First C-41 development

Today was the day! I'd been putting it off for a bit. I finally mixed and poured.

But let me rewind a bit. For colour film I love Kodak Gold 200. It's bright and vibrant, and suits a lot of what I like to take photos of. Some of you will remember the Yukon photos, here, if you'd like to revisit them. I got my film processed by Paul Stack, who did a fabulous job. Except he retired and moved, alas.

I started developing black and white film myself. Nervous at first, following the instruction, twitchy about anything going wrong. Here, if you'd like to revisit. I've done a bunch of it now, and I'm comfortable doing it. I now know that the good water I get at the grocery store will be about 18.5 C just sitting in the basement, and rather than warm it up, I put in a correction factor and develop a little longer.

Except for colour film, temperature is critical. Plus the chemicals go off if you wait too long between batches. I was exposing film, putting a number on a piece of gaffer tape and using that to hold the roll closed, then putting the roll in a heavy cloth bag, in a drawer, in a dim basement. I accumulated a bunch of rolls over the last couple of months, telling myself I'd expose a bunch more rolls, get the chemicals and do it pretty well all in one go. I got the chemicals, and they sat in a drawer. In the mean time I was taking a darkroom course and starting to print in my own darkroom. Here. Which is lots of fun.

I read the instructions carefully. I watched some videos on the process. Today I finally mixed the chemicals. This kit. I don't know if I'll get 16 rolls through before the chemicals expire, but I've got 6 in progress now, with plans for a couple more rolls over the season. Even if I just do 8 rolls, that's still half the cost of sending it out to be developed. I'll probably buy the 8 roll kit next time.

Warming things up, though they were still warm from mixing, which was quite straightforward. The heater thingie is quick.

Some of you were expecting to see those black accordion bottles, weren't you? I don't care for them. I find they tend to expand up again, which sucks in air, which is bad for the chemicals. I tried putting a weight on them, but that was a pain. I'm told that oxygen can migrate through the plastic as the bottles are flexed in use and with age. I'm told the real pros use brown glass bottles.

Then Jim Sollows turned me on to these stop loss bags. They're made for woodworking glues and such, but they work great for photo chemicals as well. You can get them at Lee Valley Tools, but you need to source the funnel else where. I just swiped one of the silicone kitchen ones. Shhhh! Don't tell Linda.

I must admit there's a bit of a knack pouring things into the bags via the funnel. It's not as quick as pouring into the accordion bottles. I spilled a bit, but that's why I was doing it in the sink. It's really easy to squeeze the bag a bit to drive out all the air then seal it up.

The black and white development is three steps, develop, stop, fix, and the wetting agent is optional. The actual development process is 5 steps; develop, stop, bleach, fix, stabilize. There's also a couple rinse steps in there and I add a rinse with a wetting agent at the end. The reason for the extra steps is that it uses two separate chemicals rather than the blix mixture of bleach and fix that other kits use. Using the chemicals separately, with a rinse between prolongs the life of the chemicals. I don't mind taking an extra few minutes for the extra step.

The two processes are really similar, add chemicals for specific times, do some inversions, hang to dry. I love Delta 100 for several reasons, but one is that it dries flat. Kodak Gold 200 tends to curl a bit. Quite a bit, actually. Which is fine. Or maybe I just needed to let it dry a little longer. Maybe I'll try that next time. I take each pair of images, squish it between two sheets of gallery glass, and take a photo of it.  Run it through Negative Lab Pro to invert it. Only very minor tweaking needed.

The photos are from a a Sept 1 wander along 17 Ave with my GW690.

1. I chatted a bit with Elena as she was working. I hope she likes the photos. I asked her to keep working, and not pose, so you'll see a bit of motion blur, given the strong shade in that area.

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9. I love playing with long exposures. These are all 1 second exposures, with the camera propped on a coat, so the still part of the images are not razor sharp. I was a little surprised that nobody paid the slightest bit of attention to me. This is 17th Ave and 8th St SW.

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12. And just for fun, our cat of denialism. She loves to deny the love. Just as I clicked the shutter she closed her eyes. A digital photo, not film.

