Processing

Film Developing

The standard methods today for labs to develop a client's film are small roll tank, roller transport, hanger transport, 3 1/2 gallon or larger dip and dunk, or rotary. The pros and cons of these are as follows:

Small tank is great as long as you don't invert the tank to harshly, which can produce high speed agitation marks. The problem for labs is that you are limited in the volume you can do. It is however totally compatible for fresh one shot developing. Larger, water jacketed roll tanks allow for inspection and one-shot developing but tend to build up edge density.

Roller transport uses a replenished developer system which is inferior to using fresh developers. This is important to roll film developing because using fresh developer gives you full film speed, better shadow detail, and higher acutance. With roller transport systems you can not inspect film and scratching film is not uncommon as it goes through the transport system.

Hanger transport systems are better than roller transport in that the film does not come into contact with roller surfaces during developing. The hangers are moved up and down from solution to solution which provides for even developing, but suffers from the same problems as roller transport using replenished developers.  

Dip and Dunk developing which uses film reels, hangers, and cages has some drawbacks. Although it allows for volume and inspection, it uses replenished developer and can build up edge density on the bottom rolls.

Rotary systems allow for even film developing. Although, they use fresh chemistry it does not control temperature effectively and the constant agitation builds up grain density. Inspection developing can be done but is more difficult.

I. Wunder Photographics uses a modified old method of large water jacketed tanks for all roll film developing. This allows for one-shot developing, temperature control, inspection, and even developing.

Developers

Normal, Fine Grain, Extreme Fine Grain, Compensating, Super Compensating Two Bath, High Contrast, High Activity (for extreme pushing)

Kodak: D-76, Tmax-RS, Microdol-X, DK-50  Ilford: Ilfotec DD-X & HC, Microfin, Id-11plus, More listings to come..... I have just about every developer in stock.

Papers

First let me explain that papers are divided into two main groups. Resin Coated (RC) and fiber based. Resin Coated papers offer very fast washing and drying and are intended for commercial work. Fiber based papers are designed primarily for exhibition work. These papers are very rich in silver and can be washed and dried to archival standard which ensure that the prints will not turn or fade for over fifty years. These papers are available in either cold or warm tone. Cold tone papers have emulsions coated onto a white paper base. Warm tone papers usually have their emulsions coated onto a warm paper base such as an off white or cream color. The appearance of the print is further controlled by the use of different silver emulsions. Seen more in cold tones than in warm tones you will find warm black, neutral, or cold (blue) black emulsions. Papers are then separated by surface and weight. RC came in one weight until recently, when a portfolio grade paper was introduced which is a little thicker. Fiber papers come in single weight and double weight. Double weight is the norm for exhibition work as well as some commercial applications. Examples of surfaces are: glossy, semi-gloss, pearl, semi-matte, watercolor, crystal, and canvas which are limited to manufacturer and particular paper.

Papers

All Kodak, Ilford, Forte, Luminos, Bergger, Oriental, Agfa

Enlargers

There are four kinds of enlargers divided by their light source. Point Source, Condenser, Condenser Diffusion, and Diffusion. Point Source is the sharpest and the most contrasty of the enlargers. It is in essence a super condenser because it focuses the light directly onto the negative without the use of condensers. The light source itself has to be adjusted for the specific size of negative and enlargement. Point Source enlargers while having the greatest sharpness, show any dust or imperfection on the negative surface. These enlargers are not very practical in the lab because of the time it takes to focus and the amount of spotting needed after printing. Condenser enlargers are basically the standard in the lab. They attain their sharpness by directing the lines of light to the negative through a set of condensers. Condenser diffusion enlargers use one condenser and a diffusion screen which give the user the best of sharpness and the ease of printing afforded by diffusion enlargers. Diffusion enlargers are the least contrasty and the least sharp of all the enlargers. Instead of directing lines of light to the surface of the negative it scatters the lines of light. Diffusion enlargers compared to condenser enlargers are typically one grade lower in contrast. They were often used in the 1940'S and 50'S portrait studios because of their ability to hide dust on the negative and blemishes of the subject. Cold Light enlargers which fall under the diffusion category gained wider popularity with the introduction of the Zone System. There is a continuing discussion on whether condenser or cold light enlarging is sharpest. In my opinion the masking of the grain in diffusion enlargers is being misinterpreted as greater sharpness. Choosing an enlarger based on light source comes down to what kind of look you want in your prints. Condenser looks different than diffusion, it's an aesthetic choice. Here at I. Wunder Photographics I have everything but point source to serve your needs.