solely to photography, or adapted to it. You will be able to do fine with a film changing bag. This bags are sold, or can be DIY.

As a disclaimer, I have never used one, but the concept its easy. As you can see on the image above, the bag has a zipper and a pair of sleeves (may not seem quite sleeves, but they are) with gloves at the end. This bags were made to manipulate film or plates, so you will be able to transfer it to the developing tank, they are also great for landscape pinhole photographers, as they try to change their stuff light safe. So how you use them, well you just open the zipper and put the film (still with its can or wrapped within its paper, in case of a 120, or the plate holder), the tank to develop (with all the parts, as mention on the video in the last entry), a pair of scissors (if a 135). When all that stuff is inside the bag, close the zipper and then via the sleeves, you insert your hands. And start manipulating the film and the tanks, until the film is safe inside the tank, so in that moment you can take that out and start processing your film.

The other way involves to adapt an existing room in your house, but not any room, it has to meet at least two things. That it can become dark at will, meaning that any light can enter into the room, second and also very important, access to tap water. While with the changing bag you do not need to darken any room in your house, you are able to work in the kitchen or in the bathroom. With that in mind the place you are going to be able to adapt narrows your choose. It will lead you to use a bathroom, a kitchen or in special situations, the laundry room. Before taking any step further be sure that you have the permission of your family members, specially if you still live with your parents.

Undoubtedly, the best option is to use a room that is in the basement, these rooms, most of the times have small windows or any. But if you do not have a basement with a laundry room or bathroom (I heavily think any would have a kitchen in the basement) you will have to be able to tape black paper in the windows, this material is not expensive as it can be found where arts or office materials are supplied, and the best material to paste it is duct tape, you know that black one that is not very sticky, and do not left many marks.

Black paper

You have to measure your windows, so you buy the right amount of paper. The first time when you are assembling the papers, try to do it when the most intense light is going to be entering to that room, so you can easy find any light that could slip in, and find that little hole and block it with the duct tape. If you are only able to work at night, it is more easy to achieve total darkness inside.

As far as we have gone, this is to set up the space just to manipulate film, and start a developing process. This time I will not take too much time to write about developing chemicals. If you intend to build the whole darkroom, it is because you are also wanting to do some enlargements. In that case you will have to considerate space to accommodate an enlarger and at least five photographic trays. The size of the enlarger will depend on what you find, there are different type and sizes of enlargers, and the size of the trays can be determined by the size of the enlarger, bigger machines are able to project bigger images, or the space you still have. The most common household printing size is 8x10 inches, so you can go a photographic supply store and ask if they still sell trays, in that case they will ask you the bigger size photo you intend to enlarge. Most common tray sizes are for 5x7, 8x10, 11x16 and 12x18 in. Bigger sizes are hard to achieve in house darkrooms, the solution for bigger enlargements is to use a print developing tank, hard to find nowadays. So for this time see you soon!

I leave you with a photo when I started my own Darkroom, it was and unused bathroom in the basement of my house. (The extra lighting was just for the photo)

This is just a mid-point

Stem readers, I would like to hear about your opinions. I have been writing for a while now. Just to remember you, I wanted to start by explaining the basic concepts of photography, as what does ISO, shutter speed and aperture means.

I believe there are tons of explanations on how to use a camera, most notable, due to fact that digital cameras are used in the same manner. But for now I wish to know something about you. From now on I will start to explain more darkroom oriented topics. And I am asking you:

• What do you expect?
• What would you like to learn?
• Do you have any idea in mind?

After this I will give you a little resume of what topics I am going to be explaining the next weeks:

• How to make a darkroom.
• Types of chemicals for developing, developer, stop bath, fixer, hypo solution, photo-flo.
• How to choose an enlarger. Enlarger accessories.

With time, I hope to have enough money to buy color chemicals and explain them. (Except E-6 process, I will explain why).

(Sorry if this post does not contain explanations, or something like that…)

About the film picker and developing tanks

This is the last video I have posted on Youtube, I explain a bit of the film picker and developing tanks.

Equivalent lectures

I hope, my stem readers, that you have practiced how to read the expose meters on your cameras. If you still have some doubts, please be confident enough to send me a comment.

When you master how to read the values, now you are prepared to make equivalent lectures. This means, that you are able to change shutter speed or ƒ numbers to accommodate your needs or the end result you wish, without changing the quantity of light that is going to get into the film. Maybe by now, you are going to be able to have an idea if you know what each light step means.

This is going to be a little bit more practical than before. First of all, lets imagine that a friend of us has a hand expose meter, and he (or she) measures the light on his face, and the displays says: s 1/250 @ ƒ 4.0. In this case we want to blow away the background, in other words, make it unfocused. How do we do that? Easy one! We just open the lens aperture, in this case we are going all the way to ƒ 2.0. If we write an scale:

ƒ numbers   1.4   2.0   2.8   4.0   5.6   8.0   11   16   22

Speed   15   30   60   125   250   500   1000   2000

Note: I did not write the 1/ of the speed

Each number is a step, in which I am going to let pass the double or the half of light, so if we are in ƒ 4.0 and we want to go to ƒ 2.0, how many steps are we moving? Just two steps, but in this moment we let enter four times the amount of light to make a perfect exposure, so what do we do now? We have speed in the other hand and as we are not worried about its effect, we are going to move it the same number of steps until it compensates the light we let pass with the aperture, this means we are going to move the speed to 1/1000, as it let passes four times less light than before, and so our new lecture is going to be 1/1000 @ ƒ 2.0 and we assure a shallow depth of field as we wanted to do the portrait of our friend.

This also applies to the case in which you are more concerned about the speed, for example not letting it go below 1/30. For example, we are in a place where the Sun is about to set, the shadows are very long and dark, but we found that some places where the lights still passes trough is interesting, we make a lecture with our camera, and it says: 1/8 @ ƒ 8.0, and also we do not bring any tripod, and there is not a table at sight. 

ƒ numbers   1.4   2.0   2.8   4.0   5.6   8.0   11   16   22

Speed   8  15   30   60   125   250   500   1000   2000

Note: I did not write the 1/ of the speed

We want to be safe about shutter speed, so we want to shot at 1/60, so from 1/8 to 1/60 are three steps, in which we will not let pass much light at all, like about 8 times, so what do we do next, is compensate with the ƒ number, the same number of steps, so we let pass more light to it, from ƒ 8.0 we head to ƒ 2.8, and this way we end letting pass the same amount of light as the original reading.

The next pair of images exemplifies the Equivalent lectures.

1" @ ƒ 8.0

1/15 @ ƒ 2.0

Contrast seems a little bit different on each… but as you can observe, both have similar amounts of light on them, the only difference is how I wanted to move DoF, so only the little turtle was in focus. As you can notice both values moved five steps, if I just moved one without compensating the speed that would be blank image.