Start with 750 ml of water at 75 With constant stirring, add the following: Bleach the film for 10 minutes in a C-41 color bleach or an E-6 positive film color bleach or make your own ( use with care: it’s highly toxic and as with the C-41 chemistry, dispose of it with your community’s toxic waste system, NEVER PUT IT DOWN YOUR DRAIN!).This is another reason I encourage you to do the C-41 process yourself. It is wonderful to be able to pull the film out of the canister and check on it’s progress. At this point you can complete the remaining steps in room light.Fix with a NON HARDENING film fix for 5 minutes and wash the film as you would in any black and white film process, for 10-15 minutes.After development, rinse the film in water for 30 seconds.Agitate normally, in development, as you would in developing black-and-white film (per your normal procedure).Agitation will release air bubbles that may adhere to the film surface upon immersion. Also recommended is a 2-minute pre-soak in water at 75 after exposure.
DARKROOM SOAK PHOTOFLOW FULL
full sun and harsh shadows, natural light vs.
Also, the higher the ASA, the longer the development, as shown in the chart below. You begin with color slide film the higher film speeds will produce more grain and dramatic effects.Print on color C-print paper and process with RA-4 chemistry or scan it digitally.Then wash and develop it as a color negative.Bleach it in color bleach or a homemade version that I have included.Develop it in black and white negative film chemistry.Shoot color slide film at a higher film speed than its ASA (at least 2-3 stops faster).
I have more of my imagery on my Alternative Photography gallery page. I also do not keep detailed track of exact development temperatures and times.Ĭonsequently, I encourage you to try the straight method 1st, then tweak it and, unlike me, keep track of the details. I often use metal pinhole cameras, subject to temperature shifts and light leaks. I believe this is due to the following variables: the film I use is always quite expired (as in decades) and the conditions I shoot and store it in are not consistent, temperature-wise, I have found that this process is forgiving, predictable and less ‘alternative’ if the procedure is followed to the letter, yet when I began to get eccentric deviations, I often wasn’t able to exactly reproduce those results. Here is my first accelerated image, in which I followed the directions loyally:īelow are the later variations in which I used other black and white film developers instead of Acufine. I have been reassured by those brave enough to cooperate that it can be handled as a simple cross process (slide to negative). At the point the film is ready for this step it has been bleached, looks weird and scary to those unfamiliar with unconventional processes, such as a commercial lab. extra step, there may be labs that will process it for you although this could be quite a challenge. It is crucial to dispose of it, as many photo chemicals require, as toxic waste with your municipality.ĭO NOT EVER THROW IT DOWN THE DRAIN UNDER ANY CIRCUMSTANCES! HOWEVER, It is quite toxic and must be handled carefully with a respirator and gloves!
The chemistry can be found online and it’s a relatively simple procedure and better still, the same for all color films! There are also YouTube tutorials. Necessary is the C-41 process, this being how color print film is developed. Basically, you’re reversing slide film into a color print negative with a bleaching step in the middle. My method is quite fast and loose as I enjoy being surprised at the end. These various recipes can be quite detailed and rigid. Also, Robert Hirsch describes it in the second edition of Color Photography. If you goggle these words, there are a number of sites that will explain and guide you as well. The issue was from May 1989 written by Rand Molinar, titled “Film Acceleration”. They generously shared with me the how-to article from the now defunct magazine Darkroom Photography. Initially, I learned of this method in the 90’s from seeing the amazing work of committed ‘accelerators’ in a communal lab. A multi-step processes designed to push color film to create Pointillist effects with intense grain as well as many unpredictable and extraordinary outcomes.Įssentially, it can appear as very intense cross processing with local solarized elements.
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