I shot Jacob's portrait at the Analog's Pulse Weekend , June 2012 in Cleveland Ohio
Shot with the The FPP Plastic Filmtastic 120 Debonair Camera
Kodak Verichrome Pan 120 roll film
Check out The Film Photography Podcast
An Internet Radio Show & On-Line Resource for Film Shooters Worldwide filmphotographyproject.com/podcast
I purchased what I thought were light-proof black bags online in order to ship 4x5 sheet film for processing.
Surprise, surprise..I checked the black bag description..."These plastic bags are not light-tight by themselves." YIKES! Make sure your bags are light tight before sending exposed film to the processing lab!
Pictured: Dane of The Smoove Sailors (an American Improv Rock 'n Roll band) www.thesmoovesailors.com/ May 2012 / Jersey City NJ USA rehearsal space
photo by Michael Raso Graflex Crown Graphic press camera Kodak Ektar 100 4x5 sheet film
Although it took about eight months to get familiar with my newly acquired Graflex Crown Graphic 4x5 camera, I'm finally out shooting!
While my exposed Kodak Ektar and High Speed Infrared is at the lab for processing, I shot some Polaroid 57 High Speed Instant Film. Although expired in the 1990s, the film still yielded a reasonable if not grindy image.
First portrait on Polaroid 57 - fellow photographer Mat Marrash
Kenichi Sugihara - Bassist for The Smoove Sailors
An emotional riff from Pink Delicates' Kevin Neblung
For those looking to shoot with vintage 620 film cameras, you should know that 620 is identical to 120 roll film...except for the fact that the spool is slightly different. This video shows you how to roll 120 film onto 620 spools.
620 / 120 film on Wikipedia "The 620 format was introduced by Kodak in 1931 as an intended alternative to 120. Although mostly used by Kodak cameras, it became very popular. The 620 format is essentially the same film on a thinner and narrower all-metal spool" http://en.wikipedia.org/wiki/120_film
above: 620 film images shot by listeners of The Film Photography Project Internet Radio Show.
Launched in October of 2009, the Film Photography Project's Internet Radio Show is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from www.filmphotographypodcast.com
blog by Michael Raso When I read Brian Moore's guest blog on the Canon T50 camera my curiosity was piqued. I've been shooting with the Canon AE-1 Program camera since 1982 and since then, many other models using the Canon arsenal of FD lenses. I've simply ignored the 1983 T50 - mostly because the camera is completely automatic. I couldn't resist so I purchased not one but two T50 cameras on e-bay here in the states.
The manual focus Canon T50 is most likely the simplest camera in the FD arsenal. Program - Off - Battery Check are the only top controls. No "B" bulb, no PC flash input, no cable-release input. Turning the FD lens from "A" Automatic to f-stops switches the camera to 1/60th sec. This gives you the (limited choice) option of going manual and allowing the use of off-brand flashes.
The T50 is simplistic joy - allowing me to concentrate on my shots and leaving the exposure chores to the camera. As an all-manual photo guy - I must admit, it was difficult giving up the control of shutter and aperture, but the results were more than pleasing.
below: Canon T50 test shots - Butler, NJ USA
Canon designed the 244T flash specifically for use with the T50. While other flashes work just fine, the Canon 244T performed the best. below: Canon T50 Flash Tests
Image using the Canon 177A Flash
Image using the Starblitz Pro-5000 GTZ-Twin flash
Image using the Canon 244T Flash
Film Photography Podcast listener and contributor Brian Moore's night photography using the T50 inspired me to venture out at night and try my luck at some night shots. Pretty pleasing results considering the T50 shutter is limited to a 2 second exposure.
I host the Film Photography Podcast Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
In the last few weeks there has been an explosion of interest in home development from listeners of The Film Photography Podcast. After 16 months and 27 episodes I'm surprised that it has taken this long for us to launch the "Darkroom Corner" segment led by FPP co-host Duane Polcou.
I've even jumped on the bandwagon and just ordered a home development kit from Freestyle Photographic. It's been a long time since I've developed my own BW negs so the recent input from FPP listeners has been very, very helpful. Plus, when I have a question, I just shoot an e-mail out to one of the FPP listeners for a quick, speedy response.
The Film Photography Podcast has become a really awmazing community of folks over the last year and what better way to start a creative project than with film friends!
