Blank after 24:15. Good basic run through. I'd do a short vlog on clip testing for developer and fixer vitality/exhaustion if you're in any doubt if you should put your precious negatives in it. I use plastic tanks so the best advice I can give is as the first six inches of your film is already fully exposed just by loading it into the camera its easier to load the first couple of inches on to the spiral in daylight before going into the darkroom. I've never had a light leak running into my shots from it and it saves you from dropping the whole canister in the dark.
Thank you. About to get into developing again (last time was the 70's so forgot it all) and some great hints and tips in this one. Have saved it for reruns :)
I´ve been doing both color and b&w since the late 1980´s. I find black & white actually more complicated. For color, everything is standardized, but this is not tha case for black & white. Different times for every film and developer, and what is best, is not exact science. In color, you can do according to standards or screw up. Of course, printing color is a different story, as is all printing. What you want, is the best looking picture, not the measurable standard.
I assume the same basic rules apply to glass plate photography - that is, plates made by J. Lane. Minus rolling onto a reel and using a tank, of course. As always, best wishes from Vermont 🍁
:D Pretty much. I tray develop glass plates (J. Lane and Zebra) in red light with various developers, including Dektol and Neutol Eco, both of which work beautifully.)
What is your opinion about using dark brown glass containers for your chemistry rather than plastic for storage? I’ve read pros and cons so far, but nothing definitive.
For me the issue is how cleanly something pours. Glass being non-permiable is easy to clean vs. plastic but if it's hard to pour out of or into. It's going to be a pain.
Masking tape doesn´t work for me, as I never scan. Instead, I write the developer, concentration and film stock in the corner of the paper negative sleeve. I use those old fashioned paper sleeves. Also, if something is out of standard, such as pushing or pulling, different developing time from the one I always use, temperature, etc., this will also be written down. I use mostly HC-110, but also ID-11 (D-76) or Rodinal for a specific look, If this is what I want from my negatives. I suggest using just a couple of developers, and learning to master these instead of using many different developers. I hava always used an acetic acid stop bath, and I use it also in C-41. For shorter developing times, maybe less than 10 minutes, this helps to control the timing better. For times less than 5 minutes, this is a must in my opinion.
The key is communicating into the future. And yeah, I think that's a good point about C-41. There's basically just a way to do it (especially with home kits.
@@DavidHancock I never use those "home kits" but stick to the official process with separate bleach and fix. In Europe, this means Fuji. It is easier to manage the exact developing time with the use of a stop bath. It is only 3:15, and made originally for machines. You can never be as accurate with a tank or Jobo as the roller type processors are. So, every possibility to improve accuracy with temperature or timing should be used. I use just 3% acetic acid. 1,5% would be enough, but I don´t want to make new solutions all the time. According to Fuji (or Kodak, I can´t remember the publication number), the range is 1,5%-5%, with no difference in effect. A short wash follows. You are of course correct that a stop bath should be added if using home kits with bleach-fix, as it often fails because of developer carryover. This is even more true with people trying to press their kits to develop more films than they are made for. As most people scan their color film, they don´t need so good negatives. I print RA-4, and want good negatives, as correcting color crossovers is often impossible,
Thank you for the video, David! I developed film myself in college and I did a few rolls during the pandemic. I am also curious about scanning the negatives with a DSLR. You mentioned a few times that you use a slide duplicator, what kind of set up do you use to scan the uncut/unmounted film with it?
what tipping rhythm do you use? 1 minute continuously then 10 seconds every minute or do you do it differently? what effects do different techniques have?
Similar -- about 10-15 rotations in the first minute and then three rotations per minute afterwards. To my eye, the regimen has relatively little to no effect. What matters is that 1- you do inversions on some regular basis and 2- you do them gently and tap the tank after each set of inversions.
Blank after 24:15.
Good basic run through. I'd do a short vlog on clip testing for developer and fixer vitality/exhaustion if you're in any doubt if you should put your precious negatives in it.
