View allAll Photos Tagged Develope
Busto Arsizio
Cimitero Monumentale - Ampliamento 1970 arch. Ciapparella
Settembre 2022
Hasselblad SWC (1968)
Zeiss Biogon 38 mm f4,5
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 13 min
Aprile 2023
Scorcio Urbano
Lago di Varese - Gavirate
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Fomapan 100
Hydrofen 1+31 x 9 min
Busto Arsizio - Scorcio Urbano
Aprile 2024
Nikon FE
Nikkor AIS 28-50mm f3.5 + yellow filter 2 stop
Rollei Retro 400 S
R09 Studio 1+31 x 17 min
I know everything looks better that way, but I think this one only really works on large on black...
I've always admired photographers who develope a style and have always aspired to developing one of my own. I've always favoured the countryside over the city, but what's interesting is that the city seems to allow for a much more diverse set of styles. It's been great fun and eye opening over the last week experimenting with new techniques!
This is a 4 minute exposure comprised of 8x30s shots averaged in Photoshop! I love using this technique to give super long daylight exposures without stopping down! I ummed and arred forever about the composition / crop. It's one of those cool places where it's nearly impossible to find an ideal viewpoint!
recently acquired a Kodak recomar 18 which had a film inside. kodak panatomic x pro. decided to develope the film and this was 1 of 2 images that came out, its of Padstow harbour and i think looking at the cars its from the early 80s,
developed in ID11 for 9mins
the old customs house is still there today.
Milano Centro
2019-02-12
Olympus XA2
Kentmere 100 - dev.Studional 1+31 x 8 min
Le altre in questo album: flic.kr/s/aHsmyyxuUp
A test shot from yesterday with the Polaroid back on the RB67. A little underexposed, not sure if that is due to a cheap light meter or if I let the polaroid develope too long. Does any polaroid expert have any tips on how to pull the film thru. I seem to get these streaks (not on all the prints). This time I pulled the film thru a bit slowely, but as you can see it did some funky thing in the corners (which I kind of like). Really fun stuff....I will try to shoot a roll of 120 this weekend.
edit: for those of you that don't know, here is how this film works. You pull it thru rollers which pops a pack of some development cream...as you pull is spreads over the images between 2 layers. It takes 30sec to 3minutes for developement. Then you remove the back layer. I think that if you pull it off too soon, it under developes...too long and over developes. That's it in a nutshell.
People have been asking about my blog. I still plan to launch it soon. I just need to fine tune it a bit still.
I'm on Twitter: @isayx3
Busto Arsizio - Scorcio Urbano
Luglio 2023
Hasselblad 500 CM
Zeiss Planar 100 mm f3.5 CT*
Kodak T-Max 100
R09 Studio 1+30 x 9,5 min
Busto Arsizio - Scorcio Urbano
Aprile 2024
Nikon FE
Nikkor AIS 28-50mm f3.5
Rollei Retro 400 S
R09 Studio 1+31 x 17 min
negative scanned::Kiev 88::Arsat 80mm f2.8mc::Fujifilm Neopan Acros 100 [ self - develope ] :: Ilfotec DD-X 1+4 :: Megan Avenue Kuala Lumpur ::
model : Farah
Busto Arsizio
Settembre 2024
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Rolei Superpan 200 120
Hydrofen 1+30 x 12 min
Busto Arsizio
Scorcio Urbano
Canon IIS2 LM (1955)
Canon 50 mm F1,8 LTM + Filtro giallo -1 stop
Kentemere 100
Bellini Hydrofen 1+31 x 8 min
Busto Arsizio
Settembre 2024
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Rolei Superpan 200 120
Hydrofen 1+30 x 12 min
Busto Arsizio - scorcio urbano
Giugno 2023
Leica M5
Leica Summicron-c 40mm f2
Leica Elmarit-m 28mm f2,8 ASPH
Kodak Eastman double-x 5222 250 asa@200 asa
R09 Studio 1+31 x 7 min
Busto Arsizio
Settembre 2024
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Rolei Superpan 200 120
Hydrofen 1+30 x 12 min
Gallarate - Gennaio 2022
Scorcio Urbano
Hasselblad 500 C/M + Zeiss Distagon 50 mm f4 + yellow filter -0.5
Rollei Retro 400 S @400asa
Bellini Hydrophen 1+30 x 17 min
The entry of the university library underground bike park in Freiburg im Breisgau
I edited this picture a lot to develope a very intense, dark atmosphere.
