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#11
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What do you pay for developing?
"Michael" wrote in message news:2009050312382516807-adunc79617@mypacksnet... On 2009-05-02 22:09:47 -0400, "Ric Trexell" said: "Toni Nikkanen" wrote in message ... I'd like to point it out that nowadays, if someone is displeased with the quality, service, speed or pricing of colour negative development, it's not that much of a trouble to do it yourself, especially if you've ever done B&W negative developing before. It's not too much more trouble with today's 3-bath kits. And you don't need a darkroom, all you need is a kitchen sink, a tank and a black "strait jacket" type film changing bag. ************************************************** ****** Yes, and if you are going to only scan the negatives, you can get by without and enlarger and all the other stuff that goes with printing. Good point, it is something to consider if more places drop developing. Ric. And slides also. It looks as though Dwayne's will be in it for the duration as long as Kodachrome is produced, and E6 is no more difficult to home process than C41, just a couple of extra steps. You get slides for projection (if you like) and scanning. -- Michael E6 processing (for Ektachrome and others) may be the same number of steps as C41, depending in which variaition of the process you use. K14 (for Kodachrome) is not a home process, at least not for actual color slides. The downside of C41 and E6 is temperature control and the storage life of the chemicals. The developer must have minimal contact with air for longest life and even then, the life is only a couple weeks. Actually, printing color negs (RA4) is not that difficult either. Again the biggest issue is temp control and shelf life. But if you use a mechanized processor of some type, it's not much more difficult than B&W. I prefer roller transport processors rather than the tube types. |
#12
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What do you pay for developing?
"K W Hart" writes:
E6 processing (for Ektachrome and others) may be the same number of steps as C41, depending in which variaition of the process you use. K14 (for Kodachrome) is not a home process, at least not for actual color slides. The downside of C41 and E6 is temperature control and the storage life of the chemicals. The developer must have minimal contact with air for longest life and even then, the life is only a couple weeks. Lots of people have found that at least for Tetenal's C41 chemistry, temperature control and storage life are not even nearly as critical as one could imagine given the manufacturer's recommendations. Basically, if you fill a kitchen sink with 40C water, put your processing tank and bottles with chemicals in it, let it cool down to 38.5C, then start processing, the temperature will stay in the 37.5-38.5C range allowed within the tolerances of said chemicals, during the 3:15 - 4:30min processing times, with no extra work involved. Shelf life of mixed chemicals is also typically multiple times that of promised. If you're really worried you can of course mix only half of the chemicals for use at a time, but after going through 2 sets of Tetenal 1-liter sets of C41 chemistry and quite frankly, abusing it way beyond promised longevity, I'm no longer worried about it at all. Hell, I use 1L plastic (PET) lemonade bottles for storing the stuff! Of course I squeeze all the extra air out etc. but still... I've yet to try the E-6 stuff, because I do somewhat less slides AND my local lab is probably the best E-6 lab in the country. But eventually I will. |
#13
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What do you pay for developing?
"Toni Nikkanen" wrote in message ... "K W Hart" writes: E6 processing (for Ektachrome and others) may be the same number of steps as C41, depending in which variaition of the process you use. K14 (for Kodachrome) is not a home process, at least not for actual color slides. The downside of C41 and E6 is temperature control and the storage life of the chemicals. The developer must have minimal contact with air for longest life and even then, the life is only a couple weeks. Lots of people have found that at least for Tetenal's C41 chemistry, temperature control and storage life are not even nearly as critical as one could imagine given the manufacturer's recommendations. I've never used Tetenal's product, so I can't speak about the storage life. As for temperature control, if you are doing critical work where one roll has to match the next roll, temperature control is more important. But not everyone is doing such critical work... Basically, if you fill a kitchen sink with 40C water, put your processing tank and bottles with chemicals in it, let it cool down to 38.5C, then start processing, the temperature will stay in the 37.5-38.5C range allowed within the tolerances of said chemicals, during the 3:15 - 4:30min processing times, with no extra work involved. There is a temp control procedure called "drift-by". Basically, you determine how much heat will be lost (or gained if your darkroom is over 100F!) and you start out at a higher temperature. The average temp will be correct. Shelf life of mixed chemicals is also typically multiple times that of promised. If you're really worried you can of course mix only half of the chemicals for use at a time, but after going through 2 sets of Tetenal 1-liter sets of C41 chemistry and quite frankly, abusing it way beyond promised longevity, I'm no longer worried about it at all. Hell, I use 1L plastic (PET) lemonade bottles for storing the stuff! Of course I squeeze all the extra air out etc. but still... Manufacturers are usually very conservative in their product ratings. Fortunately C-41 developer (like many B&W developers) goes dark as it ages. The darker it is, the more risky it is to use it. I mix 2L at a time, so I use 2L Coke bottles for my developer. If you are using soda/drink bottles for chem storage, please make sure that no one will mistake your chems for what was originally in the bottle. The bleach I replenish and reuse, and the Fixer and Stabilizer I mix 5 gallons at a time and store in 5 gallon tanks with floating lids. I've yet to try the E-6 stuff, because I do somewhat less slides AND my local lab is probably the best E-6 lab in the country. But eventually I will. The toughest thing I've found about E-6 is mounting the slides! I have trouble making the cuts between the frames, proably because it's black instead of clear. |
#14
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What do you pay for developing?
