tráng film???

[caigiday]

không biết ở đây có ai biết tráng film hay hửa film (develop film) không? tại vì mình thấy bay giờ có những lọai scanner scan thẳng từ film vào máy, nên no sẽ rất tiện nếu như biết cả rửa ảnh luôn... nếu có xin cho biết là mua hóa chất ở đâu luôn thanx

[DTB]

DTB không biết bạn muốn hỏi cái gì? nếu bạn muốn tráng film tại nhà thì bạn phải là dân chụp pros rồi! mà là dân pros mà còn hỏi chổ nào bán đồ để rửa film thì DTB hết ý kiến!!! :) mấy cái đồ hóa chất để rửa film thì mấy tiệm specialize về camera có bán đó mà.

[caigiday]

không phải là pro gì hết cả, chỉ muốn hỏi cho biết thui hà

[DTB]

nhưng mà bạn ở đâu vậy? vì mỗi city thì nhiều khi tên tiệm bán đồ khác nhau thì khi ai muốn giúp bạn để chỉ chổ thì dễ hơn.

[nguyenquynh]

Originally posted by caigiday
không biết ở đây có ai biết tráng film hay hửa film (develop film) không? tại vì mình thấy bay giờ có những lọai scanner scan thẳng từ film vào máy, nên no sẽ rất tiện nếu như biết cả rửa ảnh luôn... nếu có xin cho biết là mua hóa chất ở đâu luôn thanx


hy vo.ng tui co' the^? no'i ma` hong bi. ma('c nghe.n ...

tra'ng film : 2 loa.i ... tra('ng dden va` ma`u ...tra('ng dden thi` de^? ho+n ma`u . ma`u thi` co' 2 loa.i ... negative film voi la.i positive film.. negative film du`ng thuo^'c tra'ng film khh'ac vo+'i positive film

tra'ng film tra('ng dden thi` nhie^.t ddo^. co' the^? che^nh le^.ch 1/3 ddo^. +/- la` ddu+o+.c. nhu+ng khi agitation thi` pha?i tu+` tu+`, cha^.m va` lie^n tu.c. nhanh qua' thi` bi. over developt va` bi. contrast... rule of thumb. more aggressive agitation will give high light all of the mid tone will be eliminate over time. agita cha^.m qua' thi` under developt high light bi. block hi`nh bi. dull hong co' contrast... this will be the same with color and also worst in color

tra'ng film ma`u cho negative film voi la.i positive film : nhie^.t ddo^. pha?i +/- .5 ddo^. . no'ng mo^.t chu't hay la.nh mo^.t chu't thi` ma`u bi. out of tone. result of messup color and detail will not comeout as wish. agitation, i did it before by hand and it is a pain in the A$$. Completely insane for try it by hand but it works. best way, buy the automatic processor such as JOBO CPE or CPA processor. they come with all the temperature control and water flow etc. load your film into reel, then pop it in the machine. fill up all the chemical .. let it runs for you. .. cost about 1,400 for the processor and other utility that come with the unit to get you start.

film scanner: high end one is drum scanner. cost about 10K...
some unit like nikon smehting cost like 3K
some low end one but it works very good cost about 6 to 7 hundred dollars. Minolta and canon both have some good scanner for 35mm film and resolution can go up to 1800dpi.


Place to buy chemical. bhphoto.com or adorama.com. if you really into these things, and you want some more detail in how to and need help on buying chemicals let me know by private mail me. I don't want to bore people in here with all of these details.

btw, chemical for film is also depend on whwat type of film you use. for example, if you shoot a a b&w film rate at 1600 asa, most of developer like D76, D19, microphen will give you some what grainny on your negative and also lost in tonality most of time is your mid tone (grey and light grey) zone 5 tone. I use different developer for different film i use. for ASA 1600 , i use xtol developer 1:3 dulute with first 30seconds agitation and 10 second after every mins for 15 min.


with all of that trouble and since you might kill yourself, I suggest you to get yourself a good 35mm pro DSLR camera. that will taking care of all the processor, film scan, etc.