IN ENGLISH BELOW THE LINE
El cementiri de Sabadell.
Placa de col•lodió sec, mètode Major Russell (col•lodió Lea 3-taní), en format 4x5; realitzat amb una Graflex Crown Graphic fabricada cap al 1951; Graflex Optar f4,7 de 135mm; 3:15 minuts a f8 (EV 13,2).
Les plaques cobertes amb co•lodió (i anteriorment albuminades, part essencial del procés) es preparen com per a una placa humida usual. En el moment de treure-les del bany de plata, comença la diversió. Cal rentar la placa, sota llum roja, en dues safates d'aigua destilada, i seguidament, submerir-la en una sol•lució d'aigua, taní i etanol. Son uns 10 minutes per placa, en total. Un cop feta la exposició, encara més important el revelat també és per inmersió. Primer s’humidifica la placa seca amb aigua i etanol, i després es submergeix 5 minuts en una solució d’acid pirogalic i citric, amb unes gotes de nitrat de plata. Amb això s’inicia el revelat, però cal afegir més nitrat de plata passats els cinc minuts i usualment fins als 10-12 minuts.
Les plaques de col•lodió sec son força desconegudes però es varen fer servir en paral•lel al més famós col•lodió humit. Eren molt pràctiques per eliminar la necessitat de portar a sobre tots els quimics i una cambra fosca portatil, però com les exposicions son molt llargues, de diversos minuts com a mínim, en queden exclosos els retrats. Aquest tipus de procediment en concret, conegut com a mètode Russell, data de 1861.
cool.culturalheritage.org/albumen/library/monographs/monc...
ca.wikipedia.org/wiki/Sant_Corneli_de_Collbat%C3%B3
====================
The cemetery of my hometown, Sabadell.
Dry collodion plate, Major Russell process (tannin-Lea 3 collodion) in 4x5 format; taken with a Graflex Crown Graphic, made c. 1951; Graflex Optar f4,7 de 135mm lens; exposed for 3:15 minutes at f8 (EV 13,2)
The dry collodion is a quite convenient "evolution" from the wet collodion, as it allows to go out there without any box of chemicals and a dark box following you. But it never gained more popularity due to it's own problems, like even more complex manipulations and specially much less sensibility, with expositions in the minutes range, limiting it to landscape photography. This method, discovered by Major Russell in 1861, uses tannin to preserve the sensitivity of the plates once dry.
Glass plates covered with collodion (and previously albuminized, an essential part of the process) are prepared as for a usual wet plate. The moment you take them out of the silver bath, the fun begins. The plate must be washed, under red light, in two trays of distilled water, and then immersed in a solution of water, tannin and ethanol. It's about 10 minutes per plate, in total
Once the exposure is made, even more important is to develope also by immersion. First, the dry plate is moistened with water and ethanol, and then immersed for 5 minutes in a solution of pyrogallic and citric acid, with a few drops of silver nitrate. This starts the development, but it is necessary to add more silver nitrate after five minutes and usually up to 10-12 minutes.
cool.culturalheritage.org/albumen/library/monographs/monc...
