If You Can Read, You Can Cook

My wife is a wonder. She is so amazing in so many ways. She's beautiful, smart, caring, graceful, creative, and she can cook.

Did I mention that she can cook?

I can cook, too. However, there is a big difference between us when it comes to the culinary arts. My wife needs no recipe to create amazing dishes, whereas I am clueless without directions. It also helps if my wife is looking over my shoulder say, “Do it this way,” or “Don’t do that.” She also can be seen staring at me in amazement as I meticulously measure everything. “It doesn’t have to be precise,”she says, and of course, she’s right. Her dish will be fabulous.

So, I can’t really cook at all, but I’m not bad when it comes to developing film. It actually helps be Obsessive Compulsive, because consistency is helpful when it comes to film. Here's why:  if your developing workflow is consistent, then it becomes much easier to track down variations in your camera technique or differences in film quality. This is especially true with C-41 (color negative) processing.

So here is my advice for C-41:  Follow. The. Directions.

1.  Water pre-soak for 1:00 at 102º F
2.  Developer for 3:30 at 102º F
3.  Blix for 6:30 at between 95º and 105º F
4.  Running water wash for 3:00 at between 95º and 105º F
5.  Stabilizer for 1:00 at room temperature

And here are my tips for following the directions:

Mixing the Chemicals

Heat your water, and you're ready to mix!

1.  Use distilled water. Doing so removes variations in water quality.

Let's develop some color negative film!

2.  You will end up with a liter of each chemical (developer, blix, and stabilizer). Heat a liter of water to 110° F in a clean pot on the stove, then pour 800ml into a large measuring beaker. Stir in the developer powder until completely mixed, then, add enough water to bring the mixture to a liter. Do the same for the blix (except that you add two bags of powder for the blix). The stabilizer is mixed the same way EXCEPT that you do not heat the water. I use three 1 liter plastic soda bottles for the chemicals, so I can squeeze the air out of the bottle to make the chemicals last longer.

3.  The directions say that you can expect to develop about twelve rolls of 35 mm film from a single kit. However, if you keep your chemistry in a dark cool place, limit exposure to air, and them from getting mixed together (I use separate funnels, for example), you can get more use from a single kit. When the developer is opaque, or when you notice color shifts even though you followed directions, then it's time to order a new kit.

Managing Times

Darkroom Timer 2

1.  You will need a timer. I use my iPad and an iOS app call Darkroom Timer 2 by Chris Becker ($1.99). It has three separate clocks, so you can dial in the times for the developer, blix, and water rinse. I actually time all five of my steps (including pre-rinse and stabilizer) by simply tapping on a clock that has run out and reseting it for a future step. Remember, I'm OCD.

2.  I start the timer for each step immediately after the chemical goes in the tank, and then I pour out the developer and blix with about ten seconds left on the timer. As the developer ages, I add a few more seconds to the developing time.

Managing Temperatures

1.  I use the same cooking pot mentioned above to heat the developer to 102º F. It helps if the pot is tall, so that as much of the bottles as possible is in contact with the hot water.

Cap and invert the bottles for a uniform temp 

2.  You MUST measure the temperature of the developer - not the water in the pot. The water in the pot will be hotter than the developer. Cap the bottle and invert it a few times to get a uniform temperature in the developer bottle. When the developer temperature is around 105º F, take it out of the pot. Start the pre-soak when it drops to a little above 102º F. When the developer is at exactly 102º F, you can pour it in and begin the developing stage.

3.  I use a two-reel Patterson tank, and on the bottom of the tank are the measurements for how much chemical you need for one or two rolls of 35mm or one roll of 120 film. If you choose to pour your developer into a measuring beaker first, just know that you will lose some heat in the process of pouring. Since I usually am developing either two rolls of 35mm or one roll of 120 film, I simply pour until the tank is full enough to cover the reels. Do a test with empty reels and water, and then you will know how much to pour in.

Keep the tank warm between agitation cycles.

4.  To keep the developer as close to 102º F as possible during development, I put the tank in the pot of hot water between each agitation cycle. It was when I started do this that I began to get consistently good colors.

5.  The blix is treated the same way - except that it doesn't have to be at exactly 102º. Anywhere between 95º and 105º F is fine.

6.  Some people are using a cooking device call a sous vide to regulate the developer and blix temperatures. A sous vide is somewhat like an aquarium tank heater, as it is placed in water and heats it up exactly to a specified temperature. I do not have one, but perhaps someday I might invest in one. The main thing to remember is that it the developer's temperature and not the water temperature that matters. I suppose that if you left everything in the water with the sous vide set at 102º F, eventually everything would be at 102º F. However, for now, my method seems to work as well.

Photo-Flo or No

Only recently have I learned that there is controversy over whether or not to do a quick rinse with water and Photo-Flo after the stabilizer step. Some people say that the stabilizer should be the last thing to touch the film, so that it can do what it is suppose to do (which is to preserve the integrity of the negative in storage). However, from my very first C-41 experience, I have given the negatives a quick Photo-Flo and water rinse. I simply fill the tank with water, add a few drops of Photo-Flo, and then move the reel(s) up and down. The Photo-Flo gives me no-spot drying (after using a squeegee gently), and I haven't notices any problem with my stored negatives so far.

Bust the Dust

1.  I do all my developing in a small upstairs bathroom that only gets used when we have guests. I close the AC vent to keep air from circulating. I believe this reduces dust in the room.

The moment of truth:
We have images!

2. I hang my negatives to dry in the same bathroom where they were developed, and I close the door to reduce air circulation.

3. While not always possible, I try to scan the negatives with 24 hours of developing. After scanning, they go into Print File sleeves.

