Analog Photography: Pushing and Developing 35mm and Medium Format film at home | Jahan Saber | Skillshare

Analog Photography: Pushing and Developing 35mm and Medium Format film at home

Jahan Saber

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
8 Lessons (57m)
    • 1. Introduction

      2:01
    • 2. What you need for developing at home

      9:39
    • 3. Loading the film reel

      8:49
    • 4. Process explanation

      5:51
    • 5. Gathering technical information

      6:43
    • 6. Overview and developing

      10:31
    • 7. Basics of pushing film

      10:01
    • 8. Inspecting your negatives

      3:26

About This Class

In this class I'm going to take you through all the steps in order to develop your own 35mm or medium format black and white film at home.

In addition i'll be explaining the push process and how you can shoot with fast speeds in low light. 

Additional information:

https://www.ilfordphoto.com

https://www.digitaltruth.com

https://www.doyoudevelop.com

Transcripts

1. Introduction : Hello and welcome. Usually when you're taking a photo, you press the shutter. The shutter curtain opens. Andi, if you're shooting a digital camera than your sensor inside is gonna be exposed by life, and your microprocessor will transform all that information all those ones and zeros into finished image that you can look out the back of your screen or on your computer on you can edited in your post processing programs like photo shop or whatever. If I'm shooting analog, though, what happens is essentially the same thing. Just that I don't have a sensor. I have one of these films inside. Now. These sums come in all sorts of sizes. You have 35 millimeters, you have medium format. You have large format. Now there's there's color films, and there's black and white films. For this tutorial, I'm just gonna be talking about processing and developing black and white films. Now, the other processes aren't complicated as well. There are very, very simple. If you stick to the rules and you don't mess around too much with it now, the important thing is that you understand that when you're developing black and white film , you're not gonna have images straight away. So the data on here, you know, you can't just pull this out and have a look at it. You're gonna have to put it through chemistry. Now, when you put this through chemistry, what you get is negatives like this. And once you have these negatives, you can put them into an enlarger and that you could get actual photographs out of it. So it's pretty cool, so kind of very physical approach to things. So in the next couple of videos, I'm gonna be giving you a step by step tutorial of all the things that you need. So what kind of chemistry you need will come? Developers? You need all those things that work together on what kind of beer you need. So, you know, developing tanks and all those like, actual things that you're gonna use for developing your film on getting the best. If it's so. I hope you really enjoy this. Andi, have fun developing your films 2. What you need for developing at home: in this video, I'm gonna talk about all the things that you need to develop your own 35 millimeter meeting for my film. So to start off the most important thing for your development processes one of these developing tanks. This one is Vibram sole person. I really recommend getting those because they're high quality. Too expensive. They re work well, they're quite bills. Quite well. So what happens is if I take one of these parts, you have these reels inside on. That's where your film is gonna be loaded onto on. Then when you're closing, important all the chemistry inverted and agitated and things like that the wheels usually don't come with. You have to order those separately on They bring great Paterson really, really great because, like auto load system. So when you load on the when you load the film also them it goes really quickly, very efficiently and usually can't really mess anything up. Then you think is the light proof lid so you can still for chemistry into this and developing a day. This is why this is called daylight loading time. And when you have this little that'll be proof that kind of run out or anything. So developing time. First thing that you're gonna need Then Teoh, load your film into one of these. You're gonna need something like a Swiss army knife pocket knife with those bottle openers or dedicated film opener just to open the film canister and put it onto your If you're doing 35 years film if you have medium for my film that you're gonna need one of those because you just have to unwrap it. But I'll give you a tutorial on the next video toe. Lower one of these on the pair scissors just cut off film. So it's lower property. So this is a development bank. This is really important. And because this kind of lost of this convention that now, once you have a film developed, you're gonna need something like these phone hangers just hang up film once it's dry. Now this these air like a dedicated film of orders. These work really well because they don't come to store liquid or anything. So if you know, usually he's like a long three Pakistan. You might get a bit of liquid that stuck here like a mark on the film So these work good. I mean, it's a big deal, but usually everyone has. These are thes again. It's a small investment. You have to make Bibeau's, but you have forever, because these air standing steel last forever. Throw them out of your cars. So this is for the tank for goes up. That's really important re importance of one of these colors. These are expensive you can get. Those comes up for dark, cheap. They re don't cost much. It's important if they're digital. That's probably a bit barrister Digital because they're more accurate. So one of this accurate as possible, especially if you're working with developers you don't wanna. You know, having your developer by one degree Celsius warmer, colder might already have an influence might have significant influence on the development process. So it's very important to have one of these. And then finally, what you need you need measuring cylinders and measuring cups, and what I do is I have one dedicated per chemistry. So I have one for the developer