[warlock110]

hehe last semester i was in a photography class in HS (just for fun it was an elective class) any how we did developed some black and white film, and let me tell u i would never want to do that again, u need to set up a dark room to develop the film, then go to the same process again to develop the pictures and it's a realy hassel. The chemical stinks like hell u'll need some gloves (or it'll stink up your hand). and it takes patient to do that crap, i developed a couple rolls of film, well most of them turned yellowy because i didn't leave it in the fixer long enough, and the first developed paper i got i expose it to light (that was embarrasing :)). My friend in the same class took him 3 tries to finnaly got his film develop :).

[nguyenquynh]

it is a very simple for black and white film. it take me no time at all to load the film into reel and mix all the chemical. if you have a good instructor, it will take you no time at all. i have someone helping at the beginning and the person helping me is a pro for 35 years. I look at him when he load the film and just do it.
it is a pleasure and fun everytime i developt the film.

[frbienchieu]

I am not sure how can you observe your instructor loaded the film into the reel while you are in complete darkness. You can't even see your own finger place infront of your eyes.:confused: :confused:

ah, I know. you wore millitary nite scope :)

[nguyenquynh]

take an expire roll of film then load in the reel with room light on. that is how i see and learn from my teacher neighbor. i use flashlight from eveyrtime to load film into reel. it work everytime. I use the one of those strong spot flash light to give me full visual
duh

[frbienchieu]

Don't get defensive bud. By the way, did you have your instructor hold the flash light while you load the negative into the reel? and did you find the film blank at the end. duh...

It took me the a third try to master on loading the film into the reel under totally darkness.

For proper darkroom techniques check out the following posts.

[frbienchieu]

The Advantage Of Developing Your Own Black and White Photos, And How to Get Started
By Mason Resnick

Minilabs have taken the fun (if there ever was any) out of color printing. If you only shoot in color, it may make more sense to find a reliable lab and let them do the hard work. But Black-and-white is a different story. Black and white, because of its relative ease of processing, is easier to control; as a result, many darkroom enthusiasts are able to make interpretive prints that say more than any machine print can say.

Choices of paper, developer, toner and darkroom exposure and processing time decisions can change the mood and feel of an image while still faithfully reproducing the information on the negative. There are a few experienced printers (who proudly call themselves "darkroom technicians"), but they are exhorbitantly expensive and not easy to find.

If you care about your work, these are compelling arguments for doing it yourself.

Part I: Building a Darkroom
A basic darkroom requires three things: running water, sturdy work surfaces and total light blockage. A basement room, a kitchen or spare bathroom can be easily converted into darkroom space. Ideally, you should dedicate one room (which can be as small as 8x10 feet).

A darkroom is divided into a Dry Side, where printing, reel loading and other non-chemical tasks take place, and a Wet Side, where the actual chemical processing is done.

Items you'll need for the Dry Side are:

film tanks and reels which you load film onto for processing; an enlarger, which is used to project the processed negative onto paper for printing; This is the most important item you'll buy, and will also be the most expensive.
a light-tight paper safe, where you will store printing paper;
a safe light, which provides amber-colored light so you can see what you are doing without ruining the paper (since photographic paper is not sensitive to amber light at low levels);
a timer, to time your exposures;
an Easel, which holds paper in place under the enlarger as it is being exposed;
a grain magnifier, which helps you to focus the enlarger;
a paper cutter (preferably rotary) to trim your paper;
a dodging and burning kit, so you can adjust exposure to selected areas of a picture. (More about how that is used later!);
sufficient storage space for the above.
Items you'll need for the Wet Side are:

running water, with as much temperature control as you can afford;
a sink, set in a countertop that's at least 5 feet long. This will give you enough room for trays, chemistry, etc.
one deep tray with holes on one side;
a short hose from faucet to deep tray;
Four smaller trays, preferably 11x14;
Print Tongs, for handling prints in processing trays;
Film clips; for hanging processed film to dry;
Small, medium and large graduates, for measuring and mixing chemicals
About 6-10 large dark bottles for chemical storage;
Surgical gloves and face masks, for protection while mixing and handling chemicals;
A graduate for mixing pouring chemicals.
In general, you also need:

at least two safelights, one near the enlarger on the dry side and one over the trays on the wet side;
a print dryer or blotter;
someplace to hang film to dry.
The stuff you need in the darkroom can cost as little as a few hundred dollars or well above a thousand. If you live near a specialty camera shop that sells darkroom equipment, ask them to help you select a the appropriate tools. Some inexpensive pre-packaged kits are available, although if you stick with it, you will find your needs will quickly outpace these kits' capabilities.

