Video – How to Develop Black and White Film.

After this extensive post How to Develop Black and White Film,  let’s now see how it develops the practical process.

There are a few important points to retain in the film processing:

  • Dark room.
  • Control temperature and time.
  • Developer.
  • Stop bath.
  • Fixer.
  • Clearing agent (optional for many photographers).
  • Drying the film.

I hope this 3 videos can avoid any doubts about the all  process.


What film photography still has to offer.

By Cubie King, Special to CNN

There are no more Polaroids. No more Kodachrome. And the smell of potent darkroom chemicals has almost disappeared.

For most people, “analog photography” is a relic or something their parents once used; an archaic technology now lumped in with yesteryear’s sensations, like the rotary phone or 8-track tape player.

Over the past decade, the number of analog film and manual cameras has dramatically decreased in favor of their digital counterparts. Digital photography has ubiquitous control over the market, leaving little to no room for alternatives.

Yet in the New York City metro area, there is a close-knit community of photographers, merchants, galleries, institutions and darkrooms that keep the art of analog photography quietly in practice.

“[There’s] just something inherently different about the medium that you can’t get with digital,” said Steven Sickle, who works at K&M Camera in Tribeca.

Some say that “something” is depth or quality.

K&M Camera, open since 1976, caters to photographers, from the first-time film student to the hardened fine-art photographer who refuses to use digital technology. The newly expanded store proudly embraces their connection to analog film. There are 35 mm cameras on display around the store and refrigerators and freezers stuffed with film.

Although digital sales mainly drive the store’s profit line, the store continues to sell everything film-related, from darkroom chemicals to beakers, loupes and print paper.

“We still sell analog film in large bulks to all sort of clientele,” Sickle said. “It’s a lot of fun when you get guys that come into the store not knowing much and leaving knowing more about film and its process.”

Uptown from K&M on 43rd Street is the International Center of Photography, where photographer/artist Lesly Deschler Canossi teaches a class on color printing to teens. Film negatives and prints are sprawled out in front of the students as they listen attentively to Canossi. She lays out the day’s agenda before they head into the pitch-black darkroom.

The students quickly learn that it takes more patience than they initially thought to work with analog film. This patience is earned through hands-on experience with their negatives and in the darkroom and classroom discussions.

The center offers students of all ages more than 400 photography courses a year that cover such topics as lighting techniques, black-and-white printing and marketing their work.

“What we hope within the Teen Academy is that as they move forward, and if perhaps [they] switch to digital, they have a much better understanding of manual camera functions as it relates to film as it translates to digital,” Canossi said.

Across the street from the school is the International Center of Photography’s museum, which is exhibiting a retrospective of the work of world-renowned Magnum photographer Elliott Erwitt, recipient of the center’s 2011 Lifetime Achievement Award. Throughout Erwitt’s decades-long career, he’s used only analog film.

Visitors can see quickly that Erwitt’s talents closely reflect the diversity of the medium itself as he dabbles in almost every genre — from portraiture, to street photography, documentary, fashion, humor and wit, and everyday life. Erwitt classifies himself as both a professional photographer and hobbyist.

“I’m a traditional photographer in that I don’t use electronic devices,” he said.

“I think I’d like to know that I’m taking pictures because I’m interested in the human condition, in stories and people and animals and whatever is in front of my lens,” he said. “That’s what drives me, not the latest gadget.”

Downtown on 19th Street is Print Space, where photographers can rent well-designed darkrooms (black-and-white or color) to transfer negative images onto print paper. It’s a cozy little establishment that transports photographers to another era. The smell of chemicals wafts through the air, and the pace of the staff and clientele seems to mimic the process of making a print: relaxed yet deliberate.

“There’s something that’s not so immediate about the analog world,” said Hashem Eaddy, Print Space’s lab manager. “You take a picture with your film camera, you have to wait. And all of those pieces have to come together so it’ll be a print. Printing takes time, but the patient are rewarded.

“In terms of analog, for the most part, it still gives you a higher-quality print than digital, but I feel like the way people are looking at things now doesn’t matter anymore,” Eaddy lamented.

But to each of these people, organizations and establishments, film does indeed matter and continues to evolve. It’s vital, not only to their livelihoods, but also as a gateway to a deeper understanding of the medium as a whole, even if one does end up in the digital arena.

To serious-minded photographers Erwitt added this: “I certainly would suggest that anyone interested in photography start by doing the hard stuff; that is to say print, photograph, develop, dodge, do all the things that are essential in producing a good analog print.”

And like the variety of steps required to make that analog print, these practitioners, viewed as an amalgamation, form a community that continues to further the history, tradition and craft of analog photography.

Film speed. ASA – ISO.

Film speeds range from 100 to 3200 typically. Film speed is often expressed as an ISO setting and many advanced digital cameras allow you to change this setting in a digital way. Film speed really has nothing to do with speed – it would be more appropriate to call it film sensitivity. 100 speed film is “slow” or not very sensitive, it needs a lot of light to make an exposure. 3200 speed film is “fast” or very sensitive.