off one for my stop bath. Have one for my fixer on. Don't have the smaller ones as well to be more accurate, because sometimes you know, you're not using a lot of chemistry, sometimes using something like 39 milliliters on, then you really want to be accurate. So one of these small ones really helpful because these bigger ones, they started, like, 50 milliliters. And then you can't be accurate, then the's really big measuring cups. What I do is like you keep these for, like, intermediate storage. So what? I mean, that is when I make saying I have my first measuring cup. Then what? I do my measuring cylinder and then I'll put in chemistry at the water. But this only goes to 500 millimeters. So if I'm using a very big attack and it's something like I don't know, like one meter in total, then what else is out? You know, put in the first part of chemistry a bit of water that I put that in here. So I have this and finish this. Put that in here, ready to use. Just pour it any time when I needed on. Then if I'm reusing my chemistry, that's really good to have thes like empty balls. They don't have to be lights tight or anything. Just will be really good. You want them airtight. Just preserving chemistry as long as possible. You could put your stuff in there. You put your finger in there. You can also use some about. First of all, we'll get into detail in the next few videos. So these are all very physical things that you're gonna meet next. Things that we're gonna talk about chemistry. Chemistry is the key to developing film. So developers there's there's so many different developers out there, and they all basically do the same thing. But they all have strengths and weaknesses, or they have specific characteristics. Double influence. The look of your film. Now, as you can see most of the chemistry that I use this Ilford chemistry, I just That's just my personal preference. I like the way for Brand is. I like the way developers work on the films that I shoot with. But for example, there's there's nothing wrong with using other brands. You could you could easily mix friends like I can use a Kodak developer, and I can use a Guilford's. It makes absolutely no difference re this matter. So first thing that you're gonna need is developed, so we have a developer. We have thistles available. This is a very famous developer, the three that we have. Kodak HC 110. Another very famous developer on these things are all developers I've been using in with my my photography. But there's, like 50 other developers out there, probably more. So. Don't get don't get too discouraged like I mentioned earlier find one solution that works for you, just, you know, for some means of simplicity. So what I would recommend probably is going for something like the else's all three, which is versatile and you could use it for a lot of films on, the results are always quite good. And then on the developer a little it will indicate exactly what kind of do dilution you're working with. So this is recommended. In 19 For example, Kodak 1810 will have all sorts different dilutions from like once a 31 50 and things like Same with bottle. So don't don't need to confuse file without because it's in my my seem confusing at first, but once you get the hang of it, it's just really super said, nothing to worry about. So next thing we're gonna need is stop half this will stop the whole development process. So first developing, then we want to make sure that this chemistry stops working. We got to stop some people use water is no terribly bad to use where you used water. Water's fine, but if you use stop and you just know it's like you just know the chemical processes properly interrupted on. There's really nothing to worry about. It's, you know, it's just recommended. These were no expensive and you only use very little of these. So it's no big investment that, you know it's just better to be safe. And then finally, we're gonna use fixer. Fixer is very important. Fixer will make sure that your phone is no longer light. Sensitive on it will preserve film. Your film might outlive you if you preserve it correctly. So fixtures really good. Ilford Rapid fixture is probably the best pictures out, so this is definitely one, but I on Then we're gonna need wedding agents. So once we fix the film on, we've wanted it enough. We're gonna add just a few drops of wedding agent on. Let's just going to ensure that the film dries efficiently. There aren't any watermarks. So also the final steps of your development process. When you you know you have that it's probably best to use still longer tap water. You know something Sometimes tap water's very Richard consume, and that's just gonna leave like white marks on the phone you want to avoid So the still Waters definitely recommend just on the final steps. But I'm gonna walk you through the development process in the next video as well. So first, I'm just gonna give you step by step tutorial of how to blow your film. And then the next time I'm gonna talk about how to actually develop on how to use all this chemistry and it's so much fun on its very easy. And once you once you get like, seven super fun. Definitely. If you're shooting a lot of film white film, it's so much cheaper on the budget. If you just make that one initial investment, you develop your own home. You know all these things I bought once, I suppose, for over three years now, and I've never had to buy them again. And I don't people using their, you know, like developing tanks for over 20 years, 30 years. It's a solid investment. The only thing you have to re by your chemistry. Like I said, if you use your stuff, you have a much higher efficiency, so that works pretty good. So looking forward for the next three videos, I hope you have fun about your own film. 3. Loading the film reel: Hello and welcome in this video, I'm gonna give you a step by step tutorial of how to load one of these Paterson developing tax with either 35 millimeter film or medium format film. All you're gonna need is one of these Paris and developing tanks with rials inside scissors of film opener or a pocket knife with one of these bottle openers. So to begin with, I'm going to start with 35 millimeter film. The most important thing about this entire process