Today's edition, contributed by long-time FPP listener Dan Domme is a detailed step-by-step of the home development process. Thank you, Dan. I hope this entry is as helpful to others as it's been helpful to me!
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Image by Dan Domme - developed in Rodinal
Greetings, FPP listener! You say you’re interested in developing your very own black and white film! Of course, there are guides out there for developing your own film, some even penned by our own FPP listeners. But when it comes to learning something new, it never hurts to have more fresh perspectives. I’m Dan Domme, and I’m writing this guide just so you’ve got all the information at your disposal before you start developing 35mm or 120 film. I think that you’ll have a lot of fun developing, and it can be a real money-saver as opposed to shooting color. Note: in my instructions that follow, I will keep referring to a Paterson Super System 4 Tank, which is what I use to develop my film. If you decide not to use a steel tank, your plastic tank may vary.
Step 1 - Equipment Checklist
Unless you have the required equipment, you could risk ruining your film before you get a chance to develop it. I’ll list everything you’re going to need here, with the giveaway items marked with an asterisk:
- developer - I prefer to use a liquid developer, since powders can produce flying particles when you mix them, but that’s just me. - stop bath - fixer - a pitch-black room or a light-tight changing bag. I’d recommend a bag if you can get one. - developing tank, plastic or steel. More about plastic vs. steel in a second. - appropriate reel for the tank. - plastic for plastic and steel for steel. - graduated cylinders or other measuring device, about 700-800 mL. (I'd recommend eventually getting one for each chemical you use.) - a reliable timer, such as a stopwatch - 2 or more chemical storage bottles (usually black or dark brown plastic, get one for each chemical other than wetting agent, and don’t get one for the developer if you’re working from a liquid rather than powder.) - black clamp-style paper clips or equivalent to hang strips for drying. - a thermometer (dial or digital) is also highly recommended. - hypo wash (optional but not recommended) - wetting agent (optional, recommended if you have hard water)
Notes: virtually anyone’s fixer will suffice, and if you’re going to buy stop bath, I’d recommend “indicator” stop bath, which changes color when its pH gets too high to be useful. For developers, I prefer either Kodak HC-110 or Agfa Rodinal, which is currently available as Adox Adonal. Both are liquids. D-76 is a powder developer, which is also a great choice for a newbie. I use Zonal Pro stop bath and fixer, but Kodak also makes great stop bath and fixer.
Before buying tanks and reels, here are some key differences. Steel tanks generally take less chemistry per roll than plastic, and they don’t have to dry completely before you use them again. However, it can be more difficult to load, according to who you speak to, and you need different reels for each size of film. I use plastic for the following reasons: they’re just as easy to load as steel; they are less susceptible to temperature changes; they don’t have to be flipped to agitate, and you can fill and drain the tanks faster. It’s also less likely that you’re going to put an image-crippling kink in your 120 roll film if you use a plastic reel.
Step 2 - Chemical Preparation
First and foremost, make sure you check the instructions on the chemicals you buy. Usually they're pretty straightforward, but if you have any questions, do the magic series of steps to find your answer: (1) Use “Da Google” to see if you can find an answer. Usually links to threads on photo.net or apug.org are helpful if they’re not overly technical. (2) Don’t be afraid to ask the FPP group on Flickr - we all try to be as friendly and as helpful as we can! (3) If you’re still stuck, try asking over at apug.org - if you tried your research and take your time when writing your question, I’ve found everyone to be quite helpful, even if there are a lot of different opinions. But anyway...
Mix up the stop bath and fixer and store them in your chemical bottles. When mixing the fixer, make sure you mix for the film dilution, which is stronger, rather than the print dilution. If you’re choosing to use hypo wash, which I have not used before, then you may have to dilute it and store it as you would the stop bath and fixer. You can dilute and store Kodak’s wetting agent, but I only put a few drops in my final round of rinse water. As always, check the instructions for your chemicals if you’re not sure.
If you're using HC-110 or another liquid developer from concentrate, you will likely not need to use a chemical storage bottle for it, since you'll be dumping it down the drain afterward. Stop Bath and Fixer should be re-used until they’re exhausted. I believe hypo wash may be reusable, and the wetting agent should also be reusable if you’re deciding to mix it all at once. Check all the instructions.