Ric Trexell schrieb:
"K W Hart" wrote in message ... "Ric Trexell" wrote in message net... " The price you are paying is very attractive. The price you quote for 35mm ($2.44)- is that for two week turnaround or one hour? I suspect that the processing was incorrectly coded in the store's computer. Don't be too suprized if it suddenly goes up. ************************************************** ******************** The price for 35mm has always been very low. I'm not talking about 1 roll but many rolls. ************************************************** ******* Please define "many rolls". I've taken a half dozen rolls of 35mm into my local WalMart, and the price has always been about $7 each for one hour processing. No one has ever said anything about a quantity deal. ************************************************** ********************* I didn't use good wording there. The point you made was that it could have been a mistake on that one roll. I was saying that the prices of several rolls, meaning over the last few months or years have been low. They ship everything out to a Fuji lab and I learned this weekend (because a 120 roll was labeled as 110 and misplaced) that they, the Fuji lab, sends some of there film out. Yes, film developing has dropped off there at Wal-Mart and that is why they only pick up during the week. I remember many times in the past when I would drop my film into the container and it was packed. Now there are about 10 rolls being sent off. I still like film for the color and other things. Plus I can scan it so I have the best of both worlds. The day may come when film users will need to either send it somewhere half way around the world for developing or have our own darkroom. Right now with $1.44 developing for 120 film, I can't afford to monkey with a darkroom. Ric. .... but you can afford to monkey with an great and heavy camera that needs a trustable tripod and some time to operate to produce 6x7-pictures ... only for giving them away at Walmarts? you need a thermometer, a developping tank, some liquids and some time - even for zone system. you do not need a darkroom to process your films. if you can not afford exposing a dozen rolls of film, reduce your efforts to the max and try to expose only ten or a dozen of pictures. greetings hans |
#15
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What do you pay for developing?
Toni Nikkanen schrieb:
I'd like to point it out that nowadays, if someone is displeased with the quality, service, speed or pricing of colour negative development, it's not that much of a trouble to do it yourself, especially if you've ever done B&W negative developing before. It's not too much more trouble with today's 3-bath kits. And you don't need a darkroom, all you need is a kitchen sink, a tank and a black "strait jacket" type film changing bag. yes, you are right! |
#16
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What do you pay for developing?
K W Hart wrote:
The toughest thing I've found about E-6 is mounting the slides! I have trouble making the cuts between the frames, proably because it's black instead of clear. Hmmm. There is a device that model railroaders (or railroad modelers) use, mostly in connection with construction of scale buildings. The brand name is "The Chopper". It is essentially a small-scale device *similar* to a paper cutter, except that it can cut through thin sheets of wood or styrene plastic, and it uses a *straight* blade (actually, I think it's just a single-edge razor blade) to guarantee straight cuts. The Chopper might help you make the cuts straight across, but if your problem is locating the cuts halfway between one frame and the next, that product may not help you. (I don't happen to own one, so I'm not sure.) However, a clever person could probably build a similar device, and equip it with a sliding jig for the sprocket holes, which jig could be screwed down tight when you had the frames aligned with the sprocket holes for a given roll of film. Of course, you might have to re-align that for each roll of film. |
#17
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What do you pay for developing?
"scenic_man" wrote in message ... K W Hart wrote: The toughest thing I've found about E-6 is mounting the slides! I have trouble making the cuts between the frames, proably because it's black instead of clear. Hmmm. There is a device that model railroaders (or railroad modelers) use, mostly in connection with construction of scale buildings. The brand name is "The Chopper". It is essentially a small-scale device *similar* to a paper cutter, except that it can cut through thin sheets of wood or styrene plastic, and it uses a *straight* blade (actually, I think it's just a single-edge razor blade) to guarantee straight cuts. The Chopper might help you make the cuts straight across, but if your problem is locating the cuts halfway between one frame and the next, that product may not help you. (I don't happen to own one, so I'm not sure.) However, a clever person could probably build a similar device, and equip it with a sliding jig for the sprocket holes, which jig could be screwed down tight when you had the frames aligned with the sprocket holes for a given roll of film. Of course, you might have to re-align that for each roll of film. Actually, I purchased (Noritsu, used on eBay) a commercial slide mounter. You feed in the roll of film, and using an advance knob, locate a frame between two lines. Press a button and it cuts and mounts the second frame away from the viewing area. Only problem is that it uses a plastic mount and I still have the better part of a box of 500 cardboard ones! |
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