Can You Use Blazinal (Rodinal) with Ilford Stop Bath and Fixer?

I received an email tonight from a gentleman who mostly uses digital, but wants to start shooting a few rolls of B&W per month (which by the way, I find to be a really good strategy – colour film photos look different than colour digital, but B&W film photos really look different than B&W digital). He’s had darkroom experience, but it was many years ago, and he was wondering whether he should order Blazinal (which is Rodinal, sold under a different name for legal reasons in Canada – trademarks or something) in combination with Ilford Stop Bath and Ilford Rapid Fixer.

The short answer is yes, there is no problem at all with that combination. In fact, judging by the sales from my store, this is the most popular combination people are using right now (in Canada at least!)

Now to be fair, as far as stop bath and fixer go, I only sell the Ilford stuff, but that’s because it’s all anyone ever asks for or wants. There are other products out there (Kodak makes fixer for instance), but they’re harder to get, and there’s not really any point, because stop bath and fixer are very utilitarian products. At least as far as I know, there aren’t any that really impart any different looks or qualities to the final photos they produce. I suppose that if you had some really outdated bottles that went bad, those would affect your image quality, but that doesn’t really count.

Developer chemicals will change your final image, of course. Different developers can affect the sharpness, contrast, etc. of your negatives, as can the process you use. For instance, Blazinal/Rodinal is very popular for stand development, which seems to be constantly growing in popularity (I haven’t personally had great results when I’ve tried it, but that was only twice).

Blazinal is the most popular developer I sell, followed closely by Ilford DD-X, which is an excellent developer, although without the extremely long shelf life of Blazinal/Rodinal (this is not a slam on DD-X, it has a normal shelf life, but Blazinal is just much longer than almost any other developer I know).

But yes, the fact is, if you’re just talking about standard B&W developing, and not any special process (like cyanotype, silver collodion, etc), you can mix any developer with any stop bath and fixer. They each have a very distinct part of the development process to take care of, but they don’t really interact with each other in any way that would cause compatibility issues.

What’s in the Unicolor C-41 Kit and What Size Should You Buy?

Someone just asked me what’s in the Unicolor C-41 kit that we sell here, and it reminded me that I went to a film photography meetup recently where a couple of people asked me about that, so I thought I’d write a quick post about it:

When you buy the kit, what you receive is a cardboard box with a few things inside:

  • A short, but very clear and useful instruction booklet
  • The C-41 Developer powder, packaged in a vacuum-sealed foil bag
  • The Blix Part A powder, packaged in a vacuum-sealed foil bag
  • The Blix Part B powder, packaged in a vacuum-sealed foil bag
  • The Stabilizer powder, packaged in a little zip-loc bag

I’m going to go through each of these briefly:

  1. The Developer powder is what you’re going to use for your first step of developing C-41 film. This (like all the C-41 chemicals) comes in powder form, so that it has a long shelf life, and once you’re ready to start developing film, you mix it with water and put it in a bottle and make sure it’s all dissolved (the booklet should explain this – basically you mix the powder in while stirring at a high temperature, and then possibly leave it a while to dissolved fully).
  2.  The Blix Part A and Part B powders are packaged separately, because they contain chemicals that react when they’re mixed up. When you’re ready to develop these, you’ll mix both of them together with water, and you’ll actually see a chemical reaction when they come in contact. This is actually pretty cool to see, you just have to make sure you don’t mix them too fast, and you use a big enough container, because they create an endothermic reaction, and there’s a bit of bubbling and vapor. Once you mix these, you’ll have a liquid solution that you use for the second step of developing.
  3. The Stabilizer powder is just a very small amount of white powder in a zip-loc bag (the other bags are strong, vacuum-sealed, opaque bags). After you mix this with water, you use it in the third stage of developing. Your film is completely developed and ready to scan/print/etc. at this point, but the stabilizer treats and hardens the actual film to avoid any degradation over time.

And there you have it, those are the 4 things included in the kit. I should also mention that the instructions in the kit are very well written. It’s just a little paper booklet that’s short, but is so nice and readable, and contains all the information you need, explained very, very clearly. I was actually really surprised at how user-friendly the booklet is when I first saw it.

