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Rolleiflex 2.8 E

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Rolleiflex 2.8 E

Kodak Ektar 100

Tetenal Colortec C-41

Scan from negative film

Holga

Shanghai GP3

Rodinal 1+50 @ 12 min

 

Fluidr

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Portra 160

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Portra 400

Bellini Foto C-41

Scan from negative film

Leica MP

Leica Elmarit 28mm f/2.8 III

Kodak Portra 160

Bellini Foto C-41

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Leica MP

Leica Summicron 35mm f/2 IV "King of Bokeh"

Kodak Portra 160

Bellini Foto C-41

Scan from negative film

Leica MP

Leica Summicron 35mm f/2 IV "King of Bokeh"

Kodak Pro Image 100

Bellini Foto C-41

Scan from negative film

The Jalan Ampang, Kuala Lumpur - a busy main arterial road of the city. A road taking in traffic from the East into Kuala Lumpur City Centre or the "Golden Triangle".

 

This CBD is quite busy, even up to late nights. The LRT(light rail transit) makes excellent connection into this strip of road.

 

A scene opposite the K-Avenue, an upcoming popular night activity. It is also a place to observe the majestic heights of KLCC.

 

LEICA M3 double stroke, Leica 5cm F1.5 Summarit, Fujifilm Neopan 400 (courtesy of Hiro-san), Kodak Tmax Developer 1:100, Home - Development, 2hr 30 minutes, Ilfospeed Rapid Fixer 1/4 6 minutes, Wide Open

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

minolta-16 II subminiature / spy camera

rokkor 22mm f2.8

kodak vision 7277 320T 16mm (expired)

home development ECN2 (processing damage)

v600 scan

  

Sunn O))) at Fylkingen, Stockholm

Leica MP

Leica Summicron 35mm f/2 IV "King of Bokeh"

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Rolleiflex 2.8 E

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

This is the way I do it, not necessarily the best way – but it works for me. I use the Tetenal Colortec C-41 set; mix the chemicals to the specifications provided in the set you use and adapt the following to suit your needs (if, for instance, your C-41 set uses separate bleach and fix).

 

Oh, by the way: the image above has lots of notes, so make sure to check them out if you're interested too.

 

I set up all my equipment as you see it, using the kitchen sink. I load the film the way I usually do (I'll not get into that now, but 500 ml chemicals will submerge one 120/220 roll or two 135 rolls).

 

1. Fill the kitchen sink with water approx. 42-45 degrees C. Place the bottles on the bottom. Leave them be for approx. five minutes (this will warm the chemicals to the same temperature as the waterbath surrounding it).

 

2. Hold the Paterson tank in the waterbath while you wait so as to warm it up a bit, making sure no water enters the tank of course. You don't want cold plastic to cool of the chemicals too rapidly once you get going.

 

3. Watch the thermometer and prepare to start the process when it reaches 39 degrees C (ideal temperature is 38,5 degrees C for C-41 – at least the Tetenal I use – but there is half a degree latitude and the extra half degree makes no earthly difference.)

 

4. Once the thermometer hits 38,5–39 degrees C, start pouring the developer into the tank at the same time as you start your timer. It might take you fifteen seconds to pour all the developer in, but never mind that – this time is included in the overall time for development.

 

5. Developer stays in for 3 minutes and 15 seconds. Inverse the tank immediately four times and repeat this every 30 seconds, and do by all means submerge the tank in the water while you're resting your wrists – it'll help keep the temperature even.

 

6. At 3 minutes and 10 seconds, drain the developer into the measuring jug marked for the purpose (you will reuse the chemicals for at least 8 rolls, so it's sound financial advice to take good care of the chemicals: as soon as you can, use the funnel to pour them back into the bottles and seal them up again).

 

7. Pour the bleach fix into the tank. From now on the temperature is not as important; the bleach fix has greater latitude and you don't have to keep this at 38,5 degrees C – anywhere between 30 and 39 will do (I usually remove the bleach fix and stabilizer bottles from the waterbath as soon as I've started developing and just place them to one side; it gives me more room to manouver when I inverse the tank).

 

8. Inverse the tank every 30 seconds for 4 minutes (if you're on the combined timer, you should do this until it hits 7 minutes and 15 seconds).

 

9. Drain the bleach fix into the measuring jug marked for the purpose. Don't inhale. It's quite a foul smell and obviously not healthy.

 

10. Place the tank below the faucet and start the water rinse – fill the tank with running water (approx. 20 degrees C, anywhere around there will do just fine) and empty it every 30 seconds or so. Continue doing this for 3 minutes, until the combined timer reaches 10 minutes and 15 seconds (don't worry if you rinse for longer than that, but three minutes should do it).