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Black White and Green

That sounds like the start to a joke, but it's not. It's actually a film developer chemical, one that is safe enough to pour down the drain afterward. From the Flic Film web site, "The active developer is Vitamin C and the superadditive is Phenidone, long known as a low toxin developer. The developers are carried in an alkaline solution that is commonly used for a hand cream emulsifier and a pH balancer in shampoo."

Best of all, for people like me, it has a long shelf life. There aren't many people around developing film any more. I was using a bespoke lab here in Calgary, but Paul retired and moved to Nova Scotia. When you're doing lots of film, you don't have to worry much about your chemistry going bad between batches. But when it could be several weeks or more between rolls of film, it becomes a real possibility. 

Or, as I found a few days ago, a reality. I had started with Ilfosol 3 and it worked fine. I wanted to give the BW&G a try because long life and pour it down the drain afterward. I picked up a small jar, good for 25 rolls of film.

Good thing. As I was mixing up the last of the Ilfosol 3, it came out dark brown, meaning it had gone off and wouldn't work any more. The BW&G is like a thick cough syrup, and you need 10 ml to mix into 490 ml of water. I carefully poured it into a 1 Tsp measuring spoon and stirred it into room temperature water. It left a film of residue behind, but did the same again and swooshed it for longer. That got all but the faintest of residue. When I ran the spoon under hot water it rinsed clean. So for the next roll I put a bit of hot water in my mixing measuring cup, and stirred in the 2 Tsp, and that worked great. Topped it up to 500 ml of room temperature water and I was good to go. I'm using the spice jar metal measuring spoons from Lee Valley.

I did 2 rolls of film. The first was a roll of 120 Delta 100, the second was a 35mm roll of Delta 400. I goofed slightly because for some reason I thought it was another roll of HP5+. I used Ilford stop, and rapid fixer like usual. 

The development times are much longer than with Ilfosol 3, but I'm retired, and I'm not on the clock to churn through many rolls of film. The time given on the label at 20C for Delta 100 is 13 minutes, and for Delta 400 it's 16:15, and for HP5+ it's 15:15. So I guess I slightly under developed the Delta 400. I also made a slight time adjustment for the actual temperature of the water, and did the usual 4 inversions every minute. I don't know for sure if either of those were correct. They give times for lots of films on the label.

I was kind of grossed out when I poured out the developer from the roll of Delta 100. It was a dark blue brown, and down the drain it went. I gave the tank a quick rinse with plain water, then poured in the stop. Then the fixer, then the rinse, and let it dry. One of the reasons I love Delta 100 is that it drys flat.

The residue from the roll of 35 mm was a clear light orange, and I could have done another roll of 35, except I didn't have another roll ready, and don't even have any more on hand. Technically, I suppose it was a waste to create the batch and pour it out after only the one use. I burned a whole 25 cents or so there.

People that have been doing this for a long time have a favourite film and development chemicals and process to get the results they like. From there, some go on to using an enlarger to create prints from that those negatives. They are good enough to have the end print in mind as they hold the camera, and I'm in awe of them. I've pretty much settled on Delta 100 for black and white, and Kodak Gold 200 for colour.

The 35mm camera has an exposure meter I'm learning to trust, but I still think about sunny 16. The GW690 has no batteries and is completely manual. I'll start with sunny 16, but will usually check with a meter as well, especially if I'm doing a long exposure. If anything, I'll err a bit on the side of over exposure. I'm still fairly new to all this.

I use the DSLR method to digitize the negatives. I'll typically aim for the centre of the EV and tweak if I think it necessary. I'm generally around 1/50 second, f5, and ISO 400. Then into Lightroom and NegativeLab Pro to invert and tweak settings. Mostly I don't change them much. I like how film looks. Occasionally if the dust spots are bad, or the cat has inserted a hair into the process, I'll have another go at digitizing, rather than trying to fix it in Lightroom.

Here are the digital versions of the negatives, though there was a detour along the way. I didn't have the camera perfectly focused on the negatives the first time around, and the Delta 400 cupped just enough to throw the focus off. I was looking at the images in Lightroom, wondering if I'd goofed that badly in camera. Then I looked at the negatives and realized what had happened. I did them all over, checking more carefully and making sure the film was flat.