Castellanza - Scorcio Urbano
Aprile 2025
Rolleiflex 2.8 C
Schneider-Kreuznach Xenotar 80mm f2.8
Rollei Retro 80
Bellini Hydrofen 1+30 x 9 min
The decision to start 365 was a total spur of the moment thing. I, as most of those who start 365, had seen people in Flickr doing it and thought it would be a great way to keep a daily journal and get better at photography in the mean time. I have been in Flickr for some years, which for most of the time has meant logging in once every couple of months to see if I had new comments (zero). I went to UK as an pair two three years ago and started getting more feedback on my pictures. I still feel it was the turning point, I got properly interested of photography and marveled other people's work more often. When you're a complete beginner who doesn't trust their skills at all getting feedback and encouragement from a real person standing next to you is SO important that I can't highlight it enough. Unfortunately I lost my enthusiasm for a year or so after I got back to Finland but at some point I picked up the camera again. I had decided to apply to an art school and while doing the photographic pre tasks I started taking all kind of pictures again. Soon after that I started the 365. It became more of a project of trying to find my own style instead of a documentation sort of thing and I'm kind of glad it did. I can't belive how much I've learnt this past year!
As you can see from here the beginning was not that great. ;) But every shot throughout the way means something to me, and looking at this first shot really reminds me of how quickly this year passed by even though it sometimes felt like it would never end.
A big thanks (accompanied with an even bigger IRL hug) to my boyfriend Niko for putting up with me and my project. Countless are the evenings and nights he had to witness me being glued to my chair, my ears closed from everything else except the soft lullaby like sound of the keyboard and eyes focused on my cheap laptop screen and the screen alone. At one point it even started to seem like my Flickr affair was starting to develope into a romance of a lifetime, but even then he stood by me regardless of my fidelity and let me keep my own thing because he knew it made me happy. And for that I am grateful! Niko also deserves the bonus marks for being such a champ and posing for me, especially when the poses in question were perhaps as boring as to walk as far away as possible and to stand there as long as I need him to and then to walk back. Or wearing angel wings in the graveyard which still makes his cheeks go red...and for that matter, mine as well. What was I thinking?
Thank you so much to every single one of you for sharing this year with me (or even a part of it!) I know I might not have always been there for you and that has sometimes made me sad. It's common knowledge I've got Flickr fatique more often than the word 'often' really even stands for. During these last few weeks and months it's been more of a rule than an exception that I've been very tired of carrying on with this project. But I am stubborn, what can I say! All you 365'ers know it's a love/hate relationship. The end part of the project has worn me down quite a lot, but I am ***so*** glad I made it to the end! :) Nothing feels better than setting a goal, reaching it and then being able to salute the freedom again.
From photography I have found the perfect medium to express myself and I am so happy about that. I've always felt artistically and creatively inclined but for a long time it seemed like I just didn't hold much talent in any particular area.
I'm not gonna say things that you usually say after projects like these. I haven't learnt to understand myself better. Instead I have learnt to accept the fact that I will probably never understand myself...always when I think I do, I'm in for a surprise the next day.
But I've decided to cherish the adventure from now on and open my eyes to new things. I've also understood I can't take as many things for granted as I have so far. It's time for me to be grateful about certain things, get more indipendent and get out of my little comfort zone that I sometimes also like to call as 'apartment'. I can't sit at home anymore and wait for the perfect opportunity to appear, I have to go out in search of it.
What will I do from now on? Some of you have asked if I'm gonna disappear from Flickr - worry not, you guys! I'm still gonna upload whenever I feel like it. Old shots, new shots, whatever strikes my fancy. At first I thought I would only upload 'great' shots once the project is over but now I've decided I'm just gonna do whatever feels good. If I take even Flickr too seriously the road ahead with everything else is gonna be very dark. So I'm planning to lighten up a little and not always see the negative side of everything. My god, how negative I've felt lately! Also I have been asked if I could do a second year of 365. I'm sorry to inform, but at the moment I don't see it as an option. I started to take this all too seriously as I already said, put it on a pedestal and felt lousy so often when I didn't reach my somewhat high standards. There are more important things than 365, Flickr or even photography - and I've been blind for too long now. It's time to have fun, reach out for things I really want and give real value to things I want to keep in my life.
I've got so much encouragement during this year, I never thought I would get to be in such a privileged spot.
