CHAPTER VI
FILM PROCESSING
Film processing is the method of processing the expose film in the chemicals in order to produce negative copies
known as the partial product of photography which is the basis of producing the photographs or positive copies during
printmaking. Hence, after the film had been exposing to light with the aid of camera the image of the object there is only
latent or temporary so to make it visible and permanent it is necessary to process in chemicals. This stage of photography
is critical because once the film would be destroy during its processing in chemicals no more image to be form in short no
more negative and it cannot proceed in printmaking, therefore utmost care is very significant.
DARKROOM
It is a room that can be made completely dark to allow the processing of light
sensitive photographic materials, including photographic film and photographic paper.
Darkrooms have been created and used since the inception of photography in the early
19th century. Darkrooms have many various manifestations from the elaborate space used
by Ansel Adams to a retooled ambulance wagon used by Timothy H. O’Sullivan. From the
initial development to the creation of prints, the darkroom process allows complete
control over the medium. Another use for a darkroom is to load film in and out of
cameras, development spools, or film holders, which requires complete darkness. As
shown in figure 137 is the darkroom.
CHANGING BAG
Lacking a darkroom, a photographer can make use of a changing bag. The changing bag is a
small bag with sleeved arm holes specially designed to be completely light proof and used to prepare
film prior to exposure or developing. As shown in figure 138 is the reel, day light developing tank,
exposed film inside the film cartridge and scissor which about to put inside the changing bag, and in
figure 139 inside the changing bag is the loading of film inside the reel.
DEVELOPING TANK
It is a light-tight container used for developing film. A developing tank allows photographic film to be developed
in a daylight environment. This is useful because most film is panchromatic and therefore cannot be exposed to any light
during processing. Depending upon the size and type, a developing tank can hold one too many roll or sheet films.
TYPES OF DEVELOPING TANKS AND REELS FOR ROLL FILMS
1. STAINLESS STEEL REEL – The film is clipped to the center and then gently pinched
while the reel is turned so that the film falls into the reel’s grooves. As shown in figure
140 and 141 is the stainless steel reel and day light developing tank.
2. PLASTIC REEL – The film is loaded from the outside and then wound onto the reel
by rotating the reel with a back-and-forth motion. As shown in figure 142 and 143 is
the plastic reel and day light developing tank.
STEPS IN DEVELOPING BLACK AND WHITE FILM
1. TANK METHOD
1.1. Dilute the Chemicals. Most photographic chemicals come in concentrate form, which needs to be
mixed with water. You are going to use the graduated cylinder to measure the chemicals and water, and the gallon jugs to
store them. As shown in figure 144 are the different diluted chemicals used in developing the exposed film.
1.2. The developer- 1:3 chemical to water mix. That is, 1 part developer to 3 parts water. This gives you
a “stock solution”. Fill one gallon jug with this stock solution. The stock solution will be diluted more
before using it on the film. When you dilute the stock solution, you will have a “working solution”. As
shown in figure 145 is the mixtures of water and developer to make stock solution and working
solution.
1.3. The stop bath - 1:3 chemical to water mix. Mix the stop bath and water together and store in a
gallon jug. This is a working solution. As shown in figure 146 is the mixture of stop bath and water
to make working solution.
1.4. The fixer- 1:4 chemical to water mix. Mix the fixer and water together and store in a gallon jug.
This is also a working solution. As shown in figure 147 is the mixture of fixer and water to make
working solution.
1.5. Once the chemicals have been mixed and stored in the gallon jugs, you need to bring them to the
correct temperature. Fill a large sink (like your kitchen sink) with water that is 68 degrees Fahrenheit
(20 degrees Celsius). Use the thermometer to get the correct temperature. This is very important.