As a reminder, the cameras are an EOS-3 with a 50mm f1.8 lens exposing Delta 400, and a GW690 exposing Delta 100. 

1. Fish Creek long exposure, mainly focusing just beyond the stump. I think if I'd worked with this a little more I could have got it all in focus.

2. Elk Lakes Provincial Park, with perfectly clear water for stunning reflections. You can see more in digital photos here. All the photos from here down to #19 are 35mm. 

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5. My buddy Sean contemplating the reflections and composing his next photo.

6. Downtown Calgary, liking the shadow.

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8. My best buddy and favourite model during lunch in a poorly lit restaurant, with a slow shutter speed. I might try printing this one to see how it turns out.

9. Glenmore reservoir.

10. I'm kind of fascinated by driftwood and distressed wood because the textures and patterns.

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12. Not a long exposure, the water was perfectly calm.

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14. From the bike path on the Glenmore reservoir dam. I'm thinking about printing this one, I think it will look better on paper than on screen.

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17. Through a filthy window into a dark room on top of the dam. My eyes couldn't see any of this.

18. Our back yard partway through the recent snowfall. 

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20. Back to the Delta 100. This is essentially the same spot as photo 1. Another long exposure.

21. A little further down stream.

I'm quite pleased how these came out, at least from what I've seen so far. How they look on paper might be quite different. I'll probably find out later this week. Perhaps I'll post a photo of the print. Some of you are thinking, wait a sec, a roll of 35mm is 36 photos, and a roll of 120 from that camera is 8 photos, and there's only 21 showing. Unlike the circus carnival games where everyone is a winner, some of the photos are not.

The process took a bit longer, but I was able to work on other stuff in between agitations. Someone more experienced than me might be able to look at the photos and say whether I agitated too much or not. 

The next adventure is my first try at C-41 chemistry for developing colour film. I've got 7 rolls of Kodak Gold 200, and a Flic Film 5 step kit that's good for 16 rolls of film. There's a bit of a process to get the temperatures just right, and I want to make sure I completely understand the instructions and think it through first. It's sort of like the first time making wine. I was afraid the slightest variation would result in something undrinkable. Or the first time doing black and white development. Or the first time mixing chemicals and exposing paper in the dark room. For those there is a surprising amount of latitude. 

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First prints in own darkroom

If you're new to this mostly photography related blog, or my other personal one, here's a quick recap to get you up to speed. I started digital photography in 2016 and quickly learned I loved doing it. My previous photography had been with inexpensive point and shoots, and early iPhones. Then I started exploring film in 2021 or so, using a Nikon borrowed from a friend. It never felt at home in my hands, but I liked working with film. 

Then I picked up a Fujica GW690, a big medium format camera, and loved how it felt in my hands. Along the way there was a Canon 7 that died, and the current 35mm camera is a Canon EOS 3. It's part of the transition from film to digital. It takes EF lenses, and any Canon photographer could pick it up and be away to the races in a moment, but the sensor is film.

I was getting my film developed by a local bespoke lab, but he retired. I tentatively tried developing my own black and white film and was really pleased how that turned out. I've got the chemistry to do colour and will be trying that soon.

In the meantime, I started thinking more about the whole analog process, creating prints from negatives in a darkroom. Turns out SAIT has an amazing darkroom with an amazing teacher running it (Hi George!), so I signed up to find out if I liked it or not. I did. The only drawback is they can only do contact prints from 6x9 photos.

The class is a mix of people new to film in general, or new to darkroom, or have been back to the course several times. It's a nice community.

Then I saw a Besler 23Cii on consignment in my favourite camera store. If I was going to get an enlarger, I wanted to get one that can do the 6x9 negatives produced by the GW690, but didn't want to go to the next step of a 4x5 enlarger. Maybe I should have. But then I'd be tempted to buy a 4x5 camera.

Right now I'm printing on 8x10 Ilford RC Glossy for most photos, and on Pearl for portraits. My thinking is that I'd like to get a good grip on things on this scale, and only then think about moving to larger paper. That gets expensive quickly. I don't want to be figuring out basic things on 11 x 14 paper at $4 a sheet. 