All I can really say is...
Gallarate Aprile 2024
Scorcio Urbano
Leica III F
Elmar 50 f3,5 Ltm
Kodak Eastman 5222 Double-x 250asa@200 asa
R09 Studio 1+30 x 7 min
Well way back earlier this year Lisa sent me a roll of film. I was very excited, unfortunately I had loaned out my film camera to a student who needed it. During a short school break I was able to get the camere back. Funny thing about film, is that you want to converve your shots. The camera sat around because I felt nothing was worthy. As I procrastinated more the time came where she needed camera back. So I just decided to run thru the roll.
One of the great thing about film is wondering what you captured and waiting to see it once it is develope. In my case I found that half my photos were no good. For the first 12 frames I was using it in the studio. I had not really thought about it and I just started shooting. Once I got the film back I realized, this film camera does not sync with flash at 1/250th. Half my shots cuts off 1/2 way. Luckily that other half was shot in natural light.
The things I love about film is different film type adds a different look. I now want to buy different film and take more photos! Even expired film will have an affect how the images turns out. This year I hope to shoot a lot more film. A big thanks to Lisa who sent me a roll all the way from sweden. I am very sorry I was not to fit it in my 365!
Post Processing: Ask the lady at Costco
I'm on Twitter: @isayx3
IN ENGLISH BELOW THE LINE
Vistes de les minses ruïnes del castell de Lluçà, que dona nom a la comarca del Lluçanès, que s'ha de constituir oficialment d'aquí a poc, després d'una lllaaaarg temps.
Aquí foren senyors d'aquestes terres els Lluçà (fundadors del castell, de qui agafa el nom, en llatí castro Luziano), els Saportella, els Fenollet, els Pinós i els Peguera.
El castell ja és teoricament documentat el 905 (tot i que aquests documents tant antics sovint son falsos d'època medieval mateix), i fou destruit en època de la guerra dels Remences, al s. XV.
Placa de col•lodió sec, mètode Major Russell (col•lodió-taní), en format 4x5; realitzat amb una Graflex Crown Graphic fabricada cap al 1951; Graflex Optar f4,7 de 135mm; 4 minuts a f8 (EV 13,6); revelat 9 minuts en acid pirogallic.
Les plaques cobertes amb co•lodió (i anteriorment albuminades, part essencial del procés) es preparen com per a una placa humida usual. En el moment de treure-les del bany de plata, comença la diversió. Cal rentar la placa, sota llum roja, en dues safates d'aigua destilada, i seguidament, submerir-la en una sol•lució d'aigua, taní i etanol. Son uns 10 minutes per placa, en total. Un cop feta la exposició, encara més important el revelat també és per inmersió. Primer s’humidifica la placa seca amb aigua i etanol, i després es submergeix 5 minuts en una solució d’acid pirogalic i citric, amb unes gotes de nitrat de plata. Amb això s’inicia el revelat, però cal afegir més nitrat de plata passats els cinc minuts i usualment fins als 10-12 minuts.
Les plaques de col•lodió sec son força desconegudes però es varen fer servir en paral•lel al més famós col•lodió humit. Eren molt pràctiques per eliminar la necessitat de portar a sobre tots els quimics i una cambra fosca portatil, però com les exposicions son molt llargues, de diversos minuts com a mínim, en queden exclosos els retrats. Aquest tipus de procediment en concret, conegut com a mètode Russell, data de 1861.
cool.culturalheritage.org/albumen/library/monographs/monc...
ca.wikipedia.org/wiki/Castell_de_Llu%C3%A7%C3%A0
====================
Views of the meager ruins of the castle of Lluçà, which gives its name to the "comarca" of Lluçanès, which will be officially established shortly, after a very long time. It's located in central Catalonia.
Here the Lluçà (founders of the castle, from whom it takes its name, in Latin castro Luziano), the Saportellas, the Fenollet, the Pinós and the Peguera, were lords of these lands. There were constant legal and armed conflicts between the barons, the crown and the peasants.
