Alan Marcus

<table dir="LTR" width="619" border="0" cellspacing="0" cellpadding="2"> <tbody> <tr> <td width="11%" height="19"> <p align="LEFT">foramt</p> </td> <td width="11%" height="19"> <p align="LEFT">area roll</p> </td> <td width="11%" height="19"> </td> <td width="11%" height="19"> <p align="LEFT">Length</p> </td> <td width="11%" height="19"> </td> <td width="11%" height="19"> <p align="LEFT">Area 12"</p> </td> <td width="11%" height="19"> </td> <td width="11%" height="19"> <p align="LEFT">width</p> </td> <td width="11%" height="19"> </td> </tr> <tr> <td width="11%" height="19"> <p align="LEFT">110-12</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.078</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">457</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.100</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">16</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> <tr> <td width="11%" height="19"> <p align="LEFT">110-24</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.131</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">762</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.100</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">16</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> <tr> <td width="11%" height="19"> <p align="LEFT">126-12</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.177</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">470</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.115</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">35</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> <tr> <td width="11%" height="19"> <p align="LEFT">126-24</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.320</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">848</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.115</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">35</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> <tr> <td width="11%" height="19"> <p align="LEFT">135-12</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.248</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">665</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.115</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">35</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> <tr> <td width="11%" height="19"> <p align="LEFT">135-24</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.420</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">1130</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.115</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">35</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> <tr> <td width="11%" height="19"> <p align="LEFT">135-36</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.592</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">1560</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.115</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">35</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> <tr> <td width="11%" height="19"> <p align="LEFT">120/620</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.543</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">826</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.23</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">62</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> <tr> <td width="11%" height="19"> <p align="CENTER">220</p> </td> <td width="11%" height="19"> <p align="RIGHT">1.094</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">1651</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> <td width="11%" height="19"> <p align="RIGHT">0.23</p> </td> <td width="11%" height="19"> <p align="LEFT">ft. sq.</p> </td> <td width="11%" height="19"> <p align="RIGHT">62</p> </td> <td width="11%" height="19"> <p align="LEFT">mm</p> </td> </tr> </tbody> </table>

<p>No example to view so I will make a guess.<br> Likely these spoiled frames are indoor shots with flash. The classic 35mm film camera sports a curtain shutter that exposes by moving a slit in the curtain across the frame. This shutter, called a focal plane shutter must be synchronized to operate with flash. If the shutter speed setting does not support synchronization, a line is likely to result. Additionally, part of the image on the negative may be lost. Check your camera manual for proper shutter speed setting when using flash. Usually the proper shutter speed to use will display a symbol resembling a lightning flash plus the numerals are likely red.<br> Just a guess without an image to view. </p>

<p>Stray light can and will fog film and the rectangular marks you describe are more common than you think. Stray light fog is shielded from the intertwining film by the dye applied to the back of 35mm. Black & white 35mm film has a gray base to hinder light piping. The is because the 35mm film does not sport a black paper backing like the other roll film sizes. <br> <br> Your film somehow got exposes to stray light and the rectangular marks are from exposure. Most of the film’s area was shielded but light was able to play on the film inflowing through the punched out sprocket holes.<br> <br> Possible occurrences are – loading under bright light conditions. Best if you load and unload in subdued light. The 35mm cassette exit lip lined with velvet to make the exit light tight, this lining can fail. The camera can have a light leak. Test by inserting a tiny keychain flashlight and go into a darkened room and inspect the seals. You will see light escaping if the seals are bad. You many need to sit in the dark for 20 minutes to allow your eyes to become dark adapted. <br> <br> Often the villain is the photo lab. The film may have been mishandled during the developing process. <br> <br> Best you try a few test rolls and attempt to find the nemesis. </p>

<p>First filter to buy is polarizing filter. These darken sky thus clouds stand out. Cuts haze - cuts reflections add some saturation without changing overall color balance. </p>

<p>Most all developers are spin-offs of benzene. Chemically they are the benzene ring with side chains. <br> Benzene was initially obtained from coal, now it is synthesized. Nevertheless, developers as the oxidize and otherwise breakdown, revert to coal tar. Thus spent and exhausted developers take on a dark perhaps black coloration. Initially they are clear solutions commonly they resemble tea. A key ingredient of developer formulations is a preservative. The preservative retards aerial oxidation and neutralizes staining agents. As the developer ages, the preservative is consumed and oxidation triumphs. The solution darkens and finally tar balls form. </p>