Step 3 - Loading the Film
Here's where the fun begins. You might want to take a second to see if your reel is adjustable, such as the Paterson Super System 4. The reels for that system are sold as 35mm, but you can twist them apart to unlock them, readjust the size, and use them for 120 film. Make sure your reel is set to the appropriate size before tossing it in the changing bag (or turning the lights out!)
If you’re working with 35mm film, clip the thin part of the leader so that you’re starting with the full 35mm width of the film, and round the corners just a little bit. If you don’t have access to your leader, then you’ll have to do these steps in the darkroom or changing bag, which can be a hassle. I’ve found I can just pry the felt opening apart to get to the film, but be careful about sharp edges! Other people use a bottle cap opener on one end of the 35 mm canister.
In your changing bag, put your film spool(s), your tank, and your reel(s). Then zip it up and stick your hands in the sleeves. (If you're in a darkroom, just make sure the room is now completely dark.) For 35mm film, I just pull all the film out of the canister, careful to handle it by the edges, and clip it at the canister once I can’t pull any more out. For 120 film, what I do is slowly unravel the spool. for a while you will only be unspooling paper, but soon the film layer start to unroll. Start collecting this into a roll, using your fingertips to hold it along the edges. At the opposite end of the film, there is masking tape attaching the paper to the film. I detach this from the paper and fold the sticky side over so that it forms a tab on the end of the film. Make sure no sticky parts are exposed, or else you might get some gunk on your film. In either case, now you have a complete roll of film in your hands.
Plastic reels load from the outside in. There are some tabs on the reel which I call thumb rests. You feed the first inch or so of film (the end without the tape) past these tabs and the ball bearings in the reel. Then, you can twist the reel back and forth, with your thumbs on the thumb rests to prevent jamming, to automatically feed the film into the spiral. If you have some extra 35mm or 120 film you don’t mind wasting, it’s VERY helpful to try this in the light first.
Steel reels are different - they load from the inside out. At the center of the reel, there is a spring-loaded clip (or even two teeth to grip the sprocket holes on some 35mm reels) which you use to hold one end of your film. Then, holding your film straight, but ever-so-slightly curved, like a celery stick, rotate the reel so that it gently pulls the film from your hand. Typically I hold the reel in my left hand and the film in the right hand.
Once you've loaded the reel, put it in the tank. Plastic reels usually go on a center post, which forms a light seal with the funnel top, and then covered with a lid. Steel tanks have the light trap built into the lid. Once the tank is closed up, you're safe from light and can take the tank to the kitchen sink.
Step 4 - Development Times
What you need to figure out now is how long you're going to develop your film. Different speeds, films, and developers all have different times, and it can be a real hassle keeping them straight.
So go here: http://www.digitaltruth.com/devchart.php - This is the Massive Development Chart, and it has most of the possible combinations of films and developers. Select what film and developer you have on the left hand side, and you'll get a table that probably shows you different dilutions and ISOs. You can mix your dilution down to either conserve your developer or create subtle tonal effects. In general, though, more dilute developers give you more pronounced grain. Select a dilution and ISO combination, and read the time (in minutes) from the 35mm or 120 column - they should be the same 99% of the time. Also, check to see if there are any notes to read in the last column. If there are no notes, assume constant agitation for the first minute, and 10 seconds every subsequent minute (more on this later). (5 seconds of agitation every 30 seconds should also work)
Stop bath times are usually 1 minute with constant agitation, and fixer times are usually 5 minutes: constant agitation for the first minute, and 10 seconds every subsequent minute. Hypo wash usually takes 2 minutes or so, and I use wetting agent for a minute, both with constant agitation. Needless to say, a timer really helps.
Step 5 - The Chemical Process
Measure out your required chemicals in your 3 graduated cylinders, which I have labeled in Sharpie marker as "Develop," "Stop," and "Fix." If you don’t have three graduated cylinders, use one to measure, and transfer the contents to large cups you’re not planning on using for drinking. It is important to have all three liquids ready to go, since this is a time-sensitive process.
Paterson tank volumes are printed on the bottom of the tank. I think it’s 300 mL for a roll of 35mm film (600 for 2 rolls) and 500 mL per roll of 120 film. Steel tanks hold 8 or 16 oz, depending on whether it’s a 35mm or 120 tank. Note that a steel 120 tank will also take 2 35mm reels.