Now put your gallon jugs of chemicals in the sink, floating in the water. These chemicals must be 20
degrees Celsius when you use them. You are going to put them in 68 degrees water because the
temperature of the water is going to drop a bit while bringing the chemicals to the correct temperature. You really must
be very accurate when it comes to the chemical temperatures. More than 1 degree above or 1 degree below 20 degrees
can have a big effect on the film. Remember, the final chemical you want is 20 degrees, and you are soaking the chemicals
in 68 degrees water because the gallon jugs will sit in the water for at least 30 minutes, and the water temperature will
drop a couple degrees during that time. As shown in figure 148 is the gallon jugs containing of chemicals sink or submerged
into a water just to bring chemicals in a correct temperature which is 20 degrees prior the processing of exposed film.
1.6. Pop open the film canister, remove the film, load the film onto the film reel, and place the reel
inside the developing tank. This must be in complete darkness inside the darkroom or a changing bag.
No light whatsoever. No red safety lights either. Take the scissors, bottle opener, film canister, film reel,
and developing tank into a dust free room that you can make light-tight. For the moment, you can
have the room lights turned on. As shown in figure 149 is the film has been removed from its canister
and about to load in reel.
1.7. Place the tools out in front of you, possibly on a desk. You are going to be loading the film onto
the reel in complete darkness, so make sure you lay the tools out in a way that you can find them in
the dark. As shown in figure 150 is the arrangement or gathering of the tools needed in processing
before to switch off the white light.
1.8. Turn off the lights. Use the bottle opener to pop the bottom off the film canister, which should be very easy. While
only touching the film negative from the edges, pull the film out of the canister. The film will be taped to the center film
spool. Make sure you cut it off right at the base of the spool or you’ll be cutting through your pictures. Also cut the tip off
the film (the odd shaped piece that sticks out of the canister when you first buy the film) so that it’s flat. You only need to
cut about 1 inch off the tip. As shown in figure 151 is the switch of white light.
1.9. Spool the film onto the film reel. While not touching the surface of the negative, slide the negative
into the opening of the reel. Slide about 4 inches of film into the reel. Start walking the film onto the
reel by twisting one side of the reel back and forth. To be clear on this, keep your left hand steady, and
with your right hand twist the right side of the reel forward, then bring it back. Continue doing this until
all the film is loaded onto the reel. As shown in figure 152 is the loading of film in reel.
1.10. Place the reel inside the developing tank, and screw the lid onto the tank. The tank is now lighttight, and you can turn on the lights. Even though the developing tank has a hole in the top for pouring
in the chemicals, it is in fact light-tight. Pour water into the tank, let stand for 1 minute, this is called prewetting and will make the film swell up and accept the developer solution. Pour out the water. As shown
in figure 153 is the reel loaded by film is about to place inside the day light developing tank.
1.11. Bring the developing tank to the sink where you have the chemical jugs floating in water. Check
the developer chemical with the thermometer. If it’s at 20 degrees Celsius, then you are ready to go. If
it is higher than 20 degrees, then keep checking every 10 minutes until its ready. If it is below 20 degrees,
add some hot water to the sink the gallon jugs are floating in. pour 1 ounce of the stock developing
solution into the graduated cylinder and then add 7 ounces of 20 degrees Celsius water to that. You are
making a “working solution” by using a 1:7 chemical to water ratio. To recap, you made a stock solution of the developing
chemical by using a 1:3 chemical concentrate to water ratio, and the mixed that stock solution with a 1:7 working chemical
to water ratio. As shown in figure 154 is the thermometer set-up in 20 degrees Celsius for the temperature of developer
chemical.
1.12. With stopwatch in hand, pour the working developer into the hole in the top of the developing
tank. Do this very quickly and start the stopwatch as soon as you have poured all the developer into
the tank. Smack the developing tank on a counter a few times to dislodge any bubbles that might be
clinging on to the film. Agitate the tank for 30 seconds. Do this by swirling the tank around. You are
going to leave the film in the developer for as many minutes is appropriate for your film type, or
commonly 5 – 6 minutes. Agitate the film for 5 seconds every 30 seconds. Agitation is very important. Do not neglect to
agitate the developing tank. The developing chemicals become exhausted very shortly after coming in contact with the
film. The agitation ensures that fresh chemicals are touching the film. However, this exhaustion of the chemicals is an
important part of the process. Over-agitating can give negative results or positive results. It depends on the look you are
going for. Too much agitation increases the contrast in the image but often you will damage the film and see sprocket
marks if you have over agitated. If you want more contrast consider push processing. As shown in figure 155 is the
developer working solutions pouring in the developing tank and with timer.