<p>I think the best travel camera is the Panasonic Lumix ZS40. Has a super duper zoom and 18mp and GPS and charges using a phone charger (camera input is smaller than phone but supplied). I have two extra batteries with external charge. Image file contains date time and location plus nearby landmarks. Best travel camera I have seen. This is last year’s model – this year has no GPS. Off to Greece, see you soon. Camera under $400 US dollars.</p>

<p>I volt for the Panasonic Lumix ZS40 as a near perfect travel camera. On my way to Greece April 11 with one.</p>

<p>Dilute to volume needed -- test with scrap film -- a snip of the tongue (leader) sticking out of the cassette will do fine. In the light, swish this test film in the fixer at working strength. Time this reaction, the film enters opaque and soon clears to transparent. Note the time it takes for the film to clear. Double this time and your film will be fixed to specification. </p>

<p>I need to edit the last line of my post.<br> Should read Shorter deliver more magnification at the baseboard.<br> Can the editor help?</p>

<p>What focal length lens for what format?<br> All lenses project a circular image. Only the central portion of that projected image is suitable. In other words, the quality of the projected image degrades as you edamame the boundaries. For this reason we choose a lens with a focal length that is approximately the same as the diagonal measure of the film. Now this recommendation is not engraved in stone and there are some exceptions. However you should consider this a rule-of-thumb. <br> Dimensions rounded for fittingness: <br> APS-C frame size 16mm by 24mm diagonal 30mm choose 30mm projection lens.<br> 35mm FX (full frame) 24mm by 36mm diagonal rounded up to 50mm – choose 50mm<br> 120 square 2 ¼ by 2 ¼ diagonal 75mm choose 75mm – 80mm<br> 120 rectangular 2 ¼ by 3 ¼ diagonal 4 inches = 100mm choose 100mm<br> 4 X 5 sheet film diagonal 6.4 inches = 160mm choose 150mm – 160mm<br> <br> Longer is OK shorter may vignette edges.<br> Shorter deliver more magnification at the baseboard. </p>

<p>What I know about guide numbers:<br> A guide number (GN) is just that, a guide. Mostly they are published by the manufacturer of the flash unit. The values are usually based on an indoor setting with 10 feet light ceiling. The good news is; it is easy to test and derive a reasonably valid guide number. Choose a typical situation. Set the flash to subject distance at 10 feet (3 meters). Shoot a series f/16 – f/11 – f/8 etc. Choose the best exposed frame. Suppose f/11 is best, then GN is 11 X 10 = 110. For metric folks its 3 X 11 = GN 33.<br> <br> To use: Estimate lamp to subject distance and divide guide number by distance. Thus if lamp to subject is 20 feet and the GN is 110 then 110 ÷ 20 = 5.5 then round to f/5.6.<br> <br> Some nuances’ :<br> I believe the camera’s shutter speed setting is moot as to GN. This is because we set the shutter to synchronize with the flash and the flash duration is a blitz is far faster than the shutter. Exceptions are supper fast flash to freeze hummingbird wings. A super-fast blitz will cause ISO to plummet as film and imaging chips accumulate light. Under super-fast conditions you must test for a revised guide number.<br> <br> For fill-flash in outdoor situations, use sunlight exposure choosing a shutter speed will synchronize. Say 1/125 @ f/16. Now suppose the guide number is 110. Divide GN by f/# thus 110 ÷ 16 = 6.8. This math tells us that if the lamp is 6.8 feet from the subject, the intensity of the flash will be the same intensity as the sunlight. Now this will be flat lighting. Best if the fill is subordinate by 1 f/stop. To accomplish; multiply flash distance by 1.4.This calculates a revised flash to subject distance, it is 10 X 1.4 = 14 feet. The 1.4 factor causes you to increase subject to flash distance and the 1.4 factor computes a 1 f/stop drop in flash intensity at the subject plane.<br> 1,4 factor = 1 f/stop<br> 2 factor = 2 f/stops<br> 2.8 factor = 3 f/stops<br> 4 factor = 4 f/stops.<br> The factor is based on the square root of 2 and follows the law of the inverse square (used to calculate light fall off with distance. <br> <br> How do I get my guide number to calculate that distance?</p> <p>Guide # 200<br> Use f/11 then distance flash to subject is 200 ÷ 11 = 18 feet<br> Use f/16 then distance flash to subject is 200 ÷ 16 = 12 ½ feet.</p> <p>Using existing light with flash:<br> Because flash is usually harsh, use slower shutter to allow ambulant light to register along with flash.<br> No advise as to TTL, this gray hair never used but my guess is, the TTL system automatically sets everything. If my lash-up had TTL I probably would leave my slide rule home. </p>