In Conclusion

I believe it was Shakespeare who wrote, "Consistency, thou art a virtue." Having a consistent C-41 routine based on the directions will not only produce better results, but also will help you to evaluate your camera technique and the film you choose. In time, your routine will become a habit.

I really enjoy C-41 developing, and I think you will, too. I love the idea of "shoot today, soup tonight, scan tomorrow." I also love knowing that my photographs were crafted by my hands. So, order your C-41 kit, shoot some color negative film, and have some fun!

The Workflow That Works

It was about a year ago that I became fed up with my Panasonic Lumix point an shoot digital camera. I was using it to shoot some yearbook photos of elementary students jumping around at a jumping gym on a “rewards day.” It was a dark interior, and the built-in flash would not go very far at all. And the shutter lag was making action shots impossible. I kept thinking to myself that, if I was using one of my film SLR's with a good flash unit and fast film, this would not be a problem.

So, why wasn’t I shooting film?

The answer at the time was 1) cost, and 2) turn-around time. With labs now few and far in between, the available options with costly - more than I wanted to pay when these shot were intended for the school yearbook (and I would not have been compensated.) Also, it would have taken two weeks to get my photos back - and I didn’t have that long to wait.

Already, I had been getting my film cameras out and shooting from time to time; after all I had good cameras:  a Nikon FE and an FM2n, plus my Uncle Jonesy's Minolta SRT-202. However, with the film and processing cost plus the time factor, it just didn't make sense to shoot a lot of film.

Then my phone rang. It was my brother, Kelley, with who I have shared a life-long love of photography. He began telling me how he had discovered the Film Photography Project podcast and store and about a C-41 developing kit they sold online.

There was a video of the process, and it looked much easier that what I was expecting. Most importantly, the kit was cable of developing between fifteen and twenty rolls of film (some get more and some get less) for the low cost of $20.00. That's potentially a dollar per roll. I took the bait and ordered my kit immediately.

You can watch the FPP video yourself and see what's involved with the C-41 kit, but I can tell you that the most crucial part of the process is controlling the temperature, which for the developer should be exactly 102º F. In my next post, I will detail how I have learned to control my temperature and get consistent results, but for now, let me say that opening up the tank for the first time and seeing images on the negative is a thrill I will never forget. I was hooked.

Now, I had a workflow that worked for me. I could shoot color film and process it at home inexpensively and timely. Sure, there is a time investment involved (actually, it takes about ten minutes once you start the C-41 process, but there is scanning afterward.) But this is a hobby, right? Previously, I had never even dreamed of being able to develop color film at home, but it is something that I really enjoy doing now. It's actually fun!

Next time:  C-41 tips.

The Past is the Future

"You can go home again if you never, never really leave."*

That is a line from a song I wrote and recorded almost ten years ago. The song is called, "Chattanooga Boy," and it is a track from my album, Autumn Sky, which was released in 2009 and [shameless plug] is available from CD Baby and all your favorite music download services. The song is about my hometown, but I have been thinking a lot lately about the line I quoted, about going home again. If you never really leave, that is.

I am a musician and music teacher by trade. I didn't choose music; it chose me. It's the only thing I do well. But the only other thing in my life that I consistently have wanted to be better at is photography.  And lately, I've decided that, no matter how little talent I may have, I am going to get better at photography and, more importantly, enjoy the journey.

A journey home - back to film.

I grew up with film photography, except we just called it "photography" then (“we,” as in my twin brother and I. More about him later.) Like some of you, we grew up with a favorite uncle who brought much fun and excitement into our lives. His name was Aston Jones, but everyone

Uncle Jonesy and my brother, Kelley. Taken by me!

called him "Jonesy, and it was unusual to not see a camera hanging from his neck.

His first camera was an Argus Autronic rangefinder, which he acquired in 1960. He used it until the film advance broke sometime in the 1970's, after which he bought a brand new Minolta SRT-202 slr. He loved to take photographs, and the fact that we loved looking at them pleased him a great deal, I think. He shot color slide film exclusively, and because he lived only a few blocks from my house, we visited him often and always were treated to slide shows with bright, vivid, and sometimes exotic images on Kodachrome film. Life was good.

It was destined, it seemed that someday I would own a quality film camera and shoot Kodachrome. And that is exactly what I did. The very day I got my first paycheck from my first year teaching job, my brother and I drove to Peachtree Camera in downtown Atlanta and each bought a Minolta XG-1. As the years went by, I got married, had children, and captured our family history on film. In my office closet are hundreds of Kodachromes, some of which I am quite proud.

Now, if you have read this far, you probably know what happened next. Digital. As time passed, my film camera saw less and less use, while I amazed a "collection" of digital files, mostly of my family. I cherish those photos, and thanks to the technology, I could share them in ways unimaginable before. However, I hated the way my digital point and shoot camera behaved (shutter lag, lack of decent zoom, useless for action shots, etc.) Maybe it was my lack of talent and/or knowledge. And all the while my really nice film cameras stayed hidden away in the closet, waiting to be useful again.

And then, a year ago, it happened. I went back to film. Out came my Nikons and my treasure:  Uncle Jonesy's Minolta SRT-202. In the last twelve months, I've shot dozens of rolls, added some cameras, learned a lot, and most important of all, had LOTS of fun. And so, the purpose of this blog is to share what I have done, used, learned, and enjoyed since coming back home to film. If you are either on this same journey or thinking of doing so, then I hope I can be of some help. I certainly had some crucial help in the last year, and besides, sharing is fun.

In my next post, I will explain the very practical reason why I began shooting film again. In the meantime, here is your first assignment:  Find a camera.