When designing a darkroom, be sure to block all light sources. If there is a window, use black masking tape and heavy gauge aluminum foil over the window, plus blackout shades. For doors, hang a blackout shade in front of the door that hangs to the floor and beyond the door's sides. If this is difficult, try to do most of your work at night, with lights out outside the door to the darkroom. If this is still impossible, buy a changing bag so you can load film even in daylight (film is more sensitive to ambient light than paper, so be really paranoid about light).

Ventilation is also important. An air vent that doesn't let in light is essential, because the chemicals do give off fumes that are not especially healthy if subjected to prolonged exposure. (On the other hand, many photographers have unusually long life spans, yet they spend hours a day in poorly ventilated darkrooms. Go figure.)

Since there are a number electricity-driven devices in the darkroom (enlarger, timers, safe lights and dryers, as well as a radio for entertainment), you'll want to have ample electrical outlets and enough current to handle the load.

Make sure there is enough space to store everything, including a space to keep prints and extra paper. The best place for chemical storage is under the sink and tray area. A small refrigerator will help you prolong the life of your paper and chemicals, so that too is a good, though optional, investment.

Work space should be a comfortable height for standing (around waist height--kitchen cabinets and counters, which can be purchased at home improvement stores, are ideal), and a comfortable raised chair will come in handy during long sessions. Also, a rubberized floor will make it easier on your feet when you're moving around.

Finally, if you have the space, leave room for finishing tasks: matting, framing, mounting.


--------------------------------------------------------------------------------

A partial list of darkroom suppliers


Charles Beseler Company
Enlargers, chemistry, timers, accessories.
1600 Lower Rd.
Linden, NJ 07036
(800) BESELER
Brandes/Kalt Co. Inc.
Finishing material, chemistry, safelights
5441 Redzie Ave.
Chicago, IL 60625
(800) 621-5488
HP Marketing Corp.
Enlargers, accessories
16 Chapin Rd.
Pine Brook, NJ 07058
(201) 808-9004
Satter Inc.
Complete darkroom kits, accessories, enlargers
4100 Dahlia St.
Denver, CO 80216
(800) 525-0196

[frbienchieu]

Black & White Film Processing: The Twelve-Step Program
By Mason Resnick


You've built a darkroom. You've taken the pictures. Now it's time to process the film.

Why process and print your black-and-white photos instead of sending them to a lab? Quality and control: both are diminished the moment you let someone else process your photographs. If you have the time and commitment, processing your own work will give you an amazing amount of control--and creativity.

The down side to control is that you need to know what to do, and do it well. So although this column is for beginners, it will get technical. Sorry about that. (Remember: every technology requires a learning curve.)

By the time you finish this column, you'll be an expert in the basics needed to process black-and-white film (assuming you read it dilligently and practice, practice, practice). Print it out and paste it over your film processing workspace for handy reference.

Hold onto your hat. Here goes.

How to Develop A Roll of Black-and-White Film




First, you need to load the film onto a reel and place it in the tank. A straightforward sounding affair. Until you learn that it must be done blind.



Lay out your tools in front of you: film cassette, can opener, film reel, tank and tank cover. Memorize their positions. Turn off the light. You're ready.



Step 1: In total darkness, remove the film from the cassette. Pull the flat end (as opposed to the end with the tip of the spool sticking out) off the 35mm canister with a can opener. Unwind the film and remove the end of the film from the spool by peeling off the tape that connects it.