<p>The light sensitive goodies are salts of silver. There are three. These are crystals, listed in order of sensitivity, silver bromine, silver chlorine, and silver iodine. Photo films are chiefly silver bromine. Different ratios yield different sensitivities. These are all members of the halogen family of elements. Halogen is Swedish for salt maker. These salts resemble table salt, however the crystals are much smaller and all have low solubility. They are coated onto film or paper using a glue binder comprised of gelatin. Gelatin is chosen because it has low solubility, high transparency, and it is flexible. Gelatin, under the microscope resembles spaghetti; it is a long chain polymer. The light sensitive crystals are imbedded in the spaghetti strands. When wet, gelatin swells like a dry sponge plunged into water. This action opens up the structure allowing the fluids of the process to enter and percolate about. It replaces egg whites that were formally used as the binder.<br> <br> The silver halogen compound is held together by a chemical bond. Exposure to light will weaken this bond. The developer solution is able to identify crystals with weakened bonds and reduce them to their two component parts. Metallic silver is left behind and the halogen component is dissolved away into the waters of the developer. It is the metallic silver that makes up the black & white image. The developer, being selective, does not immediately reduce unexposed silver halides, however, given sufficient time, it will reduce all. Thus the developer step is timed; otherwise the entire film will be blackened (fogged).<br> <br> As the developer works on the exposed silver salts, exposed crystals are reduced. The halogen component is chemically a restraining agent. In other words as reduction of crystals continues, more and more retainer is liberated. We agitate to cause fresh developer solution to enter the gelatin structure. This fluid movement flushes out the restrainer and forces fresh developer to enter and do its job. <br> <br> Temperature and agitation play key roles. Higher temperatures accelerate chemical reactions and cause the gelatin to swell at an elevated pace. The bottom line is, the entire developing process is based on infusion of fluids and the time it takes for the chemicals to do their task. </p>

<p>Not surprised by the greenish expanses in the center. This is surly not an optical phenomenon. I term it “subject failure”. Calling this “SF” is likely not valid in the digital world, to me it is reminiscent of printing errors commonly seen when printing color negatives on automated high speed photofinishing printers. <br> <br> Anyway; This snow vista sports large mundane areas of white snow taken under overcast conditions. We commonly see snow reproduce with a bluish tint because some blue sky contributes illumination. While this is likely not the case, let me theorize:<br> <br> The camera software is pre-programed to compress the file. These are various algorithms that cast out and then restores data. Mundane expanses are prime models. The software, seeing pixel after pixel with the same value, inserts a footnote and then deletes. The viewing software is commanded to restore the missing pixels. It is easy to understand that the restoration is keying in data that is slightly erroneous. You would never notice if the expanses are large and mundane. <br> <br> Next assumed: During exposure, photosites on the imaging chip are bombarded by photon hits. This action causes a charge to accumulate. This charge will eventually be assigned a numerical value that describes intensity and hue. This is digitizing, we often count on our digits (fingers), thus the origin of the name.<br> <br> Photosites that receive excessive photon hits are in danger of becoming saturated. In this state, some of the charge leaks out and influences adjacent photosites. This action is called “blooming”. This act induces false information which is what I think is happening as snow is highly reflective thus an overexposure, thus “blooming” is the likely cause. </p>

