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.

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)

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.

Some examples of different ISO sensibilities

Last time I just explained different ISO sensibilities but I did not give some examples to exemplify what I wrote.

All of the next examples are 8x10 enlargements I made.

This one was shot with Ilford HP5 at 400 ISO, as you can appreciate grain is not so visible, but not invisible. It can handle good detail.

This film was Ilford Delta 400, shot at 400 ISO. Compared with the HP5 grain is smaller and holds better details. This film can emulate the feeling of a 100 ISO film.

This last image was shot with Delta 3200, at 3200, at first glance grain is visible, but as was developed with Ilford Micrphen, grain does not explode, and gives a nice texture to the image, even a warm one. But some details become diffuse 

Sorry if I did not published a 100 ISO photograph, I was not able to find one. 

About cameras and film formats

Well as I said before, I will not go into the realm of brands, instead of that, I would prefer to talk about kinds of cameras, by the format they can hold. You will find more precise information through books or the Internet itself. This entry is more focused on what are you going to need after to develop and print your negatives.

Since the start of photography inventors and engineers developed quite a variety of film, in size and form. Today we still have three major flavors of film, and so three kinds of cameras:

• 135 film: The most used film, even before used by photography (its first primary use was to do cinema), from hi-tech SLR to just plastic point-&shot and even disposable cameras. One of the most recognizable format. 
• The pros are:
• Easy to handle, it is self contained inside a canister, last generation cameras (even point-&shot) were able to determine the film speed, thanks to DX codes.
• Easy to find, as the most famous member of the film family it is still available in convenience stores, super markets and photographic materials supply.
• Wide variety of cameras, in the second hand market, flea markets and forgotten attics, you have a great chance of finding a usable cameras.
• Most amateur photo stuff was designed for this format.
• Any enlarger will be prepared to let you print images.
• The cons are:
• It is the smallest of film sizes found near, it captures great detail, but you are not going to be able to print enlargements bigger than 60" (in.) (It is not so con but is the classic one!).
• Without the correct tools, like a film picker, you are going to end breaking a lot of canisters, which can make you spend a little bit more of money. If you wish to save some pennies, it is worthwhile to search for bulk film, is a package that contains 100 ft. (30,5 m) of film, without the canisters. I will discuss about bulk film latter.
• 120 film (or 6x6): This is a bigger film, it was the first to be commercialized by Kodak to easy to use market, it is older than 135. It is the favorite flavor of pro photographers, the cameras are not that big, but thanks to the size of the film you are going to get a lot of details, this was also the favorite size of NASA, most space photographs were made with Hasselblads.
• The pros are:
• Great detail, capable of doing much bigger enlargements.
• Some cameras were able to have 6x6 or 6x4 or 6x4,5, so the photographer was not constrained to just one aspect ratio.
• Most cameras have the ability to change were the film is loaded, so the photographer was able to change from B&W to color to slide, without the need to finish the film.
• The cons are:
• More oriented to pro markets, so cameras are quite expensive, even used ones, do not forget accessories.
• Due to the fact the film is bigger, you may need to have an enlarger capable of hold the format, it is also recomendable to have an 80 mm lens for the enlarger.
• If not very used to it, you are able to spoil the film, because the film is just winded in a spool and covered by a special paper.
• Only 12 photographs by package.
• Plates: The oldest brother from the family, it has evolved through the years but preserves the aura. The favorite of studio photographers, as the cameras are big, bigger than your head, and maybe your chest, you are attached to its stand, hopefully with little wheels so it can move a bit. 
• The pros are:
• Best quality, most plates nowadays are about 6x4 in. (10x15 cm), if you shot slides the colors are the most amazing than any Photoshoped photograph and if compared to a digital realm, a photograph from a plate would be the equivalent of using an 80 megapixel camera.
• No need to do enlargements, photographs can be positive by contact printing.
• Most cameras have a tilting and shifting lens, capable of modify the focus plane and/or the fugue of lines, making them really vertical.
• The cons are:
• Plates can not be developed in small tanks, can be done in trays, but with any kind of light, or can be processed in bigger tanks, oriented to printing processes.
• Cameras are so big, is very difficult to go around with them, is like going out with a mini fridge.
• Also you need to carry out a case for holding plates, as the holder can only have one at a time, later iterations from Kodak were able to hold two plates, one against the other.

This has been quite a fair amount of information. In my case, I use 135 film, mainly because my first camera is that format, then the older cameras from my house are also that format (just some point-&-shots). When I am able to buy a medium format (120) camera, I will inter to that realm, hope so soon. But in both cases, in the developing process are the same actions, the only considering point is about developing tanks. If you get a plastic developing tank, like the ones from Kaiser, the spirals can be size changed, so they can handle 135, 126 (a dead format) and 120, just be sure is the taller tank, the one that can handle two 135 at a time. If you are more likely to have metal spirals, you need to have the tank and the spiral for each format, in the case of the 120 tanks you can develop two 135 at the same time.

As mentioned with the plates, only if you have the tank for print processing the procedure is not that easy, as developing must be done with trays and there is not any safelight to use with. I recommend to start with 135 or 120, so they are the most easy to use formats.