Step 2: Load the film onto either a metal or plastic film reel. For beginners, plastic may be easier to learn than metal. With plastic, you simply slide one end of the film into a slot on the outer edge of the reel and "walk" the film in until it is loaded. Metal demands a higher degree of dexterity, which might not be appreciated when you're standing in the dark struggling to get your valuable shots onto the @#%$^ing reel.



Following the instructions that come with the tank, practice loading a few times with a sacrifical roll in daylight so you can see and get the feel for it. THIS IS VERY IMPORTANT! Once you feel competent in daylight, close your eyes and try it. You'll fumble. You'll fume. Keep trying. You'll get it.



The first roll you actually try to develop should not have important material on it, just in case things don't quite work out.



Step 3: Place the loaded reel in the film tank ad cover it as directed. The film is now in a light tight container. You can turn on the light.



"Soup" Time



Now you're ready to process your film. Lay out the chemicals in front of you: a film developer (nickname: soup), a stop bath, and a fixer with hardener, and a hypo eliminator bath.



Step 4: Make sure the temperature of the chemicals (especially the soup) is carefully controlled. Development time is directly affected by two things: the speed of the film and the temperature of the developer. Most manufacturers suggest 68-70 degrees as the ideal temperature for processing, although you can develop at slightly higher and lower temperatures as long as you make adjustments (the exact times vary from brand to brand, but each company gives recommended processing times and temps on the packaging.)



Most film is processed between 65 and 75 degrees. Higher temperatures could lead to "reticulation", which gives film a coarse, overly-grainy appearance. This can be an interesting effect to play with, but if not if you're trying to get the best negative possible.



Step 5: Pour developer into the open part of the sealed film tank, known as the pour spout, and cover it. Do not open the tank itself! To keep fresh chemical on the film surface, agitation is essential throughout the process. To agitate, briefly turn the tank upside down once a minute. When it is upright again, tap it several times against your work surface to remove any air bubbles that might form on the film during agitation. (If you don't, the bubbles will leave dark under-developed areas on your negatives).



Develop film for the time recommended on the packaging. When done, take the lid off the tank's pour spout and pour it out (either back into a container for re-use or into the sink if only one use is recommended).



Step 6: Pour running water into the pour spout for one minute to stop development. Alternatively, you can mix a small amount of glacial Acetic Acid with water (a 1:30 ratio) and let the film sit in that for 30 seconds to wash off the developer. Either method is known as "stop bath."



Step 7: Now it is time to fix the image so you can view it in normal light. Be sure to use a fixer with hardener, since that will help protect the negative from getting easily scratched. Fixing takes 5-10 minutes, depending on if you used a normal or rapid fixer. At the end of the fixing time, you could actually inspect the negatives although you'll probably want to wait until everything is finished.



Step 8: Since you no longer have to worry about exposing the film to light, remove the tank cover completely and let the film sit in cold running water for five minutes. You can pull out a bit of film to inspect it and make sure your negatives are there.



Step 9: Now you need to remove all traces of the fixer to avoid the appearance of white stains on the negatives. Pour in a tankful of Hypo Eliminator (also called Hypo Clearing Agent) and agitate for two minutes.



Step 10: One final wash, for five minutes.



Step 11: Carefully pull the film out of the tank. Don't touch the surface of the negatives! Use washing pins or film clips to hang the film to dry in a dust-free area.



Step 12: In about 1-2 hours, the film will be dry. Use scissors to cut the film into strips six negatives long. Be careful to cut the film in the space between the images. Store the negatives in clear glassine envelopes or PVC plastic negative pages.



And that's it!





--------------------------------------------------------------------------------


Control your images by choosing the right developer

You can control the overall look and feel of your final print long before you actually start printing by which film developer you select.

Some developers, like Kodak D-76 and Edwal FG-7, are fine-grain general-purpose developer. Either one is a good developer to start with.

Kodak T-Max developer and Edwal TG-7 are especially designed for the super fine-grain characteristics of Kodak T-Max and Ilford Delta films. If you are using a slow speed film and want incredibly fine grain, try Kodak's Microdol X. It will also make pictures taken on Kodak Tri-X, Ilford HP-5 Plus and other ISO 400 films look less grainy.