<p>There are 7 major lens defects called aberrations (Latin to go astray). One of these aberrations is called chromatic (Greek for color). This is an inability to make a lens that causes light rays of different colors to come to a focus at the same distance from the lens. What you are seeing is called Lateral Chromatic or Transverse Chromatic Aberration. This is seen as fringes of color at the edges of images. The blue image forms inward and the red image forms outward. <br> <br> Now a convex lens and a concave lens have exactly the opposite chromatic aberrations. For the camera lens we need the lens to be convex which is known as a positive lens. To correct, the camera lens is made using a strong positive sandwiched with a weak concave (negative) lens. The result is an array of lenses of different shaped surfaces made of different types of glass. The idea is to mitigate as much as possible the 7 aberrations that plague us. <br> <br> In the end we can’t totally correct out all the aberrations. The better lenses are very expensive. </p>

<p>Cinematography used many methods to record and synchronize sound to the motion picture. Mainly an optical sound track was exposed along the edge of the film or between the sprocket holes. The movie projector was equipped to read this optical track. In 1975 Kodak patented a transparent magnetic coat allowing sound and other analog signals to be recorded anywhere on the film. In 1975 – Kodak Avantex – Fiji Nevira – Konica Futura – a 24mm Advanced Photo System known as APS was marketed. These cameras featured the magnetic coated film. The system was to be a hybrid – conventional / digital. </p>

<p>A tip of the hat to Ellis Vener and to the Moderator -- Seems this 77 year old guy can't get much straight anymore. Sorry to confuse!</p>

<p>Nikon coined FX when they induced an imaging chip that was approximately the same size as the venerable 35mm film frame size (format size). This format measures 24mm height by 36mm length. They also coined DX for a smaller format 16mm height by 24mm length.<br /> <br /> History of 35mm film format:<br /> <br /> At the turn of the century before last, Thomas Edison was experimenting with a moving picture system to be placed in amusement areas known as penny arcades. His idea was to make a vending machine to peer into to see a short movie. He bargained with George Eastman (Kodak) for film for this endeavor. Kodak was making 70mm wide roll film for the “Brownie” camera. Edison purchased 70mm (2 ¾ inch) wide film and had it slit down the middle making 2 long rolls of 35mm wide film for the price of one roll.<br /> <br /> To transport the 35mm wide film in the camera and projector his engineers punched sprocket holes along the edges. The film travel through the camera was horizontal and the image space between the sprocket holes was 24mm. Thus 24mm became the width of the image. For the height was set at 18mm. Thus the first movie format was 24mm wide by 18mm high. This is a 1.333 ratio rectangle as 18 X 1.333 = 24. Aspect ratio 1.333 was the standard for movies until wide screen came about (Vista Vision). <br /> <br /> Soon the movies were popular and movie theaters popped up all over the world. 35mm movie film was plentiful and cheap. The Leitz/Wetzlar Company in Germany decided that a still camera using the 35mm film would be lucrative. Oskar Barnack and engineer, devised what would be called the Leica Camera. This camera was to be used mainly in the horizontal (landscape) orientation. Oscar retained the 24mm image width but he used it as the height. He doubled the 18mm movie height making the lenght 36mm. Thus the final format was 24mm height by 36mm. The aspect ratio is 3:2. <br /> The 3:2 aspect ratio is can expressed as 1.5 meaning length is 1 ½ times the height thus 24 X 1.5 = 36. This is the aspect ratio of 35mm film cameras. They became so popular, thousands of designs and thousands of lens models for this camera category. It was a natural that when the digital imaging sensor became viable they migrated to the dimensions of the 35mm film frame. Nikon called this format FX. <br /> <br /> Towards the end of the last century, camera sales were flat. Film cameras had be gaining automation and with the development of the microchip, film cameras were gaining computer logic (chip logic). Kodak was now marketing a new movie film for profession usage. This film had a magnetic coat that was transparent. Now the sound track of the movies could be recorded on film. This was a major advancement to Cine audio (cinematography). <br /> <br /> The still film camera was the only thing going so Kodak devised a new camera that utilized the Cine film with the magnetic coat. The idea was a hybrid film/digital camera. The digital data to be recorded on the film like a tape recorder. Further, film had improved so a 24mm wide film would do the trick. Kodak joined forces with Fuji, Konica, Manila and others to market 24mm film and camera. The new format was called APS (Advanced Photo System). Many cameras were produced and sold but this technology never took off. The older 35mm film format cameras gained super-duper chip logic and since most films were developed and printed in regional giant photo labs and they balked at buying the needed expensive developing and printing equipment. <br /> <br /> However, the APS format 16mm height by 24mm length was OK. As digital chip making advanced, imaging sensors were produced to these dimensions. This format is designated APS-C. The “C” is for classic meaning the aspect ratio is 1.5 more commonly expressed as 3:2.<br /> <br /> OK – bigger is better. This is because a larger image sensor can sport large photosensitive sites. The imaging chip is covered with millions of photo sensors. A larger site is more likely to capture a photon so it gets more hits than a smaller site. This translates to less amplification needed to gain a usable image signal. Less amplification translates to less “noise”. This is technical jargon for static. “Noise” materializes as a granularity similar to grain on film. Noise in digital photography yields substandard images. So bigger is better. However, technology marches on so tomorrows cameras will shrink.</p>