is that you want to be in a completely light, tight, completely blacked out, completely dark room. If you don't have access to a room like this like what I do is I'm in my storage room on That's completely dark there. There is no light coming through, not even through the through the crack of the door below or anything like that. If you don't have access to a room like this, what I would recommend is getting a dark cloth. This is something that were you. It's It's a very big cloth like this. It's completely like tight. You can put both of your hands inside and you can have all the tools that you need on the inside so you could put your developing tank there. But you realize they fill your scissors and all of that on you can work with that dark cloth. And that's very handy if you if you don't have access to a room like that. So remember this is happening in complete darkness now, and I'm just showing this to you for demonstration purposes. So I'm not going to use all of these reels. I don't need these. I just have one of these. So if I'm working with the 35 millimeter real, I think about this. If I just shot this riel, usually the film would be completely inside now. So I'm just gonna squeeze this right in here, just toe pretend like it's it's complete shot on. Then I have my roll of film here on. I have my real here, and I want to get this onto their. This is the only tricky part because this needs to happen in darkness. So if you if at the beginning, I wouldn't be discouraged, but it's really not difficult to get into the zone of it. All you need to do is practice it a lot. Really. Practice is key when it comes to this, so it's not too complicated. So what I have is my pocket knife right here on. I'll open it. This this kind of bottle opener thing right here. Some some of these films are really tough toe open like this. I don't know about this 10 yeah, This is a tough one. Usually the other films that I work with are bit easier. Well, there we go. So this is I break this open in complete darkness, remember? And now I take this film out. This I can discard. I won't need that. And then you can see that we have the tongue of the film right here. So what we want to do is we want to take the scissors and then we just want to cut this off . Another tip is what I do. Usually when I'm when I'm working in my blacked out room is I know exactly where I have my things. So you know have like the rial set in front of me. I'll have my pocket knife on my lap. My film is right next to me that so I know exactly where I'm reaching for what things, even though I can't see anything and then with these Paterson reels. So these air, these work really great. They have, like, a ball bearing here, and they have, like, an auto load system. So what that means is, as you can see there, these two grooves right here where you know, you can feel this in darkness. So this this makes it a lot easier. You can just put put your finger over there and you can if you feel around the whole thing than you know, we have smaller ones here, and then we have these really significant ones here. So what we do as we take the film and remember, wash your hands something like that. Wash your hands or make sure they're not oily or anything like that, because you know, you're gonna touch the film to some extent. And obviously the like the right at the beginning of the film isn't exposed because this is just you know what you want to you when you loaded your camera? Andi s Oh, this is not gonna matter. But the very end in the middle and things like that you don't want to get your like, sticky fingers on it or something So it's always important toe. Make sure that your hands are clean and dirty s o. What we do is we way glide the film right through here And then you can see that once the film goes through here, the ball bearing groups easier to do this and darkness than light. The ball bearing will grab the film and then all I need to do is moved. The top part on the film will automatically advance. So I'll do this fast now. Right now, we have come to the end. We can see this is where the film stops. There's more information on here and then we carefully just cut that last off. We don't throw that away. This is also rubbished on. Then just advanced it one more time. And our film is perfectly loaded and you can see that the film goes on nicely onto the spool. The liquid will come through. The chemistry will go through on Then we'll put this onto here into the tank. Onda, we can close attack on if you're using a Paris and tank the moment you have this on it. It's light tight, and then it's proof. So this is how you load a 35 millimeter film. On the next step, I'll show you how to load the medium format film, which could be a bit more tricky. So in this part we're loading a medium format film onto one of these reels, and this can be a bit more tricky. Now. Thes Paterson reels that work for the Paterson tank as well. You can extend them. So what you do, you twist them in the opposite direction. And then you see, you have these grooves right here and then you twist it into one of these nights, much bigger, and you can you can see that this is the kind of film size it will support. So I have a medium format role here. Andi, this is This is tricky because sometimes it's difficult to tell apart what what is the backing paper of the film and what is the actual film emotion itself. So what I do is I have my thumb here, and then I'll start carefully pulling, pulling, pulling, and remember, this is in darkness as well. And then as I'm pulling, I'll notice right here. The material is completely different from this to that Now there's two things that I could do now. I could take the film and pull it apart completely, or I could already try and load it now onto here. Some people do this, but I prefer really making sure, remembering that I started off with my right hand with the backing paper and I know that the backing paper is still in my hand. So what I'm doing is I'm just really pulling out the back to paper all the way as much as I can rights of the end. I just like with the 35 millimeter role at the end of the backing paper, we have this kind of tape, and with this film it's quite easy. It just falls off. This is super old and