For a softer look, try Ethol UFG (it's hard to find, so ask your local photo store to help you locate it) or Agfa Rodinol. There are also developers designed for high contrast, low contrast and big grain. Experiment!

Finally, there is one developer additive no darkroom should be without: Sodium Sulfite. Add a pinch of this powder to increase the dynamic range of your images.



--------------------------------------------------------------------------------
What You'll Need

A metal or plastic film tank
Three dark plastic containers to hold chemistry
Graduates (used to measure chemicals)
A darkroom timer
A can opener
A room that is totally light proof (not even the slightest sliver of light should be visible).
Developer (see other sidebar)
Glacial Acetic Acid (optional, for Stop Bath)
Fixer (Kodak Rapid Fixer with Hardener is highly recommended)
Hypo Eliminator

[frbienchieu]

The Art of Black and White Printing: Now The Fun Begins!
By Mason Resnick

If you've read parts I and II of this tome, you may be wondering, "what kinda fun is this?" Well, you are about to be rewarded: black and white printing is where the science, art and creativity converge.

Here you are in control. The results can be seen in minutes. Watching the image--your photograph--emerge gradually from that blank sheet of paper in the developing tray is nothing short of magic.

Every decision you make in the printing process will have a direct effect on the final image you print. Want a high-contrast, semi-abstract look? Prefer a subdued, realistic photojournalistic look? Want your pictures to have that old-fashioned brownish-sepia tone? Borders on your prints? Yeah. You can do that.

The more you know about what you can do in the darkroom, the more you can be in control of your images.

The things you can do in the darkroom could fill a book...and there are several out there. So this will be an overview of what's possible. As the Resource Center grows, we hope to fill in the details (any volunteers? If you're interested,emal me!).

The Basics

As in film developing, there are three basic chemicals in the printing process, and a few more added to streamline it. These are Developer, Stop Bath and Fixer. Developer brings out the latent image--the magic part of the process. Stop bath stops the image from coming out any further, and fixer prevents any white light from darkening, fogging, fading or otherwise affecting the finished print.

You can add more chemicals to reduce washing time (and as a result save on your water bills) and to adjust tonality, paper warmth, contrast and other characteristics.

When you have a roll of 36 exposures in front of you, it is not realistic to expect that you're going to print every last one. Fortunately, you don't have to. The contact sheet previews an entire roll on one 8x10-inch sheet. Each photo measures about 1 x 1 1/2 inches, and you view it through a magnifier called a Loupe. Print up a contact sheet before you start printing and look at the tiny images. Select the best. You're ready to go.

The Theory

The process of transforming a tiny negative into a larger print (8x10 is the most popular size) is based on a theory that's similar to exposing film when you're taking a picture. In this case the light source comes from one place--the enlarger head, projecting the negative onto a sheet of light-sensitive material, in this case the printing paper.

The amount of light that hits the paper can be controlled by adjusting the aperture on the enlarger's lens; a timer controls duration. The variable in this equation is the negative: how dense is it? The greater the density, the more light you need (either by opening the aperture or increasing exposure time) while the thinner negatives, which let more light through, require smaller apertures and/or shorter exposures.

Assuming a roll is processed properly and exposures are fairly consistent, it won't take you long to establish a good basic exposure that will give you acceptable results which you can fine-tune to create works of art. How do you arrive at that basic exposure? Through Test Strips.

The Test Strip

A test strip is a thin, long strip of printing paper with the negative printed at several different exposures. The purpose? To see which exposure yields the best looking print. The how-to's are easy: lay down a strip of paper under the enlarger, take an opaque board and hold it over all but a small section of the paper. Expose for two seconds. Move the board to reveal more of the paper and expose for two more seconds. Repeat until you've exposed the entire sheet once and process normally.

This will give you a sliver of the image with bands of increasingly darker versions of the image. Pick the one that looks the best, count from lightest band to the band you've picked, multiply that number by two. That's your correct exposure time.

