The processing instruction sheet packed with most film tells
you to develop for, say, 8&1/2 minutes at 68-degrees F. It outlines an
agitation schedule and advises on adjusting times for variations in
temperature. Though following these guidelines should yield printable
negatives, they don't necessarily result in optimum negatives for each person or more importantly for each type of scene.
In some cases, the times and temperatures given are an average, and only
through testing can you arrive at what's best for you. Also, everyone's
in-camera meter or handheld meter--and way of reading light--is different.
Coupled with idiosyncrasies in processing, such as faster or slower agitation,
is the fact that some thermometers aren't totally accurate; also, chemical
mixing may be off, with dilutions varying as much as +/- 10%. The result is
that two people may shoot the same scene with the same film, and develop in
essentially the same way, and still get slightly different looking negatives. Though following procedures strictly is one way out of this problem, you may also have to modify your developing technique to get the most printable negatives for your style of printing. Before we examine a way to gain this personal touch, let's get one thing straight: there's no sense getting involved with your own printing unless you handle your own negative developing.
Below: Hong Kong Market, 1976. Tri-X 400. Exposure: Spot reading on highlights, +1.5 stop compensation. Processing: D-76 1:1, 8 minutes (-25% recommended), 30 second agitation cycle.
The first step in gaining control over your negatives is
knowing the look of the negative you want to produce. Some printers like dense
negatives (slightly overdeveloped and/or overexposed), while others prefer thin
negatives (slightly underexposed and/or underdeveloped.) This preference has to
do with a number of factors, including the type of light source you print with
(generally, printing with a condenser type head means you'll go for thinner
negatives, while denser negatives are preferred by those using a cold light
head); what a favorite negative looks like (by accident, one negative prints
perfectly for you; though you can't put your finger on what made it happen, you
know you want to have it happen again); and the feeling a negative imparts to a
print (this may have to do with contrast, but it also can be the grain or the
amount of detail in shadow areas.)
All these preferences are valid, but they are too often a
subjective matter, one that can't be quantified or qualified by graphs and charts.
The point is to be able to reach your goal consistently, and be able to produce
the kind of negative you want without having to resort to luck. This can be
accomplished by running a few tests, and then sticking to a technique you'll
follow again and again.
Givens: Stick to the Plan
The first given in this procedure is that you'll stay with a
set time and temperature: we do this to cut down on the number of variables in
film development. Then we'll use a certain way of reading exposures. For
example, if you read through-the-lens (TTL), with a handheld incident meter, or
with a spot meter, stick with it; if you meter highlights and shadows and
average, spot meter shadow or highlight readings and compensate, or allow your in-camera autoexposure meter
to average readings, keep it the same throughout.
Once you've set up your “house” rules you can begin to make
subtle changes in film processing.
Agitation, Pours, and Dilution
While it's known that agitation can have an
effect on film development, it's not generally understood that the fashion in
which film is agitated can result in thinner or denser negatives. Some agitate
gently, while others shake film cans as if they're mixing a martini. Some may
use drums mounted on electric rollers, while others agitate every 30 seconds or
once a minute. Again, stick to your method, but understand that changing it
slightly can have an effect on results.
Removing chemistry from a film developing tank after each
step is done in various ways--some people start their pour 15 seconds before
the end of each step, others wait until the total developing time is elapsed.
If you wait until time is expired you're actually adding from 10 to 30 seconds
developing time. There's no right or wrong here--we're just interested in
controlling the process. Be consistent.
The same goes for developer dilution--some dilute 1:1 for
more even tones (or whatever your developer solution requires), while others
use a lower dilution ratio than suggested for the added "punch" it
gives negatives. Stick with a dilution time after time until you find out how
it alters the look of the image; try another if you're dissatisfied.
Once you've lined up all your procedures, and made sure that
you follow them consistently, you're ready to begin a test that will help you
determine how to apply your personal disciplines to getting the best results
from your film. You'll need three rolls of film and developing tools and
chemicals.
Below: White Sands, 1982, Kodak Plus-X, shot at ISO 100. Exposure: f/11 at 1/500 second, spot reading on highlight with +1 exposure compensation. Developed in D-76 1:1 for 8 minutes, 30 second agitation cycle.