Open the tank while keeping the light-tight part of the lid on. Patersons have a thin black plastic Tupperware-like cover. This is the only thing you should remove... anything else will expose the film to light. For steel reels, only take the smaller part of the cap off.
Pour the contents of the developer cylinder into your tank, strike it lightly against a counter to dislodge air bubbles, and then start agitation - if your plastic tank came with a small black plastic wand, you should be able to stick it in the center hole and twist back and forth gently to agitate. This is quicker than trying to put the lid on as quick as possible after the chemicals go in. Otherwise, replace the cap tightly, and slowly turn the tank upside down and right-side up. Go slowly, about one inversion every two or so seconds. I've found it's not terribly important how many twirls or inversions you get in every 10 seconds, just that you agitate for 10 seconds.
Developing converts the silver salt on the film which has been exposed to light into silver. This silver remains on the film throughout the developing process and as long as you have your negatives. This is why areas of the image that have been exposed to more light become darker.
Once the developer step is done, remove the cover, pour it down the drain, and immediately pour in the stop bath. Gently agitate the tank (via the stick or inverting it upside down and back upright again) for one complete minute. Then pour the stop bath back into its chemical storage bottle (a funnel helps).
Stop bath is a simple acid - usually acetic acid, which is the primary component of vinegar. Since all developers are bases - chemicals with high pH’s - stop bath makes the tank very acidic very quickly, making sure that any leftover developer on your film won’t continue to work.
It's not as important to be so immediate with the changing of fluids from stop bath to fixer, since the most time-dependent step, developing, is over. With the stop bath back in its container, you can now pour in your fixer. Treat it as you would your standard developer: one minute of constant agitation, then 10 seconds per minute until you've done a grand total of 5 minutes. Then pour the fixer back into its storage bottle.
During the fixer step, all the silver salts that didn’t get converted to pure silver by the developer are now sucked away into the fixer chemistry. This leaves the film with nothing but stable silver on the plastic film base.
Now, you'll want to wash that nasty fixer (also known as “hypo”) off your film. Typically, water is all that is needed, but if you want to be super-extra-safe, you can pour hypo wash (at the appropriate dilution) into your tank and treat it as you would stop bath - constant agitation, but give it a bit longer... around two minutes. Note that I don’t do this step myself. Hypo wash is typically used for prints, and even then only on fiber-based papers, which are harder to wash than resin-coated papers. If you’re deciding to use this hypo wash, follow the instructions and pour the hypo wash back into its storage bottle, or down the drain - whichever is appropriate.
Regardless of whether you’ve chosen to do the hypo wash step, fill the tank with fresh water and give the tank five inversions. Empty the tank, then repeat except with 10 inversions in fresh water. Then, do it again, only with 20 inversions. You are now done washing your film. This is known as the "Ilford Method." It is a pretty simple method of washing, and it uses a relatively small amount of water.
Alternatively, you can also use a force-washing hose, which you just attach to your faucet and turn on at a relatively low flow rate. It doesn’t matter how much water is moving over the film, just that it’s moving. This is done for five to ten minutes, depending on whether you are using a hardening fixer, which takes more time to wash off.
Note: If you have hard water - i.e., tap water with a lot of mineral content - you'll want to prevent film spots. This is why you have wetting agent. I use Kodak Photo-Flo, and rather than dilute the whole bottle, I use a drop or two in a final tank full of water. Your wetting agent may be different, so read the instructions. But mix the appropriate solution and treat it just like the stop bath - constant agitation for a full minute.
Finally, disassemble your tank and get to the reel. With a Paterson reel, you can twist the reel apart just like you do to adjust the reel to fit 120 film. If you have a steel reel, just unwind it from the outside.
If your fingers are clean, you can slide your index and middle finger once down the length of the film strip to "squeegee" it dry. They also sell film squeegees. This is especially important if you did the wetting agent step, since your film will have bubbles over it. I use two black paper clips to hang the film to dry overnight - one with an attached piece of dental floss to hang it to my shower curtain rod, and the other used as a weight to keep the film straight. They also sell film clips for this purpose. Just make sure you choose a dust-free environment, or else you might get spots on your negatives. If you’re in a bathroom with a shower, running it before you develop might help eliminate some of the excess dust.