super expired, so that's why it won't stick properly. But I know now I have the backing paper and I can I can safely put this away. I don't need this So I have the film left in my hand when I had film in my hand. Ah, great tip is toe load. This easily is as these air a bit more tricky to load because they're very pointy on. They don't have the grooves and the sprockets like a 35 millimeter film. What I do is I'll just carefully cut away the edges like so Andi, then same procedure, like with 35 millimeter film. I'll take my real right here, and I'll carefully loaded onto here and then I'll just pull it on slightly. Andi also load the film onto the real, making sure that you don't bend or scratch the film too much and like you can see if if I'm loading the film right here, I'm not actually touching the the important parts of the film. So maybe, you know, I'll get my thumb onto here. But if I'm really careful than none of that will happen, Another tip is toe. Keep your thumbs around here. So the film is still guided in on your not getting you're not gonna I kind of get the film out of thes grooves because that would mean then your film isn't loaded property and you really want to avoid that. You see, that perfectly just happened right now that my my thumb was out here and then this kind of popped out, and you won't avoid that happening. So now this is loaded on. I can insert this into the tank. So this is how I would load a 35 millimeter and a medium format film onto the Paterson rial for a Paterson tank. So in the next video, I'll be showing you how to develop all of these films. 4. Process explanation: Okay, so before we get into the actual process of mixing are chemicals. I just wanted to give you a quick run through. So you know exactly what's happening with the film That's gonna be in the development tank . So let's say we're starting out with a normal 35 millimeter film. So film canister right here that our film excuse the terrible drawing he's with the sprocket holds. Okay, Andi. Then what happens is we have a negative, and we're gonna expose it in the camera. So we take a picture with it, just gonna like this quickly. And then let's say we're taking a picture off a tree. Is it that tree right there? So right here is the exposure. This is what happens inside of the camera on. If we were gonna take out the film out of the camera, then we still wouldn't be able to see any of the images. Andi, the next step is that we're gonna have to put it through. Chemistry on the chemistry works in a very simple way. We have three major steps that we're gonna have to do. So the first thing right here on day. So this is always the explanation of what's gonna happen to the negative. So let's say this is the negative. This is actually the image we took, but inside the camera, So once it's being exposed, camera right here. Once this is being exposed, the data in modern terms is on the on the negative. The information is on the negative. But if we were gonna pull out the film, then first of all, the film would be completely ruined because it would be exposed to light. But if we were just gonna rip it out of the camera, we wouldn't be able to see the image it all. It would just be like the part that's out of the film when we're loading it into the camera . It would just be completely dark. There wouldn't be any information that we could see with our eyes on it. So we're gonna have to put it through some chemistry. You know, the first thing that we do is we have developer on the developer is actually what brings out the image right here. So if this is the film again and these were the sprocket holes to like this So right here when the film is exposed in the camera. We can't see anything yet. Andi. Once it's come from the developer, the image will actually start to appear. Now it's still sensitive Toe light here, Andi. This means we can't just developed the film. We need to actually put it through another few steps. So the next thing we're gonna do is Sprocket holes again here. The next thing we're gonna do is we're going to stop the developer from working. Otherwise, we're gonna overdeveloped the film. And when you overdeveloped a film, you can get some really messed up results. And that's not always recommendable. There's some things that sometimes you want to purposely over develop a film. Andi, I'll get into that later. But for now, the important thing is that we just want to stop the developing process now that the development has stopped the film still like sensitive, though, So we need to stop the film from being light sensitive. And for that we have something called a fixer. Now the fixer will safely protect the image on the negative from no longer being exposed to light on and not making it light sensitive anymore. So theoretically, what we could do is we could fix the image on and then we're done with our process. So let's say this is chemical process right here. And then if we were gonna just stop right here on, just have the negative, we'd still have a full of fixer, and it will be contaminated on. But you don't want a negative full of fixer, cause it's gonna leave, um Marks, and it's not gonna be very clean. So what we need to do is we're gonna have one final step, and that's gonna be washing the film in water. So when you have the washing of the water, it removes all the residue of the fixer. So we have a retreat again. It's a different tree, and every picture s so we have our wash right here. Andi, Um, what we do in the wash is we we wash it for approximately 5 to 10 minutes on, then finally, we we'll have our finished negative on. We're gonna have to let it dry. In the washing process, we have two extra small processes which aren't very complicated. One is to add a few drops of wedding agent or also dish soap. Whatever you have. This still works as well. And the final wash should be in distilled water, which is very important. So you don't get any sort of drawing marks. So this is the process we're gonna go through. So in the next step, I'm going to show you where you can get your information for your specific film. So, um, if you want to go on the website of the certain film, make the shooting for, you know, shooting Kodak or Ilford or foam a pound or whatever you're