Now print a full sheet at the exposure time, and you have your basic print. This is where a commercial lab would stop (unless you give them lots of money). But because you're running the darkroom, you can refine your print (if you feel it needs refinement. Some won't.)

Beyond the Basics

So you've made your print, but it's kind of dull. It needs more snap. The solution? Boost the contrast! Photographic paper is available in two forms: single-contrast or multiple contrast. Single-contrast papers will give you, as the name implies, one contrast. The "average" contrast is 2, on a scale of 0 to 6 (6 is basically black and white, no middle tones, while 0 is mostly gray).

Multi-contrast paper is more versatile, but you have to buy a set of multi-contrast filters. An advantage of multi-contrast is that most filter sets come in half-contrasts. So if contrast 3 is not enough but 4 is too much, use the 3 1/2 filter. Single-contrast papers only come in full-contrast increments.

Contrast control offer you the opportunity to interpret the basic negative. Greatly increasing or decreasing contrast when it is not necessary to bring out all of the information in the negative (your first goal) is a decision that could enhance--or detract from-- the composition.

Another way to control your print: part of your print is too dark, part is too light, but most of it looks just fine. This is not unusual. Localized dark areas of the print can be lightened via "dodging", where the light is blocked to that area for part of the exposure time; the too-light areas can be darkened via "burning", where you expose just the light area for a little more time. There is an art to this which is almost impossible to describe here. The best way to learn these skills is by taking a darkroom printing class. I highly recommend this.

The next step is up to you.

These are some of the skills you'll learn as an advanced beginner. The next step may include tonal control, printing archival (so the image will last a lifetime without a blemish), alternative processes (like printing on fabric) and zone system printing. Over these last three months, you've learned the basics of black-and-white processing, but that just scratches the surface. The art and science of darkroom work can fill a book (In fact, it fills dozens of Ôem.)

If you want to go beyond the basics, you have plenty of resources. A good place to start is Black and White Printing, by George Schaub (Aperture). Ask any specialty camera store and they can point you to bookshelves filled with darkroom how-to books, including those published by manufacturers of darkroom supplies.

Now get in there and print--and be proud of the work you're going to produce!

[frbienchieu]

Photoprocessing Do's and Don'ts

Shortcuts to film darkroom expertise

By Ronald J. Lamarsh

Processing Do's and Don'ts
Although I am not an expert by any means, I have been processing my own B&W film for over ten years. During that time I have discovered some good "do's and don'ts." Hopefully these will help you from wasting time on the same mistakes I've made.

First of all DO process your own film; it is the only way that I know of establishing the controls needed to get reliably good prints. A studio photographer with controlled lighting can probably get by with a custom lab. But if you want to take full advantage of the many different developers that are available, you have to do your own.

Never take anything for granted especially when it comes to the strength of the acid stop bath. In the past I would just keep using my old stop bath, rarely mixing new batches, and leaving the negative in for any old amount of time with no agitation. I assumed everything was ok....not! I had just developed some beautiful 4x5's with great potential, only to discover that when printed there were tiny black spots on the print. When I took a closer look at the negative, I found small pinholes in the emulsion. Apparently, over time my stop bath had gained strength. Letting the negatives sit in it for over ten seconds was disastrous. The combination of an overly strong solution and no agitation caused the emulsion to blister. The negative was ruined. This was a crushing blow considering I had spent two days backpacking with 60 lbs to take the shot.

Do double check the chemistry you are putting into your tank, and Don't be in a hurry. I had just mixed two new half gallons of D-23 eagerly anticipating some Zen time in the darkroom with my latest batch of film tests. Well...I rushed myself. I pulled out the container I thought was fixer (all the dark jugs look the same) without checking my labels, and dumped it into the tank. After the required fixing time I turned on the lights only to watch the negatives turn black before my eyes. I had put one of my new half gallons of D-23 in the fixer tank! So not only did I ruin the negative my new developer was contaminated with stop bath and I had to mix new developer and do the tests over.

The moral: slow down, turn off the phone, lock up the kids and focus on what you are doing.