The following day, or a few hours later, you can trim up the film strip and then either scan or enlarge your photos. The downside: you need a scanner or enlarger. Or, you can send the negatives to a photo lab that can make prints for you. Just be sure to contact them first to be sure they can make black-and-white prints.
Anyway, there you have it. don't hesitate to contact me on Flickr.com (username yeknom02) if anything I said was unclear or if you have more questions. I hope this was helpful, and please let me know if it was! I hope you have fun developing black and white film!
- Dan Domme
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Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
Spotlight on the Diana camera, Polaroid announces new camera, book of the month, Using Rodinal in the darkroom and cult camera giveaway! We’re giving away a Diana+ 120 camera…a Holga 120n camera and an Olympus Trip 35 camera! Hosted by Michael Raso with Duane Polcou and John Fedele.
“The Diana first appeared during the early 1960s as a inexpensive box camera sold by the Great Wall Plastic Factory of Kowloon, Hong Kong. Most were exported to the United States and the United Kingdom. In the United States, the Diana was imported by the Power Sales Company of Willow Grove, Pennsylvania.
The Diana camera is a plastic-bodied box camera utilizing 120 roll film. It takes twelve 6×6 cm photographs using a simple plastic meniscus lens. Originally marketed as an inexpensive novelty gift item, the Diana was later used by professional photographers to take soft focus, impressionistic photographs somewhat reminiscent of the Pictorialist Period of artistic photography, but utilizing contemporary themes and concepts. Ten years after the Diana disappeared from the market, another inexpensive box camera of similar concept, the Holga, would also become the camera of choice of some professional photographers.
As a bottom market camera intended for novelty use, the Diana frequently suffers from light leaks, film advance issues, and other problems. However, its low-quality plastic lens has been celebrated for its artistic effects in photographs, normally resulting in a slightly blurred composition that can provide a 'dreamlike' quality to the print.” http://en.wikipedia.org/wiki/Diana_camera
We’re giving away a DIANA+ camera courtesy of our friends at Lomography.com!
To enter this contest, send your name, mailing address )and tell us a little about your film photography) to FilmPhotographyPodcast (at) gmail.com
Entry deadline is February 22, 2011. Only one entry per person, please.
Our awesome listeners have been sending us 35mm and 120 roll film. Every month we’re giving away a roll of film.
To enter this contest, send your name, mailing address, what type film (35mm or 120) and tell us a little about your film photography to FilmPhotographyPodcast (at) gmail.com
OLYMPUS TRIP 35 camera giveaway
FPP Superfriend Ian Cook has donated an Olympus Trip 35 camera and flash. The Trip camera was built in 1972 and ships in its original box! We’re giving away this package to one lucky winner on March 1, 2011.
To enter this contest, send your name, mailing address )and tell us a little about your film photography to FilmPhotographyPodcast (at) gmail.com
Entry deadline is February 22, 2011. Only one entry per person, please.
HOLGA 120n camera giveaway
FPP listener Jason donated the classic Holga 120n camera. We’re giving away this package to one lucky winner on March 1, 2011.
To enter this contest, send your name, mailing address )and tell us a little about your film photography to FilmPhotographyPodcast (at) gmail.com
Entry deadline is February 22, 2011. Only one entry per person, please.
NOTE: If you are entering more than one contest, please send a separate e-mail for each item. In your e-mail header, note the item. (i.e. Diana Camera Giveaway)
BOOK OF THE MONTH
Brett Weston’s Voyage of the Eye. Photographs by Brett Weston. Introduction by Beaumont Newhall. Aperture, New York, 1992. 128 pp., 100 duotone plates, 9x10½".
"This revised and expanded edition celebrates the eightieth birthday of one of America's foremost photographers. Whether it is an Alaskan glacier miles away or shards of broken glass in San Francisco inches from the camera, Brett Weston's images seize exhilarating patterns in the natural and man-made world."--the publisher. As a retrospective, Voyage of the Eye invites the viewer to witness the evolution of Weston's philosophy of photography through sixty-five years of image-making.
“Rodinal was patented January 27, 1891 by Dr. Momme Andresen. It was the first product sold by Agfa and is the oldest photographic product still available (2010). After the patent expired, Rodinal has been supplied under different names by other companies. Rodinal is a concentrated liquid developer with very long storage life; the working developer is used once. This may have helped sales to amateur users who did not have to make up an entire packet of developer, enough for many films but with a short life once made up.