1.13. When the stopwatch has reached 5 – 6 minutes from the end of your time, start pouring the
developer out of the top of the tank and into the sink drain. Do not take the lid off the developing
tank. As shown in figure 156 is the developer working solution has pour out from the day light
developing tank upon reaching 5 – 6 minutes of developing time.
1.14. For the stop bath you can use water at 20 degrees Celsius. Pour the water in the canister agitates
for a couple seconds and pour out, repeat 4 times. Or alternatively you can use the stop bath chemical.
With stopwatch in hand, quickly pour the stop bath into the top of the developing tank until the tank is
full. There is no need to dilute the stop bath more, so you can pour straight from the gallon jug. Start
the stopwatch when you have filled the tank up. Once again, smack the tank against a counter a couple
times to dislodge any bubbles. You are going to leave the film in the stop bath for 1 minute and 20 seconds. The purpose
of the stop bath is to neutralize any remaining developer left on the film, and arrest the developing process. As shown in
figure 157 is the stop bath pouring in the day light developing tank.
1.15. When the stopwatch has reached 1 minute and 20 seconds, start pouring the stop bath out.
Some stop bath solutions, like the Kodak Indicator Stop Bath, can be re-used. If this is the chemical
you are using, then pour the stop bath back into the gallon jug for later use. The word “indicator”
in Kodak Indicator Stop Bath means the chemical indicates when it is no longer any good. The
chemical, when mixed with water, is yellow. As long as the stop bath remains yellow in color, it is
good to use. As shown in figure 158 is the stop bath working solution pouring out from the day
light developing tank upon reaching 1 minute and 20 seconds of processing.
1.16. Next, pour the fixer into tank until it is full. Assuming your fixer is pre-diluted, there is no need
to dilute the fixer more, so you can pour straight from the gallon jug. Start the stopwatch once the
tank is full. You are going to leave the film in the fixing solution for 6 minutes, as few as 4 for rapid
fixer. Smack the tank against the counter to dislodge any bubbles. Agitate the film for 3 seconds every
30 seconds. Some people don’t agitate during the fixing process. It is safe to open the tank completely after 6 minutes. As
shown in figure 159 is the fixer working solution pouring in the day light developing tank.
1.17. Once the stopwatch has reached 6 minutes, pour the fixer out of the tank. Do not re-use the
fixer. You can now unscrew the top of the developing tank and expose the film negative to light. Once
the film has been “fixed”, it is no longer light sensitive. The rest of the process is done with the lid f
the developing tank off. As shown in figure 160 is the fixer working solution pouring out from the day
light developing tank upon reaching 6 minutes of processing.
1.18. Put the developing tank under the running water. It’s time to wash all the chemicals off the film.
You are going to leave the film under the running water for 10 minutes. The water should fill up the
developing tank and overflow. Let it overflow. Every couple of minutes, dump out the water and let
the tank fill back up with fresh running water. You want to keep fresh 20 degrees water pouring into the developing tank.
This final washing part of the process is very important. Ten minutes is the minimum time to wash the film, but you can do
it longer. It is also important that you are washing the film with 20 degrees water. Using hotter or colder water can affect
the final picture. As shown in figure 161 is the running water with 20 degrees Celsius of its temperature from faucet pouring
in the day light developing tank.
