Pros and cons for processing film yourself?

<p>Hi.<br>

I'm considering the idea of processing film myself. I mostly use colour film, but would like to experiment with E6. I know colour film is a lot harder to develop than BW, and E6 even more difficult than normal colour. But I was wondering in the long term do you think it would be worth it? Once I have learned how to do it well.<br>

I was wondering about the all over costs. How easy/cheap the chemicals cost/are to use? Is developing medium format any harder?</p>

<p>Cheers.<br>

Liam</p>

<p>E6 is simple an very cheap!</p>

<p>I use the Kodak E6 kit and process at home in a small tank. Very easy. If you follow the directions printed on the box, it's basically foolproof. Far easier than I had thought. May be even easier than regular black and white processing; certainly uses less equipment. Success with the transparencies will be predicated on the idea that you captured a good exposure in-camera in the first place. With a little practice, I found I was able to mix up fresh chemistry in less than 10 minutes.</p>

<p>Black and white medium format is nor harder or different than 35mm BW; different size spool, and I use a different lens for the printing; other than that, the process is identical. Beyond easy.</p>

<p>Keep in mind, when I say, "Easy," I mean, easy to learn in a reasonable amount of time. It's unlikely that you'll encounter instant success. A modest level of proficiency and confidence can be attained within a few months.</p>

<p>Standardization is key to troubleshooting. Using standardized practices you come up with yourself, and keeping notes, can really help you with coaching yourself to success. What did you do? Write it down. When the picture is botched, review those notes.</p>

<p>To keep the costs down, I will hand-load bulk 35mm film; I'll get the same kind I will use in 120mm. I'll use the 35mm and the 120mm cameras together, with the better, more deliberate photos made in 120mm.</p>

<p>I would say that it would be reasonable to do a modest amount (a couple of rolls per week, development every couple weeks) of color slide for about $200 a year; bulk loaded Ektachrome, some canisters, and an E-6 kit mixed a small amount at a time every few weeks. For black and white, I think it could be done for a sustainment supply of about $100 per month for film, paper and chemistry; not counting equipment.</p>

<p>To pattern out or project costs in a way that would economize, probably the most cost effective trick would be to time the processing sessions so that processing and printing had a reasonable amount of work to do. While attention will be on the film, the most consumption per dollar will be in mixing up fresh chemistry and getting it used to exhaustion while fresh. Using fresh working solutions is an important part of fortifying success.</p>

<p>There are a lot of people doing their own E6, but personally I draw the line at black and white home processing. Color processing has about double the steps, requires the solutions to be held at significantly higher than ambient temperatures, with much less temperature latitude. When it costs about the same (or more), compared to having pros do it with an automated and controlled system, it's not for me.</p>

<p>E-6 is easy.<br>

http://www.kryptosinistographer.com/2008/03/at-home-e-6-pro.html<br>

I do 4 MF rolls at once. It takes about an hour start to finish. I read a magazine and change chems as the buzzer goes off. Only the first step is really time sensitive. The rest are 'to completion'. Costs me $1.50 / roll in chems using the Kodak 5 Liter kit.</p>

<p>As others have stated it is not hard to do your own processing at home. I do B&W, colour (C41 and RA4) and E6. C41 is probably the hardest, but still not that difficult (there are even room temperature kits for C41 and RA4 so you can process at the same temps as you use for B&W). The only part that I find is actually difficult/time consuming/infuriating etc is setting the correct filter pack for RA4 prints, but once you have it down pat for a film type and paper combo it doesn't change. I have been amazed going back and printing negs from old mini-mart processed films how much better my prints are. I get real satisfaction from seeing images "I" created from start to finish.<br>

Go for it. Try E6 first and go from there (you do not even need a darkroom, just a developing drum and changing bag). Once you learn the basics it does't matter what type of film it is, the process is very similar, just the times and chemicals change. E6 will teach you good practice as well reagrding temperature and time which will serve you well with all film types. Plus, it is all MUCH cheaper than sending it to a lab and often with better results. </p>

<p>If you add up the costs, you save about $1 a roll by developing color film yourself. If you consider your time, you are much better off using a commercial lab. Cutting and mounting is a significant part of E-6 processing in both time and expense. If you scan your film, it is best to keep even reversal film uncut or in strip form. Commercial color processing is much more consistent than home processing where due diligence is paid to maintenance of the equipment and chemistry, and consistency is the key to scanning or printing. Two-step processing (e.g., Tetenal) is a complete waste of time - bad color and incomplete bleaching.</p>

<p>That said, with processing harder to find, you often have to ship film (e.g., 120 and large format) across country. Shipping costs frequently exceed that of processing itself.</p>

<p>As long as I can have film processed (and dropped off) locally, I won't develop it myself. It is enough to know I have done it successfully and could do it again if necessary. Black and white is another matter. It is simple and inexpensive to process B&W film yourself. Conversely, I have never (in over 50 years) had a commercial lab get even marginally acceptible B&W results.</p>

<p>edward, i'm curious about your last statement--what problems have you had with commercial labs doing your b&w. i agree with your philosophy of using a lab (i currently just don't have the space for a darkroom and i also like to think i'm stimulating the film industry) and get, what i think, are excellent results from my local pro lab. the only non-c41 b&w i really shoot anymore is tmax 3200 though so maybe i'm not seeing the whole range.</p>

<p>I considered developing my own C-41, and I still may. But for now, I have a good pro lab develop my negatives and I scan them at home. The lab I use gives my nice flat negs that scan well. </p>

<p>I would love to process E6 at my girlfriend's cabin on the BC coast. How much liquid waste is created per one or two rolls of 120, or several sheets of 4x5? I don't want to dump it into the sea, and all garbage has to be hauled out by boat.</p>

<p>The main thing with color film processing over B&W is that the consistency of temperature and agitation is extremely critical thru out the entire process and from roll to roll. I can agitate pretty consistently, but keeping color at the higher temps and tighter tolerance (than B&W), I would opt for some sort of heating device. They do make them, but it's been awhile since I looked into them.</p>

<p>Now, I'm not saying B&W can be processed haphazardly....by no means....just it is a little more forgiving when you do make a slight error. Color....no way....do it correctly, or it's not gonna look good.</p>

<p>As for Edward's statement of "...commercial lab get even marginally acceptible B&W results...". I tend to agree with that up to a certain point. Forget the CVS's, Wal-Marts of the world doing B&W right. The labs that deal with wedding photographers and other commercial work are a slight bit better with B&W, but no prize.....but acceptable. If you want truely great B&W negatives you have to take it to labs specializing in B&W. In NYC where i live, that would be MV Labs. NOT cheap! But high quality work.</p>

<p>or.....do B&W yourself. Color however, concidering the money saved, and the time you need to invest, and the results...............take it to a good lab. Which in the case of color, would include the wedding photographer, etc commercial labs. In NYC that would include Duggal and L&I Color Labs.</p>

<p>Regarding the lab names I mentioned.........I'm sure there are more in each category, but those are the ones I have personally dealt with....so i know what each can...and cannot....do. In my opinion anyhow.</p>

<p>For B&W I use only divided developers (Diafine, Divided D76). Makes it temperature and time insensitive and reduces costs through reusability.</p>

<p>I've read about divided C-41 developers. Supposedly has the same temperature and time flexibility as Diafine. Anyone here use one?</p>