Rodinal has for a long time been manufactured in a chemical plant in Vaihingen-Enz owned originally by Agfa. In November 2005 the plant was sold to a&o Imaging Solutions GmbH in Koblenz, Germany, who continued the production of Rodinal. In 2008 it was sold again to Connect Chemicals (Ratingen, Germany.) Today Rodinal can be obtained from ADOX Fotowerke Bad Saarow, Germany. It is now called ADONAL.” http://en.wikipedia.org/wiki/Rodinal
Thanks for listening to FPP. Next show in two weeks!
Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
A couple of months ago I sent Film Photography Podcast host Michael Raso a question. I was confused about the different films available for instant cameras. I understood the Integral Instant Films - like Polaroid 600 / SX-70 and the Fujifilm Instax but I couldn't grasp what Michael was using when he mentioned Pack Film, and "Crack and Peel" materials.
Michael replied to my email in a most generous way - he was going to send me a Polaroid Colorpack II camera, complete with some film, all the way from America, so I could try out the Pack Film Experience. I was amazed to say the least, and I couldn't wait to get started!
A package arrived a few days later, and I feverishly opened it up, and I couldn't believe what was inside:
Michael had sent me a Polaroid Colorpack II loaded with black and white film, a spare pack of colour film, a couple of packs of flash-cubes, instructions and the case. Brilliant!
The first mystery had been explained. Fujifilm still make the film that goes into cameras like the Polaroid Colorpack II. They do the FP-100C color film , and the FP-3000B black and white film. This is called "pack film" or "crack and peel" film. Instead of being in one piece, like SX-70 or 600 film, these films consist of two parts, which are separated after exposure, leaving a print and a negative.
The Polaroid Colorpack II isn't difficult to use, but it's no point and shoot! Focusing is done by estimating the distance to your subject, then you turn the lens to the correct setting. Turn a dial on the front of the camera to lighten or darken the image, compose, then press the shutter release.
You then pull the film out of the camera, and wait the set amounts for the film to process, which is usually about 30 seconds. Then you peel apart the film, and you get your print. You can then use the backing paper to do a Polaroid Transfer - just press it against a piece of paper and you get an interesting looking image. Two photos for the price of one!
Shooting photographs with this type of camera is a real joy. It has all the analogue experience of using a film camera - zone focussing, with a limited number of shots, but with the extra organic twist of pulling the film out of the camera and peeling it apart. It likes no other photography I've done, and I love it!
If you want to have a go with a Colorpack II, make sure any models you buy have a clean battery compartment, and the rollers look like they're in reasonable condition. You can buy the film online easily, and cheap enough if you look around on a site like e-bay.com.
I hope this short post and video have inspired you to have a go at pack-film photography, and bring these great old Polaroid Cameras back to life!
Cheers, Rob.
Rob Nunn is a Film Photography Podcast listener, contributor and host of his own SCL Photo Podcast and blog. Visit him at http://www.robnunnphoto.com/
About The Film Photography Podcast
Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
When we announced our camera and home development contest last month on The Film Photography Podcast, I had no idea that it bound to become our most spectacular giveaway yet.
The contest was initiated when podcast listener HeeSoo donated a package containing a vintage Ciro-Flex 120 TLR camera, 120 film and Rodinal-Equiv home developer.
A few days later, I received an e-mail from another FPP listener. Keith Derickson noticed our contest and donated the film development tank that’s needed for the home development process.
I tipped off our good friends at Freestyle Photographic Supply about our ongoing contest and they donated the rest of the chemicals to develop film at home.
This has turned out to be our biggest contest to date!
One winner will be chosen and announced on the Episode 27 / February 1, 2011 Film Photography Podcast Internet Radio Show
The winner will receive:
A vintage Ciro-Flex 120 TLR camera One roll FujiFilm Neopan 100 Black & White film One roll Fomapan 100 Classic Black & White film One roll Fomapan 400 Action Black & White film One roll Arista Ultra 400 Black & White film A vintage home development tank Rodinal equivalent developer Arista Indicator Stop Bath Arista Universal Fixer Arista Hypo Wash Arista Flow Wetting Agent
You will need a few other household items – a thermometer, measuring cups and running water.