<p>The dyes of the C-22 and C-41 (as well as E-6 and predecessors) are in the leuco (Greek of white/blank) form (almost) when coated. These are incomplete dyes missing one ingredient. Upon receiving this missing ingredient they blossom into full blown cyan, magenta or yellow, dependent on which emulsion they reside in. The color developer is a black & white developer plus it contains the missing ingredient. Only one ingredient for all thee dyes. During the development process, exposed silver salts are reduced to metallic silver. As these flecks of silver emerge they are bathed in the waters of the developer that contains dissolved atmospheric gasses. Oxygen present in the water reacts with this silver and this is the catalyst that causes the missing ingredient to unite and complete the dye. Thus the dye laydown is proportional to the silver laydown. <br> <br> To simplify the process Kodak (inventor of this process) had to pursue cyan, magenta and yellow dye that are leuco and that blossomed upon receiving the same missing ingredient. No simple task. The results are a wonderful yellow, an OK magenta and a slightly off cyan. To bolster the cyan and the magenta is the job of the orange mask. It is not a uniform color. It is residual leuco magenta and yellow dye that has intentional coloration. They form two positive images superimposed on the three negative cyan, magenta and yellow images. This is a super clever auto masking scheme that greatly improves contrast and final color balance. Hats off to the engineers at Kodak Park.<br> <br> After the developer step, a bath in bleach (misnomer) causes the metallic silver to convert to a silver salt. Now only a few very stubborn flakes of silver remain. The fixer bath complexes the silver salts and they are rendered soluble and are washed away into the waters of the fix. This included the Carey-Lea colloidal silver. All gone, all gone -- only the blossomed dyes remain suspended in a medium of gelatin. <br> <br> I know of no way to selectively remove the Carey-Lea filter except bleaching and fixing. A blix is the two combined. The bleaching and fixing would remove a silver based image. I never liked crossed processed color film. This was actually the result of lab accidents and attempts to salvage misprocessed film. Some artsy fartsy people think the results are worthy. I always scowled because to me it meant my lab had screwed up and precious memories were lost (thoughts of a quality control manager). </p>

<p>Color film of the C-41 and E-6 process are incorporated. This translates to the fact that the dyes that will make up the final color image are placed in the emulsion during manufacture. When we talk color film we use the model of three emulsions sandwiched on a single support base. However modern color film has many more than three coats. One coat is a yellow filter that is an effected blue light blocker. It is just under the top emulsion which is blue light sensitive. The idea is to shield the below green and red sensitive emulsions from blue light as blue most energetic and will falsely expose these underlying emulsions. <br> The best yellow filter for this application is a called a Carey-Lea after its authors. This is a coat of colloidal silver in a gelatin media. In the color process it will be removed by a combination of the action of the bleach and fix. If the film is developed using a black & white process it will remain and this is what the IR scan is seeing. Color films, if properly processed virtually void of silver.<br> <br> In interesting point: Digital ICE has its root in work performed by Kodak’ Austin, TX Development Center formally Applied Science Fiction. Films could be scanned in IR and visible with marvelous results. The product was ICECUBE as it did these functions that could cleanup damaged film and restore faded film etc. This technology yield a dry color processor, a product that did not come to market. The color film was misted with a single developer solution and scanned as it developed. A full color digital image resulted and a DVD burned. After the scan the film was discarded. This product was in response to growing displeasure with effluent chemicals generated by photo labs. The concept worded, Digital ICE was a spinoff. </p>