shooting, um, where you can get your information on how you know exactly what kind of amount of chemistry you need to use and how we're gonna mix it together, and then we're gonna actually go and develop our film. 5. Gathering technical information: Okay, so before we actually start mixing up chemistry, we need to know what kind of dilution we're working with. So there's a few places we can get all our technical information for the films that were shooting. If we're shooting something like Ilford, age five or you know Kodak Tri X, those common films, they all have their technical information on their websites. Most films will have the technical information on the inside as well, but usually it's very limited on. There isn't a very big selection of developers on the chemistry that you can work with, so the other thing that I would recommend is going to website called Digital Truth on. And there they have something called the massive depth chart on on that website. So that's basically a database with all the films that you could use. You can shoot that are out there on all the according chemistry and the dilutions that you need to work with those films and to develop them. So, for this example, I'll just say that I'm using HP five on the developer that I'll be using is ill for assault three. So I'll just write that down and I'll explain how I'm gonna mix up the chemistry. So I'm using HP five. I shot it s 0 400 and then I'm using the developer Oh, for soul three. Then I'm using. So this is my death. Then I'll have my stop which used the offered one. That's well, and that's the whole full stop. Andi, I'll be using fixer on. That's Bill Ford. Rapid fixer. Now all of these chemistries have on their bottles and indication of what kind of dilution they work in the best or what is recommended. So for this l fissile three, I'll be working with a dilution 1 to 9. The ofa stop I'll be working and one plus 19 on the rapid fixer will be one 24 So the's dilutions air basically nothing other than a kind of explanation to you in what kind of dilution you need to mix your chemical. Andi, how much water you need. So if I have my Paterson developing tank that I mentioned earlier, I know that 1 35 millimeter film we'll take up 290 milliliters of working solution. Working solution will be things here. So if I'm developing, let's say I have a tank with three films inside it. So I'm developing three 35 millimeter films. That means my total solution for the total volume better that the films will take up is 870 milliliters. Now I need tohave 870 milliliters of each of these chemicals. Andi, to mix these up. It's very simple. All we need to do is split the ratio that we have here into the working solution. So I'm gonna need 870 milliliters of developer now. Obviously, I don't need pure developer. I need one parts developer and nine parts water. So I know this equals 10 in total on bury their two things again that I could do so I could either I could either develop. Sorry, I could either divide this by 10 and then I know that one part will be 87 milliliters of pure developer. And then the other part will be 783 milliliters of water. So this is my developer, the other the other way. I can do this. I can again go into the website. And there is something on the digital truth website on. You have the volume mixer, and all you need to do is just punch in those values and then you'll get your you'll get your exact answer and you don't have to do any mouth. But usually this is something you know. You do once and then you know exactly how much you're working with. So the next thing is the stop half. Now, the stop bath works indicated here as ratio 1 to 19. So it's the same thing again. I'm gonna have a total of 870 milliliters that I need toe work with one plus 19. It was 20. So we just took. We can divide this by 20 and then we know that we have 44 milliliters off actual. Stop on. Then we're going to mix that with 826 millimeters of water. The final thing will be our fixer on the fixture will be again a total volume of 870 on day , it will be divided by five. So that means we have, um, 174 milliliters of pure fixer Andi, the remaining 696 milliliters of water and these air all the solutions that we're gonna have to mix up on. So this is what we're gonna pour into the developing tank now, The other thing that's important is as I'm gonna be reusing my stop on my fix. I don't necessarily have toe make 870 milliliters. I could also make one leader for for terms of simplicity. And then all I do is our mix. I'll just pour in 870 millimeters. So if I wanted to, I mean the developer, I'm going to keep 870 millimeters because I'm gonna throw that away afterwards. And what kind of reuse it. So if I wanted to, I could make a total solution of stop 1000 milliliters and again to that by 20. And I could do the same thing with the fixer by five. And then I'll have my working solutions, and then I'll just use I wouldn't use exactly what I get out of here. I just use 870 million years, So this is usually what I do because then I'll reuse the stop on the fixer. So let's start mixing up these chemicals 6. Overview and developing: Okay, so now I'm gonna walk you through the actual development process. So before we wrote down exactly what kind of solutions we're gonna be working with, So what we have to do now is we're gonna have to mix it up for real. I'm not actually going to be developing a film on I'm not gonna be actually boring in the chemistry inside, because unfortunately, I don't have any film to develop right now, as it's just being the holidays. And I do anything, so I'm just gonna use water instead. So bear with me on that, remember that you're going to be actually using chemistry. So the first thing that we're gonna do is gonna make certain developer. Now, as I said before, um, what we needed for three films of HP five using ill for assault three. So this is the office. All three right here. We're going to need 87 milliliters of water. So what I do is I have my water right here on day. This hold developing process is gonna happen in 20 degrees Celsius. You can develop thumbs also at different temperatures, so you could develop it at 2122 23 24 degrees Celsius and that would shift the times. The hotter the temperature, the