You can see a really old school timer that took me a bit to figure out. (Look at the black box just to the left of the front of the enlarger base.) When it says 0, there's still 2 seconds to go. It isn't terribly precise, and I'm thinking of getting one that is accurate to a 10th second. I'm using a white diffusion gel in the contrast tray to give me longer exposure times and a bit more control, though I'm still figuring out the finer details. 

The sink is a couple steps behind me. I installed it as a utility sink, mainly for cleaning stuff related to making wine, but also laundry and general cleaning that wants a metal surface. I never dreamed I'd be doing this, and while it's a big sink, its just not quite big enough for four trays for 8x10 paper. I use a big under bed storage bin for the dev, stop, and fix trays, then turn around for the wash tray in the sink.

After picking up a few odds and ends, last night I mixed up a batch of chemistry and tried flying solo. These two are some of the very first photos taken with the GW690, on Acros II film. Something I hadn't realized till I started writing this post, is that taking photos of a glossy print is kind of tricky. Even playing with lighting, I can see a faint selfie reflection.

It took 9 tries to get this one, and it still isn't quite right. The sky has a bit of a burn, but should have a bit more.

Once I'd dialed in the first one, it was easy doing this one. What looks like a dark smudge on the left is my reflection holding the camera.

This one is an experiment, as I was thinking about shutting down for the evening. This negative is Kodak Gold 200 from a trip to Yukon. I want to see what a black and white image would look like produced by a colour negative. I did one test strip and went with 6 seconds, with no dodging or burning. It's perhaps a little dark.

Even with several nights at the SAIT course, it was still a bit intimidating to fly solo in my own darkroom. I'd tried to think through the workflow before starting, and mostly it worked out well. I was still trying to figure out the best place for the head and finding focus to get as much of the image as possible on the page. These are somewhat cropped, mainly side to side, since I'm working having a 1 inch margin. As I get more confidence, I'll probably try getting a full 6 x 9 inch image on the paper. Or maybe try a full bleed and let the image flow off the paper. Which I did, just now. I think I like it.

Yes, there are spots. I know. I blew off the negatives, but I'm not fussed about them at the moment. The main thing just now is looking at the images, and thinking about exposure times. Looking at digital images is very different than looking at a print, and so far, I'm really enjoying the process.

The best image so far is one from the SAIT darkroom. It's of my wife, and I sent copies to her sisters, with rave reviews. Hint, You can see the digital image here, and the print version is much better.

I'm just up from a darkroom session, working on a couple more photos. Both are a little light, I think, but then my eyes are tired, and I'm still getting used to print photos. I'll show them off in class and see what people think.

This is a somewhat irregular blog, mostly when a photography related topic comes to mind. There will probably be a bunch of darkroom related posts as I figure this out. Almost certainly after developing the first batch of colour film.

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The bridges over Fish Creek

A few things came together for this. Some of my very first photos were of the bridges in Fish Creek. For a while I was musing about a photo project of getting nice photos of each of the bridges in each of the seasons, preferably within the same calendar year. I might still do it.

But last week I was in the mood for a bike ride in Fish Creek, and in the mood to capture all the bridges the same day, in the same light, on 35mm Delta 100. I'm not sure if the bike ride was an excuse to use the camera, or the planned subjects were an excuse for a bike ride.

As I was getting ready, I was thinking given the time of day and the particular lens, my desired vantage point would be from the south side looking north to avoid lens flare. This isn't my typical vantage point. It would mean a fairly long ride, given the park is about 20 K from end to end, and I figured I might be on the bike for 50 K to get all the bridges in one trip.

However, I hadn't figured on it being so hot! I got to bridge 10, just west of Bow Valley Ranch, and turned back. Even so, I was flirting with heat stroke on the hill out of the park. I stopped at our community centre to say hi to one of our employees and sit in the air conditioning for a little while. 

The next day I drove over to the east part of the park to get photos of the remaining bridges. They're in a group not far from Bow Valley Ranch. I had a breakfast date with a buddy so I couldn't dilly dally. There are 3 more pedestrian bridges in Fish Creek, but they span the Bow River and are difficult photographically. I decided to limit my scope to just the ones over Fish Creek itself. I'm ignoring what I think is an unofficial bridge over a dry gulch.  