<p>Use the fixer you have on hand. Don't over complicate. Re-fix in a bowl by hand. Too much danger of damage other wise. Water first to cause the film to go limp for easy seesaw.</p>

<p>Not fog from light leak -- needs more time in the fixer.<br> Fill a bowl with clean water. Taking care immerse the film and seesaw the roll, if uncut in the water until it becomes flexible. Fill another bowl with dilute fixer -- 1 part fix 3 parts water. Swish or seesaw the film in the fixer. Film will clear in a matter of a minute or two. Continue re-fixing for twice the time it took to clear the cloud (opalescence). Wash in running water 20 minutes or 5 minutes followed by hypo clear. Dip and PhotoFlow and dry.<br> You problem will be solved -- be carful - wet film is fragile! </p>

<p>Most likely this is deposits of cyclized ingredients of one of the solutions of the process. Labs that process c-41 and E-6 must have sufficient volume to keep the chemicals in the machine’s tanks at opium. Fluids in the various tanks are replenished based on the area of film processed. The replenisher formulas restore the strength of the working solution in the tank. In addition the volume of the replenisher inflow counters loss due to evaporation. <br> <br> The specifications of the process are to maintain an operating temperature of 100⁰F (37.8⁰C). At this elevated temperature evaporation is substantial and even more so in winter as a heated building has low humidity. Also the replenishment vats are not heated and in cold weather, if not in a heated room, the ingredients tend to crystalize. Should these crystals be induced during the replenishment of the working tanks, crystals may comingle with the working solution in the tanks. <br> <br> Depending on what chemical residue is on your film, it might come off if you give the film a prolonged soak in purified water. It is possible that the crystals do dissolve away but the underlying film may have sustained unrepairable damage. </p>

<p>Every color printing set-up, per Kodak, should have a 2B UV filter atop the filter pack. I have on occasion omitted the 2B without seeing any ill effect. High speed photofinishing machines have super powerful lamphouse. Exposure times 1/3 of a second or less. In these machines I always installed 2B. Maybe the recommendation stems from Color Print and Process who designed these high speed printers? </p>

<p>When printing color negatives it is recommended to keep a UV filter in the filter pack at all times. Initially when I questioned Kodak engineers, many, many years ago, I pointed out that UV was unlikely to transverse glass thus the lens should be sufficient to protect the paper from these short wavelengths which all emulsions are sensitive too. The answer was, we do want to avoid UV exposure at the paper plane. While the UV does this task, if mounted above the filters, it protects the filters from UV exposure which over time fades the dyes used in the CC and CP fitters.</p>

<p>After the wet portion of the film developing process is complete, we soak the film is a wetting agent. Best is Photo Flow however other brands are OK. The wetting agent breaks the surface tension of water droplets adhering to the surface of wet film. This causes the water to sheet i.e. coat the film uniformly. Many use a clean sponge or squeegee. I wet two fingers and wipe the film down between them. <br> <br> Now the film emulsion is silver salts imbedded in a gelatin binder. Gelatin is used because it is clear, flexible, has low solubility, and it swells when wet. Swelling opens up the structure to allow the fluids of process to enter and percolate about. As the film dries the gelatin shrinks back down to almost normal. <br> <br> Most think that water marks are due to contaminates in the wash or waters that make up the wetting agent. The thought is, these contaminates are fragments of trash that remain behind when the water evaporates. The facts are, this might be the culprits so most use purified or distilled water to make up the wetting agent solution. However the real culprit is water drops adhering to the film as it dries. In these areas, the film dries more slowly and this act causes a lack of uniformity of the shrink rate. Water marks are generally areas of the gelatin that are elevated from the surrounds. This is thus a lack of uniformity that is visible and we call this a water mark. <br> <br> Generally no cleaner or treatment will be 100% successful. You can re-wash and re-dry and this will migrate. One cure is to print wet with an open carrier in the enlarger. </p>