faster the developments. But it's usually the best thing to just develop at 20 degrees Celsius. That's for my opinion, what I prefer. What I think is the best results you can get. I mean, you can also try other things, but then remember that you're gonna have to adjust those other values. So the most important thing is measure your water temperature. Have one of these big measuring cups like I mentioned in the gear video thes air. Good toe. Have. Make sure you have 20 degrees in there. Now you have 20 degrees in here. This is fine. So the first things that I'm gonna do is gonna take the office. So I'm gonna pour 87 milliliters of ill for us. All right here on. Then I'm gonna make ah final solution off 870 milliliters for the total. So right now this is just 500 millimeters on, then I'm just gonna add this here as I need 870 in total. So I had 500 and then 607 100 850 60 70. There will come that goes in here on this will be my 870 milliliters of working solution. This is my developer on the water the way I needed on. I'm gonna do exactly the same thing from my stop, Beth. So we have this right here, and it's good to just what I What I did at the beginning is I always have my developer bottle right in front of it. So I know what is what. Because even though some of them have different colors, it's it's important not to get confused because you don't want to, like, poor in your stop math and then your fixer and then forget about the devil that up or something like that, you know? So the next thing is gonna be the stop. So this is my office. Old stop. Andi l Full stop. Sorry. So that dilution is gonna be 44 milliliters, so I'm gonna pour in 44 milliliters of this. So I'm just pretending to do that on. Then the rest is going to go up to 870 in total, so I'd fill this up. This goes to a maximum of 500 milliliters. Just pour this in here and then still in the remaining and so on so forth. So now I have 817 milliliters of my stop. Baftas Well, and then I'm going to continue doing this with my my fixer as well. And then I have all the solutions, so I'm just gonna skip the actual mixing of the fixture. Now, I'll get invited to the development process. No, when we start developing, the first thing that we have to do is we're gonna have to have a timer or watching something that's that's next to us. So what I usually do is I use my cell phone where I have just a stopwatch timer or you combine dedicated dark room or developing timer. Those are pretty handy for for this demonstration right now. I'm not gonna be using any time or it'll. So what I'm just gonna do is I'm going to count down. I have my developing my developer right here, and I'm gonna pour this all in. I'm gonna close that. Make sure this is close properly, so I turn it. I twisted around and I pressed down the hood everywhere. So I know this is tight. And then for this developing process, it's gonna be the first minute is gonna be continuous inversion. So for one minute, I'm just gonna call me and parts developing time. We're going to do it very fast. I'm not going to it to slowly, if you do it a bit too slow, the chemistry might not. The chemicals might not, um, be, uh, transported everywhere evenly. And you could get something called bromide drag, which is basically, if you look at the sprocket holds, you can see kind of streaking going down on. Do you want to avoid that at all costs? So you gotta make sure what I do is I turn the developing tank as well as I develop. It was I inverted like this. So I'm sure that this all the chemicals gets spread around property If you do it too hard. If you shake it around too much, what you could do is you could, through the, um, strong inversion and agitation. What happens is that you could get a very strong grain structure to get a lot of grain. Some people might like that, but usually it's not really desirable. So after doing this for one minute. I'm just gonna put the tank here. I'm going to give it to Temps on the head. Just so in case there any bubbles or something on the film, it can all come up and it will just sit there. Now, the process with Alpha sold three as's faras, I remember is 6.5 minutes. So the first minute I just spent inverting it now And as the second minute starts, I will have continuous inversion for the 1st 10 seconds of every minute. So as the second minute starts, I'm gonna inverted again. But just for 10 seconds, and then two taps on top and let it sit again. And then I'm gonna wait until the third minute and I'm not gonna touch it or anything, and we're gonna push it around. So the third minute starts, and then again, I'll have 10 seconds of inversions on. Then I'll sit it down again on I'll wait and then so on and so forth until I reached the 6th 6.5 minutes. So at six minutes, I'll still have 10 seconds of inversion and then I'll chuck it out and then I'll put in the stop off. Now the stop bath is indicated as one minute continuous inversion. So I'll just pouring the stop and I'll mix it around. And then what I'll do afterwards is since I mixed some fresh stop, I'm gonna put it in one of these bottles because I'm going to reuse it for the next few processes, then the fixer. Usually most fixing processes are five minutes, so I'll have the fixer in here, and I'm also I'll pour out the stop into one of the bottles. Then I'll pour in the fixer. The fixer will be one minute continuous inversion as well at the start and then every minute for 10 seconds for a total of five minutes. Once this is done as well, my process is complete. Like I said earlier, I can pour this out. Um, on. Then the final thing that I will do is ah, wash it for around 5 to 10 minutes in running water, make sure that the water isn't too hot and make sure that it's not ice cold. So if you get something between 15 and 30 degrees, it should be fine. But it shouldn't be any hotter any colder, really? Then make sure that the film is washed properly. What I do usually is I'll have it over the sink. I'll just have the running water go through When I do this, I I opened this camp. I don't open this one, even though the film isn't light sensitive anymore. I leave this on because as the water is flowing through, its important that there's not too much pressure because the negatives could bend a