I’m reluctant to say that slow film speeds are best for bright outdoor situations and fast film speeds are best for action or low light, but that is a general guide line. That said, don’t be afraid to experiment with fast film outside during the day or slow speed films in low light. The important thing to remember is that the more sensitive a film is the more “grainy” your photos will be. Most of the time, 100 speed film will have greater detail and stronger, richer colors than 3200 speed film.

In my opinion, 800 speed is as high as I will go. If I’m shooting black and white, the film can be “pushed” to a higher speed during the developing process. For color, the quality of the image suffers too much at higher speeds. In the photo below, though taken with a digital camera, the quality differs between high and low ISO settings. The effect with film is similar.

vintage and film cameras


A brief and interesting dissertation about film photography.

That’s a really interesting and pretty valid opinion. Take a look…

Film photography formats – Standard, medium, large.

Guide to Photography 35mm Film Size

35mm film is the most popular film photography type. 35mm film, or 135 film, was introduced by Kodak in 1934. Fitting 35mm cameras, including single-lens reflex (SLR) and range-finder cameras, basic 35mm film photography is named after the size of the film – 35mm wide. Individual rolls of 35mm film are enclosed in a single-spool, light-tight, metal case that allow it to be loaded into cameras in the daylight. Therefore, when the roll of film is used, it must be re-wound back into the spool before opening the camera. In the case of disposable cameras, the film is kept in a light-tight casing until opened by a lab technician in the dark. Both sides of a 35mm roll are perforated to allow mechanisms within the camera to advance and rewind it.

The standard image size on a 35mm film roll is 24 x 36 mm with a perforation size of KS-1870. This standard ensures that the film properly advances eight perforations to allow a two millimeter gap between frames and eliminate overlapping of images on the film. Of course, there are other 35mm film types that have different image sizes, but these are rare and will likely only be found in specialty stores. The 35mm film standard will be found in any common convenience store and all camera shops. Most 35mm film is found in 24-exposure or 36-exposure counts. However, with most cameras and proper film settings, you will be able to squeeze out an additional two or three photographs.

Basic Photography Tips for Medium Format Film

Medium format film is much larger than the 35mm counterpart, and is preferred by many professional photographers. Of course, due to the size of medium format film, a medium format camera will be needed to use it. Most often, medium format film is 6 x 6 cm square or 6 x 4.5 cm rectangular (commonly referred to as 645). Today, medium format photography utilizes the 120 film format and, in some cases, the 220 film format. These formats are nearly identical except that 220 film is twice as long and allows twice the number of exposures. With 120 film, you can get either 12 or 16 exposures and double that amount with 220 film. Medium format film is still readily available at most camera shops and online distributors.

There are no perforated edges to medium format film, but instead the camera takes the film from one spool to another. When the roll is finished, the roll wraps around the second spool, making the film light-tight, and allows the photographer to open the camera and remove the film. There will also be a sticky tab that can be used to tape down the film and prevent it from unrolling. Additionally, the film will now be labeled exposed to indicate that the film has been used and is ready for processing.

Large Format Beginner Photography Film Tips

Large format film works a little different than both 35mm film and medium format film as there are no spools used. Instead, large format film is individual 4’x5’ (102×127 mm) sheets that are loaded into a special film holder that locks into the back of a large format camera. The holders will hold two sheets of film on both sides, and must be loaded in the complete dark. When loaded into the back of the camera, the light protective sheet is removed and will allow you to release the shutter and expose the film. The protective sheet is then returned to the holder before your film is removed. The film will remain in the holder until ready for development.


Rolleiflex 3.5 E3 and T.

Rolleiflex 3.5 E3 and T, image by Matt Phillips (Image rights)

Rolleiflex is a series of medium format 120 roll film cameras manufactured by Franke & Heidecke, (now Rollei GmbH), in Germany.

The Square idea that changed photographic History Without any doubt was the introduction in 1929, of the first Rolleiflex Twin Lens Reflex ( TLR ), a sensation: an as ingenious as simple principle that quickly made the Rolleiflex THE must have professional camera all over the world. Producing high quality 6×6 cm square negatives in a compact very easy to operate camera, with the best lens available. Ther was no photographer who would not master one, no apprentice who would not wish to own one. For the professional, the Rolleiflex was like a gift from heaven, it meant a radical change in his/her creative work. Being able to work fast with a large size negative, light weight and superior quality made the choice as simple as important. There was no newspaper, no magazine, no photographic book that would not have some Rolleiflex photos in their publications. For decades, Rolleiflex cameras would have a decisive effect on photographic history. Many world-famous images originated from that small piece of fine mechanical art made bij the factory from Franke and Heidecke in Braunschweig, Germany. It was the beginning of a technical evolution that would be imitated by many other manufacturers around the Globe with sometimes successful but often poor copies of the bench-mark Rolleiflex. Franke & Heidecke are proof of being the master in that field , with the nowadays massive switch-over to digital, the traditional Rolleiflex TLR is still in production AND development. Very few companies in the world can boost such a long record with one basic design which has been improved on a regular basis yet still so closely resembles the original invention.

How to Load and Shoot a Yashica D – TLR

Here’s the way how to load and shoot a TLR camera, in this particular example a Yashica D – TLR.