The castle is already theoretically documented in 905 (although these very old documents are often false from the medieval period itself), and was destroyed during the War of the Remences (a peasant uprising in Catalonia), in the later XV Century.
Dry collodion plate, Major Russell process (tannin-collodion) in 4x5 format; taken with a Graflex Speed Graphic, made c. 1951; Graflex Optar f4,7 de 135mm lens; exposed for 4 minutes at f8 (EV 13,6); developed 9 minutes in pyrogallic acid.
The dry collodion is a quite convenient "evolution" from the wet collodion, as it allows to go out there without any box of chemicals and a dark box following you. But it never gained more popularity due to it's own problems, like even more complex manipulations and specially much less sensibility, with expositions in the minutes range, limiting it to landscape photography. This method, discovered by Major Russell in 1861, uses tannin to preserve the sensitivity of the plates once dry.
Glass plates covered with collodion (and previously albuminized, an essential part of the process) are prepared as for a usual wet plate. The moment you take them out of the silver bath, the fun begins. The plate must be washed, under red light, in two trays of distilled water, and then immersed in a solution of water, tannin and ethanol. It's about 10 minutes per plate, in total
Once the exposure is made, even more important is to develope also by immersion. First, the dry plate is moistened with water and ethanol, and then immersed for 5 minutes in a solution of pyrogallic and citric acid, with a few drops of silver nitrate. This starts the development, but it is necessary to add more silver nitrate after five minutes and usually up to 10-12 minutes.
cool.culturalheritage.org/albumen/library/monographs/monc...
This was shot on my new analoug Canon FTB with Fujifilm Superia film. I love how analogu pictures come out. For more, check out my blog!
(The exif-data say that its shot with T2i, but i just scaned the picture with it)
Hesketh V1000 (1982-84) 992cc Twin
Registration Number KMA 400 Y
HESKETH MOTORCYCLES ALBUM
www.flickr.com/photos/45676495@N05/albums/72157671061988770
Putting a production date on this machine is difficult as production has had more lives than a lucky cat. So here we go with the saga that is Hesketh
Hesketh Motorcycles is a British motorcycle manufacturer, initially based in Daventry and Easton Neston, founded by Alexander, 3rd Lord Hesketh, of Formula One fame, to develop a prototype in 1980. The Hesketh motorcycle was developed on the Easton Neston estate, with the prototype running in the spring of 1980 using a special Weslake engine. The V-twin V1000 offered all sorts of advances; and was the first British bike with four valves per cylinder and twin overhead camshafts. In 1982 a modern purpose-built factory was set up to manufacture the Hesketh V1000 motorcycles in Daventry. The bikes seemed beset with problems from the outset, they proved to be heavy, offer a high riding style, and had reliability issues including overheating, and after only 132 machines had been built the company went into its first receivership in 1982.
In 1983, Lord Hesketh (who had acquired the main rights from the old company's liquidation) formed a new company called Hesleydon Ltd to manufacture a revamped V1000 with a full fairing, called the Vampire. But again the company failed in 1984.
Again revived by Mike Broom the developement rider and a team funded by Lord Hesketh with problems solved and an export certification went on to develop the Vampire after requests for a touring version of the V1000. but with insufficient funds to implement volume production assembly methods, Hesleydon ceased trading, though Broom continued to develope the bike.
In 2006, Broom was forced to leave the premises in Easton Neston after its sale by Lord Hesketh, foecing a relocation to Turweston Aerodrome near Silverstone Circuit. However, just before the move, and at the point where most items were in packing crates, the premises were burgled with total value of £40,000 – including irreplaceable records, tools, and bikes. This slowed progress on the intended small scale production at the new location.
Broom sold his interests in 2010 and a new company Hesketh Motorcycles began developing a limited production machine. In early 2014 Hesketh Motorcycles announced the upcoming release of the Hesketh 24 that would be the first all-new Hesketh model to be produced in some thirty years, taking the models name from the number on James Hunts 1975 Hesketh Formula One car, and also the total intended production number.