To enter, please send your name, address and a tell us a little bit about your passion for film to FilmPhotographyPodcast (at) gmail.com
Get your entry in by January 24th, 2011 Only one entry per person and you must be 18 years or older
Below: Images by Film Photography Podcast listeners developed in Rodinal
Have you developed BW film at home using Rodinal? Care to share your step-by-step process. Leave a comment or send an e-mail to us at FilmPhotographyPodcast (at) gmail.com
The Film Photography Podcast Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
I'd read on Flickr about something called Caffenol. Fancy name, sure, but it's basically just instant coffee, washing soda and water. Some people add Vitamin C. And this Caffenol stuff can be used to develop black and white film or colour film as black and white. My experimental side was awakened and my thrifty side was even more excited so I decided to take the plunge! Here's what I did.
I had a roll of expired Solaris brand C41 colour film - only 12 shots so I figured I wouldn't be losing much in the event of my Caffenol experiment not working. Using my changing bag I loaded the film into a developing tank and then prepared the required ingredients. I used:
6 tsp instant coffee 3 tsp washing soda
Each was mixed in 125ml of water (125ml plus coffee and 125ml plus soda) and then the two were put in a jug with an extra 100ml of water. I put the jug in a warm water bath until it reached 20 degrees C and then poured the mixture into the tank.
The tank was agitated (turned upside down and the right way up again) for a minute and then agitated 4 times every 3 minutes. I did this for 25 minutes.
I then poured the non-toxic mixture down the sink and rinsed it with water, 5 times. This stops the developing process. Fixer was then added (this is the only “real” chemical you'll need) and agitated 4 times once a minute for 3 minutes. The fixer was then poured back into the bottle for reusing.
The film was then washed by pouring water into the tank, agitating 5 times, emptying then refilling agitating 10 times, emptying and finally agitating 20 times. I then put a little wetting agent into the water, removed the film and hung it to dry for around four hours.
I have to say, I was pretty pleased with the results and one of the shots (above) is a personal favorite of mine - a sleazy adult magazine store (and no, I haven't been in!). Considering the film was expired, was meant to be colour and was developed as black and white in a bizarre mixture of coffee and washing soda, I think the results were pretty good.
It's not the sharpest of processes but for someone like me who likes grungy photography, it's a process I'll definitely be investigating further. It looks like adding the Vitamin C can speed up the developing process a little when using proper black and white film but I can't say for certain - it's all about experimentation!
So get yourself some cheap instant coffee, some cheap washing soda and give it a go!
These sites were inspiring and very helpful to me:
Do you have a caffenol formula to share? E-mail us ( FilmPhotographyPodcast AT gmail.com ) or leave a comment below.
Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
On the 30th of December 2010, Dwayne’s Photo, the last photo lab on earth to offer KodachromeK-14 development services, announced it would cease Kodachrome processing.
What to do if you still have rolls of Kodachrome in your refrigerator or freezer? Shoot it and process the film as Black and White. Since Kodachrome film cannot be processed in any existing color chemistry, the only option is Black and White. This is exactly what I decided to do.
As I’m not currently set-up to process the film myself, I sent my roll to Film Photogarphy Podcast listener Spencer Eklund at Sharp Photo in Eau Claire, Wisconsin USA. Since Kodachrome film is unlike any other film, we didn’t know what to expect or if BW processing would even work. Spencer and the Sharp Photo guys were up for the task and below is Spencer’s report.
above: Kodachrome 25 processed as BW – final step after C-14 bleach
“For starters, I think (the film developed as BW) came out pretty well. The breakdown of the (processing) steps is this…
Pre-Wash Pre-wash in 20°C water for two minutes, thirty seconds. (Note that LOTS of crap was removed from the film when we poured this pre-wash out.)
Develop Develop in Kodak T_Max developer 1-to-4 at 20°C for six minutes thirty seconds with constant agitation for the first three minutes – then agitation for ten seconds every 45 seconds until completion.
Stop Bath and Extra Rinse Kodak Kodafix Solution for eight minutes with constant agitation for the first one minute thirty seconds with ten second agitation every minute til completion. Extra long rinse in 20°C water (15 minutes)
Squeegee the remaining “black goop” off of the film. Rinse an additional 3–5 minutes.