 

11. Pour the stabilizer into the tank. Don't inverse – I find that this makes for more foam, which is difficult to get rid of and leaves bad stains on your negatives that shows up in scans. Just splosh the liquid around for a minute or so, making sure that the film is submerged (which it should be, as you're using the prescribed 500 ml solution for one roll of 120/220 film or two rolls of 135 film). Let it interact with the film for approx. a minute.

 

12. Drain the stabilizer into the measuring jug marked for the purpose. This chemical is very foul indeed, and quite possibly toxic – note to self: get a face mask and avoid the fumes.

 

13. Remove the screw-on pouring-top of the tank (if you have a Paterson tank, you know the part I mean) and plonk it in the sink for later rinsing.

 

14. Remove yourself with the tank and the film still on the loading reel to wherever you plan on hanging the film to dry.

 

15. Take your gloves off and remove the film from the reel. Don't worry about the foam you see (but make sure to wash your hands straight away after), and hang the film the way you normally would hang a film to dry.

 

16. Go back to the kitchen and rinse all your gear straight away. Put away the glass bottles with the chemicals for reuse at a later date.

 

17. Once you're done in the kitchen cleaning up, go back to where your film is hanging. Notice any stains on the slowly drying film? Weird splotches of a liquid type? This is the stabilizer. Here is where it gets a bit tricky, and the following is probably not the best way to deal with it. But these stains will not dry off completely, and unless you like the negatives this way I have only found one way to deal with the problem. I spray tapwater on the hanging negatives – gently, and not much – so that the stains/marks/splotches wash off. This might reduce the effect of the stabilizer – in fact I would be surprised if it didn't – but my hope is that the film has absorbed enough stabilizer in the tank and while I was cleaning up in the kitchen that the film will at least survive in decent shape for some years to come.

 

18. Dry, then press the negatives on a flat surface using heavy books. Scan. Flickr them.

 

That's more or less the whole process …

 

Now how many rolls of film can you squeeze out of 500 ml chemicals? The instructions for my Tetenal says approx. 6–8, but I'm on my 10th now with this batch and don't expect to need to mix a new batch quite yet. The trick is to not let the liquid go too much below 500 ml (you will lose liquid as you develop); simply make up the difference with tapwater and add a few extra seconds for developing. For roll nine I developed for 3 minutes and 20 seconds, having diluted the developer probably some 50–100 mls over the past three rolls. An added five seconds seems to work so far [*** EDIT: check the comments and see that this wasn't quite true, longer time was probably needed ***] … but your mileage may vary, and of course sooner or later the chemicals will simply refuse to yield any images. Experiment to your heart's content.

  

Rolleiflex 2.8 E

Kodak Ektar 100

Tetenal Colortec C-41

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Fuji Pro 160 NS

Bellini Foto C-41

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Kodak Ektar 100

Tetenal Colortec C-41

Scan from negative film

Rolleiflex 2.8 E

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

A table laid out at the forecourt/fresco of an outlet at the Bintang Walk, Jalan Bukit Bintang, Kuala Lumpur. It is early afternoon and the place is just building up for it's customers.

 

Leica M3 Wetzlar DS, Voigtlander Heliar 75/1.8, Kodak Tmax400-2, 400TMY-2, Home development, Stand development, Tmax 1/50th at 60 minutes, 6 minutes fix

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Rollei RPX 100

Kodak D76 1+0

12 min 20°C

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Fuji Pro 160 NS

Bellini Foto C-41

Scan from negative film

Leica MP

Leica Summicron 35mm f/2 IV "King of Bokeh"

Kodak Portra 400

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Portra 160

Bellini Foto C-41

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Cinestill 50D

Bellini Foto C-41

Scan from negative film

Mamiya C330f

Mamiya-Sekor 80mm f/2.8

Ilford HP5+ @200

Perceptol 1+2 20 min

canon AE1P

canon fd 70-210mm

multi image filters (x2)

kodak vision 5218 500T (expired)

home development c41

v600 scan

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Kodak Ektar 100

Tetenal Colortec C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Portra 160

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Portra 160

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

Leica MP

Leica Elmarit 28mm f/2.8 III

Kodak Gold 200

Bellini Foto C-41

Scan from negative film

Mamiya RB67 Pro S

Mamiya Sekor 65mm f/4.5

Kodak Portra 160

Bellini Foto C-41

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Fomapan 100

Rodinal 1+50

9 min 20°C

Scan from negative film

Hasselblad 500 C/M

Carl Zeiss Distagon 50mm f/4 C T*

Kodak Ektar 100

Bellini Foto C-41

Scan from negative film

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