Diolch am olygfa anhygoel, 63,657,695 oblogaeth y Lloegr honno dros y Mynyddoedd
Thanks for a stonking 63,657,695 views
Shot 01.01.2018 at Brooklands, Weybridge, Surrey Ref 132-138
Portrait of a Samburu warrior at a wedding ceremony early in the morning in a village near Archers Post, Northern Kenya.
Between the age of about 15 and 30 young Samburu men are traditionally known as "morans". After the circumcision ceremony the Samburu boys enter the age grade "moran", the Maasai word for "warrior". During this life stage they live separated in the bush or they move to special moran manyattas. They learn the tribal customs and develope their strength, courage and endurance. The morans stop cutting their hair at the age of 15. They often dye their long hair with red ochre and also decorate themselves with necklaces and feathers.
The Samburu are semi-nomadic pastoralists in Northern Kenya and they are closely related to the Maasai people. They speak Samburu, a language which is derived from Maa and very similar to the language of the Maasai.
Website: Dietmar Temps, photography
Castellanza - Scorcio Urbano
Aprile 2025
Rolleiflex 2.8 C
Schneider-Kreuznach Xenotar 80mm f2.8
Rollei Retro 80
Bellini Hydrofen 1+30 x 9 min
Singer 10 Coupe (1919-24) Engine 1096cc S4 OHV Production 6000 approx
SINGER SET
www.flickr.com/photos/45676495@N05/sets/72157623722487129...
Introduced in 1919 with a straight four side vale engine, overhead valve from 1923, driving through a three speed gearbox and cone clutch.
The Rootes Brothers sales network helped make the model a great sucess from its launch, Rootes finally aquire Singer in 1956. Forty to Fifty a week were being produced by the mid 1920s. Quoted as having a top speed of 50mph and 40mpg, not at the same time,
A Singer Ten special was contested by Lionel Martin before he went on to develope Aston Martin.
Diolch am 77,687,641 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 77,687,641 amazing views, every one is greatly appreciated.
Shot 22.09.2019 at the Birmingham Museum and Art Galleries, Dollman Street Stores open Day 143-1110
Busto Arsizio - Gennaio 2022
Scorcio Urbano (same places - another film and equipment)
Hasselblad SWC
Zeiss Biogon 38mm f4,5
Bergger Pancro 400
R09 one shot 1+25 x 8 min
Busto Arsizio - Scorcio Urbano
Febbraio 2025
Nikon FE
Nikkor 35mm f2 AI
Fomapan 100
Bellini Hydrofen 1+31 x 9 min
Fagnano Olona - Scorcio urbano
Giugno 2025
Rolleiflex 3,5E
Schneider-Kreuznach Xenotar 75mm f3.5 + filtro giallo -1
Fomapan 100
R09 Studio 1+31 x 10 min
Fagnano Olona - Scorcio urbano
Giugno 2025
Hasselblad 500 C/M
Zeiss Distagon 50mm f4 + filtro giallo -1
Kodak Tri-x 400 (expired)
Bellini Hydrofen 1+31 x 8 min
Milano Centro - Scorcio Urbano
Marzo 2025
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Kodak TMax 100
R09 Studio 1+30 x 10 min
Atri - Scorcio urbano
Agosto 2025
Rolleiflex 3,5E
Schneider-Kreuznach Xenotar 75mm f3.5 + filtro giallo -1
Fomapan 200
R09 Studio 1+30 x 9 min
Busto Arsizio Luglio 2022
Rolleiflex 3.5F
Zeiss Planar 75mm f3,5 + Rolleinar I
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 13 min
Busto Arsizio - scorcio urbano
Gennaio 2023
Hasselblad SWC (1968)
Zeiss Biogon 38 mm f4,5
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 9 min
Canale Villoresi - Tornavento
Gennaio 2023
Hasselblad SWC (1968)
Zeiss Biogon 38 mm f4,5
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 9 min
©SB
Nachdem mir Christian ein paar Tips bezüglich der Nachbearbeitung gegeben hat, habe ich mich mal im Low-Key-Bereich ausprobiert. Was meint ihr, was könnte man noch verbessern?