bid or not. Sit properly in the actual real and you want to avoid that. So this is kind of just on extra protection, just from the water flow. Um, once the film was washed for 10 minutes maximum, I'll add one or two drops of wetting Agent on. Then I'll just carefully make sure that the film isn't because the wedding agent will will create a lot of foam if you agitated too strong and so what I'll do is I'll just turn this around just softly just so you can see some bubbles form, have it in for no longer than one minute and then finally poor in the distilled water. So I'll pour all of this out. I'll put into distilled water. I'll agitated once or twice, and then I'll pour in, port this out and then put in again some distilled water. So it's not too for me. You know, it's basically like washing, washing dishes, washing the plates. You know, you gotta you gotta clean them, and then you got a rinse them and you got a Rinse them until you have no more dishwasher on them. But I'll do this with distilled water, so that will give me some very, very clean, clean negatives. You don't have to use the still water, but it's highly recommended, so distilled water is really good. And then once these air done poor all of that out and then I can hang up my negatives, and that would be the end of the development process. So it's really not that complicated. This is just a very simple walk through that I gave you. Now I'll have another video up where I'll give you a very specified on very in detail. Um, walk through of exactly how will develop, and I'm actually developing film there, so let you have a look at that as well 7. Basics of pushing film: So like I mentioned earlier, you might have seen that roll of film that I was inspecting. Um, it was a role of HP five, Ilford, hp five And that's usually shocked. Or, let's say, the native film speed of that is I so 400. So the ice so or also known as a s A is 400. Now the ISO 400 means that I need to expose the film at certain value concerning connected to whatever light situation are in. So you know, if it's if it's something like a sunny day versus, let's say, very dark inside. So this is so This is a window from of cartons and it's it's very dark inside. So this is the film speed that I'm working with eso 400 and during the day, that probably means, you know, if it's if it's really Blue Sky that I may be shooting up of 16. Andi, let's say that the shutter speed would be something. Say something like one over 500. Something like that. Um, if I'm shooting Isil 400 now, let's say that, for example, I want to do the same thing indoors. I want to shoot with with something like F 16 because maybe I want to bury it Very, you know, sharp image. And I don't want No, I don't want to bring anything out. I wanna make sure that everything's in focus. And I'm doing this handheld. You know, I don't I don't have a tripod with me. I still want to shoot at 1 5/100 of a second. Now, how can I How can I make sure that thistles gonna be a correctly exposed frame? Because I so 400 isn't isn't fast enough. I need I need an ice. So speed that will enable this. You know, Andi, obviously discounts as well, if you know, if you have s so let's say you have eyes. So 100 So with ice. So 100. You know, we were gonna need even more lights to expose the frame correctly. Andi, um, there's something that you can do on. Basically, this is what a lot of press photographers typically did back in the day Is that it's something called pushing filth. Now, when you pushing, when you're pushing film, you do the following. So let's say, um this is still HB five it's still native Speed 400 but what I can do is I kind of I can trick my camera. So if I have a built in light meter, let's say so. This is my camera right here, my view funder okay about drawing. But I think you get it. So let's say this is my light meter right here and it's telling me it's receiving the light and it's telling me, okay, if I want tohave make a frame with ice, so 400 I'm gonna have to shoot with this and that value. So that's basically what a light meter does for you. Now I could tell my camera even though have a nice so 400 film inside, I could lie to my camera and tell the camera. Actually, my film as an I s o speed off 3200 even though there's a 400 film 400 speed film inside. So what does my camera do now if I have a high rise? So you know that my film needs a lot less light so I could shoot it in in a much darker environment. So maybe with eyes so 3200 I could shoot at F 16 1 500 of a second in this kind of, uh, dark indoor sensing. Now, if I do this, I need to do one thing and one thing only when it comes to developing this film and this is the key. What happens when I take a photo that I so 400 with these settings? Right here I am essentially under exposing the film. There we go under exposing. If I were to develop this for 400 I would get very thin negatives. Andi, my film wouldn't look right. I would just capture very little detail, and I'd probably have a role that I could throw away. So what do I have to do? I need to make sure that when I develop this film that I developed it in a specific way, and that's cold pushing film in development. So now I still have my role of HP 5 400 but it's pushed to 3200. Usually I would develop this in Let's say again so for soul want to mine? I develop it at 6.5 minutes for 400 now, usually l fissile three isn't really a developer that you would use for pushing film. But for this demonstration I'll stick to Elvis. All three something I would advise you work with his Gilford's DDX, which is really good for pushing film. But anyways, back to this. So let's say I want to increase my development time and that's what I need to achieve this . This is so speed right here. So I can see that with every increase, with every incremental stop, I need to increase my development time by 33%. So if I was gonna shoot my Ilford hp five at I s 0 800 so it would still be 1 to 9, it would still be that developer my developing time. And now this is not accurate. But my developing time would go up, Let's say to nine minutes and then I would want to do it another stop. So the incremental the next increment would be 1600 then the next one will be 1300 on the next one beat 6400. So that would