1.19. After the 10 minutes is up, lift the film reel out of the tank and lightly shake off any remaining
water as shown below in figure 162. Turn the reel clockwise (could be counter-clockwise, depends on
how you’re holding the reel, so try them both) until the top half of the reel comes apart from the lower
half of the reel. Now use one of the film clips and clip it onto the end of the film negative. Some clips
have small “hooks” on them. You can run the hooks through the square holes running down the sides
of the film, and thus avoid puncturing the film negative. By lifting up the clip, pull the film up out of
the reel. If everything went well, you should see your pictures on the negative. Clip the other film clip
onto the bottom of the negative. This will act as a weight. Hang the negative up to dry in a room
temperature, dust free room. Leave the negative to dry for at least 2 hours. That’s it! You’re all done. You can now take the
negatives and conduct printmaking process to produce positive or photographs. As shown in figure 163 is the negative
hang with clip for drying.
2. TRAY METHOD
2.1. Prepare the chemicals on the gallon jugs according on the instructional guidelines of
mixture. As shown in figure 164 is the different gallon jugs having of developer stock solution,
film developer working solution, stop bath working solution and fixer working solution.
2.2. Pour the working solutions on their respective trays such as developer, stop bath, fixer and
hypo- clearing agent. As shown in figure 165 are the following working solutions such as film
developer, stop bath and fixer being pour on their respective trays as a preparation of processing
the exposed film.
2.3. Prior to open the film cartridge, switch off first the white light just to protect the film against unwanted light that might
destroy on it. As shown in figure 166 is the switch of white light.
2.4. Open the film cartridge through prying off the cap opposite the end, where the
long spool core protrudes (See figure 167) and remove the film from the tip of the
spool core (See figure 168).
2.5. Hold both edges and base of film avoid touching the emulsion or else the
fingerprint will form, immerse thoroughly the film in the developer tray until it is evenly wet
and starts agitation through pulling up or down motion for 5 – 6 minutes. As shown in figure
169 is the processing of exposed film in tray of film developer working solution.
2.6. Transfer it to the stop bath’s tray and continue the same motion of agitation for 1 minute
and 20 seconds. As shown in figure 170 is the processing of film in tray of stop bath working solution.
2.7. Afterwards place it on the fixer’s tray and execute the same motion of agitation for about 6 minutes. As shown in
figure 171 is the processing of film in tray of fixer working solution.
2.8. Wash the negative in water with 20 degrees Celsius for 10 minutes. As shown in figure 172 is the negative washed in
running water.
2.9. And lastly, clip the other film clip onto the bottom of the negative. This will act as a weight. Hang the negative up to
dry in a room temperature, dust free room. Leave the negative to dry for at least 2 hours. And you may now have the
negatives and conduct printmaking process to produce positive or photographs. As shown in figure 173 is the negative
hang with clip for drying.
NEGATIVE
In photography, a negative is an image, usually on a strip or sheet of transparent plastic film, in which the lightest
areas of the photographed subject appear darkest and the darkest areas appear lightest. This reversed order occurs
because of the extremely light sensitive chemicals a camera film must use to capture an image quickly enough for ordinary
picture taking, which are darkened, rather than bleached, by exposure to light and subsequent photographic processing.
In the case of color negatives, the colors are also reversed into their respective complementary colors. A negative
image is a total inversion, in which light areas appear dark and vice versa. A negative color image is additionally color
reversed, with red areas appearing cyan, green appearing magenta and blue appearing yellow.
Negatives are normally used to make positive prints on photographic paper by projecting the negative onto the
paper with a photographic enlarger or making a contact print. The paper is also darkened in proportion to its exposure to
light, so a second reversal results which restores light and dark to their correct order. Negatives were once commonly made
on a thin sheet of glass rather than a plastic film, and some of the earliest negatives were made on paper.
It is incorrect to call a photograph a negative solely because it is on a transparent material. Transparent prints can
be made by printing a negative onto special positive film, as is done to make traditional motion picture film prints for use
in theaters. Some films used in cameras are designed to be developed by reversal processing, which produces the final
positive, instead of a negative, on the original film. Positive on film or glass are known as transparencies or dispositive, and
if mounted in small frames designed for use in a slide projector or magnifying viewer they are commonly called slides. As
shown in figure 174 is the color negative while figure 175 is the black and white negative.