Vielen Dank an chmeermann!
-------------------------------------------------------------------------------------------------
After some hints from Christian to get a good workflow, I tried to develope low key pictures. What do you think, what could be better?
Many thanks to chmeermann!
Busto Arsizio - Scorcio urbano
Giugno 2025
Canonet G-III QL17
Canon 40 mm f1,7 + filtro giallo -1
Fomapan 100
R09 Studio 1+31 x 10 min
this is my set-up for processing black and white negatives at home. usually i would just scan the negatives on a cheapo flatbed scanner as my "proof" prints. the processing part is quick and cheap, and you don't have to worry about the lab scratching up your film. here're the steps:
1. fill the water bottle (a) with cold tap water and stick the thermometer (b) in it. try to get it to 68F. you may have to add hot water or ice cube depending on the weather.
2. load the negative onto the reel/tank (c) inside the changing bag (d). if you're using 35mm film you'll need a bottle opener to open the cannister inside the bag (or in complete darkness). this is often the trickiest part. you can practice with a spare roll of negatives. some people prefer the plastic type which may be easier to roll. but i find the metal ones pretty easy to work with and are durable.
3. used the syringe measurer (e) to mix the right mount of developer (f) in the graduated plastic beaker cup (g). I use kodak's hc-110 developer and use it "one shot" only -- i mix up just enough for each tank and use it only once. a bottle of this can probably process about 18 rolls of 120 or 30 rolls of 35mm film.
4. agitate the tank periodically, for a period of time based on the type of film you're using and the temperature of the water. i use a cheapo sports stopwatch (h) to time this. you don't have to stop and restart it, but just let it run for the total amount of time you need to develope, and just agitate it at the 30 second or 1 minute marks.
5. dump out the developer and fill with clean tap water that's near the same temperature as what you used to develope. agitate the tank with the clean water for about 30 seconds. repeat again with new water. the film is done developing at this point.
6. meaure out enough of the pre-mixed fixer (i) in the graduated beaker cup (g). you can probably pour it directly into the tank but it's safer this way. pour the measured amount of fixer from the beaker into the tank. agitate the fixer periodically for an amount of time specified for your film (anywhere from 2 minutes to 6 minutes).
7. pour the fixer from the tank (c) back into the gallon jar (i). the fixer can be reused. i think a gallon can fix maybe 100 rolls of film. but basically you watch to see if the amount of time to "clear" the film has increased by a certain amount, say 30% or 50% from when it was new. most cities have places to take used fixer to. i usually take it to our local public darkroom. it's a bad idea to dump it in the sink because it contains the silver from the fixed negatives.
8. open the tank and check out the film! look to make sure the fixer has made the unexposed portion of the film (sprockets for example) clear. if it looks cloudy you can fix the film some more. this can be done with the light on.
9. rince the film under the faucet, with the reel inside the tank for about a minute. again try to make the water to be near room temperature. you don't want very hot or very cold water.
After step 9 your film is processed. The rest of the steps are all about washing any excess fixer off of the film, so it won't fade out when you donate your negatives to the smithsonian... :-) if you don't care how long the negative would last you can just hang it up to dry after this step.
10) mix up some perma wash (j) in the graduated beaker, and pour into the tank. agitate for about a minute and dump out the liquid. by the way, you should rinse the plastic beaker thoroughly between uses. i just have one but some people use one for each type of chemical. i haven't found that i need more than one though.
11. open the tank and rinse it under the faucet as in step 9, for a minute or so.
12. pour all the water out of the tank, and fill it with distilled water (not shown). put 2 to 4 drops of kodak photo-flo (k) in the tank and swish the water around a bit to make sure it's mixed in. i rotate the reel i