Starting from west to east, the bridges are numbered from 1 to 15 currently, and I'm guessing the new one just south of 22X will be 16. One of 12 or 13 is a vehicle bridge, but I'm not sure which is which. I didn't do them in that exact order, but for simplicity I'll present the photos in the order I took them, plus some of the nearby scenery that caught my eye.

1. B1. Not a particularly attractive bridge. It's just east of where Stony Trail crosses over Fish Creek using two huge highway bridges, and the traffic noise is usually intrusive. It's a good place to catch your breath and gird your loins for the nearby hill of death. Also nearby is a huge burl in a tree that I like to try to photograph. That might be a blog idea, find all the photos and post them together for comparison purposes.

2. B2 is by far the most photogenic bridge. There are several nice angles to capture the great setting. A photographer can choose a wintery evergreen background, or fall colours.

3. Looking upstream from B2. This is often a good spot for watching dragonflies. The only problem is that it's really close to the Shannon Terrace parking lot, and there can be lots of people around. I once abruptly turned to follow a dragonfly and nearly hit someone with my 70-200 lens. I hadn't known they were there.

4. B3 is also fairly attractive, but it's harder to work with. There are fewer vantage points and the setting isn't quite as nice. I was photo bombed on this one, and hadn't realized it till I developed the film. This bridge is also pretty popular since it's near Bebo Grove parking. Lots of people like to bring their dogs to splash in the nearby shallow areas. The stream bed is a nice gravel.

5. B4. This style of bridge was used to replace the bridges damaged or destroyed during the floods. I think they're ugly, but some of the settings are nice. This exact spot is a great place to hang out and wait for dragonflies. As I was working the scene, a buddy stopped his bike to say hello for a quick chat.

6. B5.

7. B6

8. I saw the log while trying to find a nice angle for the bridge.

9. B7.

10. B8. This is an ugly bridge and very difficult to get a nice photo of. I'm actually standing almost underneath the LRT and railroad tracks. Unless you're into industrial stuff, the railroad trestle bridge is not the least bit attractive. A little further behind me is McLeod Trail, the other major north south artery crossing Fish Creek. Depending on the time of year and water flows, there are sometimes some nice photos of the water under the highway.

All of these so far are in what I think of as west Fish Creek, an easy bike ride, a nice run (not that I'm running any more), or longish walk from my place. During my triathlon days I often ran through this part of the park, and know it quite well. It's one of the most beautiful places in Calgary.

11. B10, not far from Bow Valley Ranch. I have tough memories of this bridge, as it was the turnaround point for my first half Ironman. I was suffering on the first loop, and even more on the second. It's on the main part of the path so there's lots of people around. I had to wait a few minutes to get an empty bridge. There is a lot of fencing around it just now, so I wasn't able to get the vantage point I wanted. I'm a bit bummed that I chopped off a bit of the tree.

12. B9, taken on a big detour on the way back. It's off the direct east west pathway. A boy was fishing, and I had to wait a bit so he wasn't actually in the photo. He said he was going to be there till he caught a fish, and I wasn't going to wait that long. I wonder if he made it back home before dinner time. Maybe he was told to bring fish home for dinner.

B9 and 10 are out on the the bald prairie portion of Fish Creek east of MacLeod Trail. They are a long way from car parking, so are tougher to visit on foot. There's very little shade nearby and no particular reason to hang around.

13. Looking downstream from B9.

14. B11, south of Bow Valley Ranch, in difficult light. I couldn't get at my desired vantage point. Lots of places in the park are fenced off to allow vegetation to regrow.

15. I found this big log just off the path near B11, and really liked the light on the weathered wood. 

16. B12 and 13. It gets complicated here. There's a pedestrian bridge and vehicle bridge right beside each other, and both are ugly. But the reflections in the water were lovely!

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21. A sign with a map of Fish Creek. Several times I've stopped to help people figure out where they are. It is quite easy to get turned around and lose track of where you are, or how to get back to where you parked your car. It's not difficult to be out for a walk, thinking you'll be able to finish a loop, only to find the river, or a hill much steeper than you want to scramble down.

22. Bow Valley Ranche. (Yes, with an 'e'.) There's a nice restaurant in there. We ate there once a long time ago, but haven't been back. I just took a look at the menu. Eek! Won't be back any time soon. It's hard to shell out that kind of money for food we can make at home.