I use plastic tanks so the best advice I can give is as the first six inches of your film is already fully exposed just by loading it into the camera its easier to load the first couple of inches on to the spiral in daylight before going into the darkroom. I've never had a light leak running into my shots from it and it saves you from dropping the whole canister in the dark.
Thank you! I just fixed the video glitch.
Thank you. About to get into developing again (last time was the 70's so forgot it all) and some great hints and tips in this one. Have saved it for reruns :)
Thank you!
Gosh! How I love this series! Thanks, David!!
Thank you!
the samples part is mostly just a black screen
Thank your. I'll fix that tonight. It looks like I accidentally left a clip in way at the end. I'll trim that. Good catch.
I thought there were some samples from those blank films developed with expired developer.
I´ve been doing both color and b&w since the late 1980´s. I find black & white actually more complicated. For color, everything is standardized, but this is not tha case for black & white. Different times for every film and developer, and what is best, is not exact science. In color, you can do according to standards or screw up. Of course, printing color is a different story, as is all printing. What you want, is the best looking picture, not the measurable standard.
I assume the same basic rules apply to glass plate photography - that is, plates made by J. Lane.
Minus rolling onto a reel and using a tank, of course.
As always, best wishes from Vermont 🍁
:D Pretty much. I tray develop glass plates (J. Lane and Zebra) in red light with various developers, including Dektol and Neutol Eco, both of which work beautifully.)
What is your opinion about using dark brown glass containers for your chemistry rather than plastic for storage? I’ve read pros and cons so far, but nothing definitive.
For me the issue is how cleanly something pours. Glass being non-permiable is easy to clean vs. plastic but if it's hard to pour out of or into. It's going to be a pain.
Masking tape doesn´t work for me, as I never scan. Instead, I write the developer, concentration and film stock in the corner of the paper negative sleeve. I use those old fashioned paper sleeves. Also, if something is out of standard, such as pushing or pulling, different developing time from the one I always use, temperature, etc., this will also be written down. I use mostly HC-110, but also ID-11 (D-76) or Rodinal for a specific look, If this is what I want from my negatives. I suggest using just a couple of developers, and learning to master these instead of using many different developers. I hava always used an acetic acid stop bath, and I use it also in C-41. For shorter developing times, maybe less than 10 minutes, this helps to control the timing better. For times less than 5 minutes, this is a must in my opinion.
The key is communicating into the future. And yeah, I think that's a good point about C-41. There's basically just a way to do it (especially with home kits.
@@DavidHancock I never use those "home kits" but stick to the official process with separate bleach and fix. In Europe, this means Fuji. It is easier to manage the exact developing time with the use of a stop bath. It is only 3:15, and made originally for machines. You can never be as accurate with a tank or Jobo as the roller type processors are. So, every possibility to improve accuracy with temperature or timing should be used. I use just 3% acetic acid. 1,5% would be enough, but I don´t want to make new solutions all the time. According to Fuji (or Kodak, I can´t remember the publication number), the range is 1,5%-5%, with no difference in effect. A short wash follows.
You are of course correct that a stop bath should be added if using home kits with bleach-fix, as it often fails because of developer carryover. This is even more true with people trying to press their kits to develop more films than they are made for. As most people scan their color film, they don´t need so good negatives. I print RA-4, and want good negatives, as correcting color crossovers is often impossible,
Thank you for the video, David! I developed film myself in college and I did a few rolls during the pandemic. I am also curious about scanning the negatives with a DSLR. You mentioned a few times that you use a slide duplicator, what kind of set up do you use to scan the uncut/unmounted film with it?
Here you go! th-cam.com/video/CjwSnDIpgpg/w-d-xo.html
Thank you!
what tipping rhythm do you use? 1 minute continuously then 10 seconds every minute or do you do it differently? what effects do different techniques have?
Similar -- about 10-15 rotations in the first minute and then three rotations per minute afterwards. To my eye, the regimen has relatively little to no effect. What matters is that 1- you do inversions on some regular basis and 2- you do them gently and tap the tank after each set of inversions.