Photoflow Finally, use Photoflow for the final 2 minutes and then, into the film drier. The Result and Experimentation We could see the exposures on the roll but only when viewed in direct light on an angle. I spoke to my dad (the “Big Cheese” at Sharp) and Steve (our film guru). We decided to try using a C-41 Bleach Solution. We did a bleach rinse for 1 minute 45 seconds followed by a heavy rinse and photoflow rinse. Then, back in the drier. Once the film dried, the negs were much more satisfactory.
above: Kodachrome 25 processed as BW – final step after C-14 bleach
In the future, we will tweak a few things and smooth out the process. Bottom line – send us your Kodachrome film for BW development."
Best regards, Spencer Eklund
So there you have it. Kodachrome developed as Black and White. A big thanks to Spencer and the Sharp Photo guys.
Do you have your own formula for developing Kodachrome as Black and White? We’d love for you to share your story and/or formula.
FilmPhotographyPodcast (at) Gmail.com or comment below.
about The Film Photography Podcast Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
Topics include photography print magazines, Cibachrome , home darkroom tips, spotlight on View Camera Magazine, camera giveaway and more! Hosted by Michael Raso, Duane Polcou and special guest John Fedele
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
“VIEWCAMERA® is a bi-monthly publication that began in 1988, and is specifically aimed toward the large format photographer. Each issue provides in-depth interviews with portfolios by respected photographers, new and used equipment reviews, workshop listings, and articles providing technical information for the large format photographer that cannot be found in any other publication. In addition, we have many regular features in each issue including Product Review, Working With a Master, and The Black-and-White Corner.”
Duane Polcou discusses why View Camera Magazine is the best magazine of its kind.
Note! Peterson’s Photographic is still in publication! “Petersen’s PHOTOgraphic Digital Photo Guide, available only on newsstands, is a beautifully designed quarterly with 48 pages of up-to-date tutorials, uninterrupted by advertising from cover to cover. What makes this publication unique is that each issue is devoted to a single topic, enabling you to make the most of your digital camera and shoot like a pro.” http://www.photographic.com/
“A 30 year tradition: DARKROOM TECHNIQUES… PHOTO Techniques… photo technique… A New Direction With full respect for the photographic history and practices that have come before us, and dedicated to the vast array of exciting contemporary practitioners, we welcome you to a rejuvenated photo technique magazine.” http://www.phototechmag.com/
110 articles in print publications (1970s)
Cibachromehttp://www.phototechmag.com/
“Ilfochrome (formerly known as Cibachrome) is a dye destruction positive-to-positive photographic process used for the reproduction of slides on photographic paper. The prints are made on a dimensionally stable polyester base, essentially a plastic base opposed to traditional paper base. Since it uses azo dyes on a polyester base, the print will not fade, discolor, or deteriorate for a long time. Characteristics of Ilfochrome prints are image clarity, color purity, as well as being an archival process able to produce critical accuracy to the original slide.” http://en.wikipedia.org/wiki/Ilfochrome
We are giving away two sets of film. Two winners will receive 3 rolls of film each. One roll of Agfa APX 25 BW, one roll of Agfa APX 100 BW and one roll of Agfa APX 400 BW.
To enter this contest, send your name, mailing address and tell us a little about your film photography) to FilmPhotographyPodcast (at) gmail.com
“Designed for Polaroid's 600-series integral film, the 636 Talking Camera has a unique gimmick. Along with a couple of pre-recorded messages, the camera can also be used to record speech (or music) which is played via a loudspeaker just before firing of the shutter.” http://www.camerapedia.org/wiki/Polaroid_636_Talking_Camera
Processing Black and White Film at Home
Duane discusses the process of pre-soaking your film before developing.
“An anti-halation backing is a layer found in modern photographic films. It is placed between the light-sensitive emulsion and the tough film base, or sometimes on the back of the film base. The light that passes through the emulsion and the base is absorbed by the opaque anti-halation layer. This keeps that light from reflecting off the pressure plate or anything else behind the film and re-exposing the emulsion, reducing contrast.” http://en.wikipedia.org/wiki/Anti-halation_backing
Hot Shoe to PC Sync Adapter for External Strobes Flash
I purchased this Hot Show adapter so that I can use an off-camera flash with my Holga.
About The Film Photography Podcast Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.
Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com