Film Test: Ringarounds
Load your preferred film in your camera and set the meter at the film's
rated speed--ISO 400, for example. Find a scene, or set one up, that has a 5-stop
brightness range. For example, use a scene with f/4 for a shadow reading and
f/16 for a highlight, with all tones in between. Don't pick a high-contrast
scene where you have a bright highlight and deep shadow. Set the shutter speed
so that the "correct" (or averaged) exposure is f/8. (Thus, if the
meter reads f/5.6 at 1/500 sec, alter the balance to get a reading of f/8 at
1/250 sec.) Do this with three rolls of film. On each roll make three five-stop brackets of the scene; shoot one
set at ISO 100, one at the normal setting of ISO 400 and the last at ISO 1600.
In other words, shoot a series at f/4, f/5.6, f/8, f/11 and f/16 at ISO 100,
400 and 1600. This is your exposure ringaround.
Load each onto a separate reel. Develop one roll in your
normal fashion, with whatever time, temperature and dilution you normally use.
Develop the next roll at 50% over your normal developing time, then the last
roll at 30% less than your normal time. Keep time, temperature and agitation
cycle constant throughout. In other words, if your normal time is 10 min,
develop roll #2 at 15 min and roll #3 at 7 min. After the negatives are dry,
make contact sheets (on a “normal” or #2 grade paper or by using a variable
contrast #2 filter) of each set or simply check the negatives with a loupe.
Study the negatives and/or contact sheet; find the negative
that has the richest tonal range, with detail in the shadow areas and
controlled, printable highlights. Once you've chosen the negative, note where
it appears on the ringaround and see how it was obtained.
Judging Results and Making Adjustments
If the prime negative was of the averaged reading developed
normally, then your technique is right on target and you can go on your merry
way. But if the prime negative is, say, the averaged reading negative developed
plus 50%, then you've got some adjusting to do. Adjustments can be made in
either your camera meter setting or your developing time. Let's say that the
best negative is obtained at the f/5.6 setting with normal developing time--in
this case, you can rate the ISO 400 film at EI 200 when using your metering
system. Don't be afraid of "fooling" the camera--all you're doing is
recalibrating your system for optimum results.
Or, if your best results were obtained with the plus 50%
developing time at the f/11 setting you can adjust your meter to EI 800 for an
ISO 400 film and adjust developing times accordingly. After you've made the
necessary adjustments, refine the test even further by shooting a few rolls of
everyday scenes at the new settings and developing times. You may end up
clipping a few seconds of the time, or changing your meter setting by 1/3 or
1/2-stop (changing ISO is the easiest way to do this.)
Each camera/metering system you own should be subjected to
this test, as each one represents a variable. However, if your results are
really out of whack have the unit serviced. No amount of fine tuning can make
up for a truly faulty system. Also, you can change results somewhat by going
from a once a minute to a 30 sec agitation cycle (this increases developer
activity); adding a degree or two to solution temperature; or switching to a
different dilution. Whatever you do, be consistent.
Below: West River, 1982, Tri-X at ISO 320. Exposure: f/8 at 1/125 second, CWA metering, no exposure compensation. Developed in D-76 1:1 for 8 minutes, 1 minute agitation cycle.
One side benefit of this test is that it can open your eyes
to how negatives can be manipulated with time and exposure variations. You may
find yourself having very strong feelings about a particular scene and decide
to expose and develop it accordingly. The test will give you a reference
catalog of all the variables and their consequences. You'll see negatives that
are overexposed and overdeveloped, underexposed and overdeveloped, underexposed
and underdeveloped, and so forth. This can also become a guide for tracing
mistakes and problems. In any case, knowing the procedures that will give you
the negatives you need gives you a real sense of control over your photography.
Roll and Sheet Film
Note that these procedures are easily done when using sheet film, as you can customize processing and settings for each frame. On roll film my procedure was to have one camera for "normal" contrast and one for high-contrast scenes. (I even swapped film mid-roll at times using a changing bag or simply finished a roll in the same general lighting conditions.)
Be Consistent to Get Consistent Results
Everyone is an individual, and each person's technique
should be a tool, rather than a hindrance in expressing that singular vision.
By customizing your procedures and shooting for your individual tastes you'll
be getting the most out of every situation. There's no need to have every piece
of equipment you own calibrated, or to make graphs and charts of developing
curves, but you need to be consistent and know the consequences of your
actions. If you follow this course you'll gain the most photographic freedom
and produce the best possible negatives for your printing.