keep going. And then let's say I have 13 minutes here and then let's say I have 16 minutes here and then this one would be something like 19 minutes or let's say 20 minutes. And so what you can see is that as as I'm pushing this film to a higher value of I s So all I need to do in the developing process is you know, the temperature stays the same, everything stays the same. But the developing time increases. Now, as the developing time increases, a few things will happen to the film. So I'm no longer gonna have the classic look that I get at eso 402 factors will change, and these are very important because they can have either stylistic choice. It can either be a stylistic choice, or it could be, you know, artistic choice. Or sometimes it's necessary to make that. So you're going to essentially be changing too. Things you're going to be changing the grey on your be changing the contrast. And in the contrast, we also have, let's say the highlights on the shadows. No, um the grain structure. So usually let's say I s 0 100 as explained earlier, is very fine grain. And then we have something like I s 0 6400 will have lots of grain, So this is the one thing that we're gonna have to expect. So if I'm shooting, you know I'm shooting HP 5 400 I'll have, like, a medium grain structure, also depending on what kind of developer amusing. And then as the ice so goes off, we get more grain. Onda. We get more contrast, and there are highlights and our shadows air going to change as well. Usually we get a lot more contrast as we increase as we push the film. Now. The benefit of this is like I said earlier. If you're in a situation where you know, for example, it's rather dark like, let's say you're indoors and it's a great It's a great day and there isn't a lot of indoor lighting, and you still want to shoot at a fast speed. You don't want a for if you want to. For example, take a poor trades and you don't want it to be smudged or anything. Then that's something you would typically, too. So you would push your film from 400 to something like 1600 on. This is one of the the advance advantages of pushing film and it's It's very it's very much recommended, and it's much better than using a flash. For example, Obviously, it always depends on what kind of film some films push very well. Some films pushed terribly, you know, films that are famous for pushing or try Axe and HP five. Those those work really well for pushing on. You can push them up to, you know, crazy things like 12,800 even even ridiculous values. Um, the important thing is sorry, that was one too much. Three important thing is that you remember that this happens in development. On that you're always under exposing your camera. You're under always under exposing your film and that you never develop for the actual thing. So you never developed for 400. You always have toe development for a longer time. 8. Inspecting your negatives: So once we have our film developed and it's dried Onda, we can take it. Offer drying rack than we can cut it into slices like this. So what I do is I have strips of six frames. Andi, if you have one of thes archival sleeves Theune, you can evenly spaced those out. You cut them into six and you just gotta watch out that you cut just on the edge and not the actual frame, because you don't want to cut through your negative. And if you cut through your negative, it's gone. So what I like to do is just, you know, it's important to stay organized. I'll write the film type that I'm shooting with, so that's Ilford HP five. Um, I shouted at 1600 I'll explain to you what that means. Later, I used the developer. That's DDX at a ratio of 1 to 4. The developing date is the 26th of November. Andi, I shot it with my M six and its film number one off that developing process. So, like this, I'll have an overview off. What kind of how many films I've shot on? Do you know if I'm making contact sheets. Or if I am looking for a specific shot. I know you know. For example, on that day I showed five different films and then I have film 1 to 5, and then it's It's just easier to know exactly what you're looking for as there isn't really you know, it's not like I can just search it in my computer or something. I'm gonna have to actually physically look for the negatives. So it's good tea to stay organized now. When were you expecting when we're inspecting thes these negatives? I think the first thing that you'll notice, which is quite obvious, is that we have a few negatives up here, these ones that are very, fairly dark. And then we have these down here, which are very, very light on. And usually you would describe these very dark ones as thick negatives, and these very light ones is thin Negatives. Now, thin negatives usually hold very little information on bond. It's usually just a bit of the highlights, and then the shadows are just gone, and you really can't identify much of it Now with the very thick with a strongly overexposed negative, we have a lot of information. The negative is capable of storing a lot of information, so usually you can still get lots out of this. You can still scan these. You can still print these really well. It's just that way. Might not get as much highlight detail as we hoped we might get compared to these now. Ideally, what you want is you want something more like thes down here, which are, let's say, a fair balance between three overexposed and under exposed shots. So these air exposed correctly on we can see that overall, the images look fairly well there. There's highlights those shadows, and it doesn't seem like there's really any information that has gone missing all too much . So, for example, in here we wouldn't be able to see much of the background, and there isn't really anything noticeable way can't really identify what the shot is all about, whereas here we can, you know, we can clearly identify this is a tree, and there's the sky and things like that. So that's that won't That's one of the things that you want to keep in mind that it's important when you're when you're shooting that you're exposing correctly. Otherwise, you're gonna get negatives that are overexposed or under exposed, and it's gonna be a lot harder toe print them in the dark room or toe scanned them successfully.