23. Walking along the west bank of the Bow River north of B14, heading for Bankside. I was originally going to park there, but the City has a non-potable water pumping station set up there. The parking lot was full of trucks waiting to load up. If you look carefully at this tree you'll see a big bird. I think it's a heron.

There are any number of times I've thought the silhouette of trees against the sky would make a nice photo, and I'm often disappointed. Something to work on. An orange filter might have brought more contrast to the sky.

24. A lovely reflecting pond near B14.

25. I really liked this stump, but the photo disappoints me. My eyes saw something quite different, with the wood being much more silvery.

26. Another of B12, mainly because of the reflections. 

The rest of the bridges, FYI. Bridge 14 is just south of the Ivor Strong bridge (currently under construction) where Deerfoot trail crosses the Bow River. Bridge 15 is kind of in the middle of nowhere, about halfway between bridge 14 and where 22X crosses the Bow River. What I think will be called bridge 16 is new, just south of 22X crossing the Bow River.

Much of the rest will only be of interest to other film photographers, but scroll for 3 more photos.

I'd started the roll before my first darkroom class. I hadn't realized we would be asked to expose a specific film for the second class, so I needed to finish off the Delta 100 so I could put in the FP5 400 for the class. I've got an idea about exposing that roll. As it turns out, that photo session had to be delayed, so I need to come up with a new idea between now and Thursday. If you've missed it, I'm using a Canon EOS 3 with a 50mm f1.8 lens.

If you've been following along you know I've developed several rolls of Delta 100 in medium format. You can see the results of the first try here. It's exactly the same process to develop 35mm as medium format. 

Getting the film out of the canister and onto the reel is much easier for 35mm. Why? Because when the camera rewinds the film, I have it set to leave the leader poking out. It's easy to trim off that leader, pull out just enough film to slide into the reel and engage the little ball bearings. Then turn the lights out, gently tug the canister away from the reel to expose the film, and ratchet it onto the reel. Easy peasy, no muss, no fuss. When it stops, cut the end right at the canister and finish putting it onto the reel.  

If the film leader gets rewound right back into the canister things are a bit trickier. All this takes place in complete darkness. There's a tool to rip the top of the canister off. Then pull out the film and spindle, hopefully not letting it go sproing to collect dust from whatever is nearby. Cut the leader off, and feed the film into the reel. As near as I can tell, you need three hands. One to hold the tank reel and keep the little tabs aligned, one to feed the film into the reel, and one to hold the film and spindle. Then again, the same trick that works for medium format will work for this. (You can see a photo and description in the link above.) Then again, again, there's a style of reel where the film gets hooked into the centre of the reel and wrapped around from the inside out. 

From there the reel goes into the Patterson tank, and development is as normal. I was thinking I maybe should have put an empty reel in the tank as well to keep the loaded one submerged, but it wasn't a problem. This time I didn't warm up the water at all. The basement is almost exactly 18 C, so I compensated by adding a bit of development time.

It turns out that the 35mm version of the film has a slight curl when dried, but it's not a problem. I cut the film into 7 strips of 5, plus the bonus photo. If I should want to print a contact sheet, I'd cut out the one photo that is out of focus, and slide the last photo into that sleeve. I found the hardest part to be cutting the film. There isn't much space between the photos. There's probably better ways of doing this.

I actually ended up editing 29 of the 36 photos, which I think is pretty good. The ones I didn't edit were experimental photos, so I'm not crying about them not working out.

Maybe the big question you have is, will any of these make it into the darkroom to be printed? Probably not. I've got lots of photos I'd print before any of these. I just hope exposing the roll of HP5 that I get some nice photos I'm not ashamed to show other photographers. 

The first two remaining photos are from a walk in North Glenmore park. There is a lot more water there now compared to a walk earlier in July. Most of where you see water here was bone dry. Scroll past the language rant to get to those photos.

27. Part of the view from the bridge in photo 28. 

28. The bridge over the Elbow River, right where it turns into the Glenmore Reservoir. If it has a bridge number I don't know what it is. During the walk earlier, the river here was so small someone could jump over it.

29. Linda in our back garden, to finish the roll in style.