So what size kit should you buy?

The main things you want to think about when you decide on a size are these:

Shelf Life: As long as you keep air out of your storage bottles (usually done by squeezing extra air out just as you seal them), your chemicals can last for quite a long time (at least several months, if not longer), and most people who do this are able to get a lot of rolls out of each kit. The instructions say you can get up to 12 rolls done before there’s any degradation, but after that point, any loss in color or contrast is still pretty gradual, so it’s very common to get a lot more out (I’ve heard people report from 20-35+ from a 1 Liter kit). So what this means is that if you think you’re only going to home develop 6 rolls in a year, it’s probably not worth buying the 2L kit, because your chemicals may wear out before you have a chance to fully use the kit.

Price: Buying the 2L kits gets you a pretty good discount – you only pay about 50% more than buying a 1L kit. Apart from lowering your cost per roll, this also gives you a little leeway – for instance, if you buy a 2L kit, develop a bunch of film with it, but then your life gets busy and don’t get back to it for a while, and the chemicals get old, your cost per roll might still wind up the same as if you had bought the 1L kit.

Bottle Size / Storage: Unlike B&W chems, with C-41, you are supposed to mix all the chemicals at once, then store them in bottle until you’ve exhausted them. This means that if you buy the 1 Liter kit, you need 3 bottles that each hold 1L of liquid. If you buy the 2 Liter kit, you need 3 bottles that hold 2L. We sell the Delta Datatainer chemical storage bottles in each of these sizes, which are great, high quality bottles, meant for this task. However, if you want a less permanent option, you can use plastic pop bottles (just make sure to rinse them very well, and don’t expect them to last forever).

So whichever size you use, you need to think about storage. You’re going to have 3 bottles to put away, and 2L bottles take up more room than 1L.

Hope this article helps, and I’ll repeat the link to buy the Unicolor kit (as well as changing bags, developing tanks, etc) here.

Is Developing C-41 (Colour) Film Really Harder than Black and White?

A prospective customer emailed me today about the C-41 kits in the store. They asked about the shelf life of the chemicals involved, and also wanted to know whether developing colour film was really tough and unforgiving, as some people say. I wrote up this reply, and wanted to post it here as well, hopefully it helps out other folks in the same boat:

Great questions!

So first off, about the expiry dates: The C-41 kits contain powdered chemicals, which are sealed extremely tightly in metallic bags, and my understanding is that these will last a very, very long time in that form. Once you expose them to water, then it’s a different story, but I know people who take months to use a mixed kit, and swear there are no bad effects.

The way you store your mixed C-41 chemicals is very important to how long they last, and there are 3 things you can do to make sure they last as long as possible:

1. Keep oxygen out of the bottles. I understand that this is the most important thing you can do. Whatever bottle you use to hold your chemicals, you want to squeeze the bottle before you put the lid on, so the liquid goes right up to the top, then put on the lid tightly. Some people use empty pop bottles, some use special bottles meant for film that let you do this too.

2. Keep the bottles in a dark place. Or just have an opaque bottle.

3. Keep the bottles somewhere cool. My understanding is that you don’t have to go crazy on this and refrigerate them, just try to put them somewhere that doesn’t get too warm/hot.

So for the next question, is it hard/unforgiving to develop colour film:

I know that when I started developing film, I read this all the time – everyone said that Colour was much tougher than B&W. Because of this, I put off doing C-41 for quite a while. However, as time went on, I started hearing more and more people saying it wasn’t really that hard, so I started researching it, and realized it didn’t sound much different. Finally, I gave it a go, and my conclusion was that wow, it was just as easy as doing B&W, and in some ways easier.

In most ways, the home developing process for C-41 (colour) film is just like B&W: You load your film into a tank, and you have 3 liquid chemicals that you pour in, leave a while and then pour out, one by one. The main difference between B&W and C-41 is just that B&W chemicals are kept very close to room temperature, but C-41 developer needs to be heated up, to about 39°C, or thereabouts.

So this sounds pretty daunting at first, but when I actually tried doing it with a thermometer, it was really not that tough. You heat some water in a small tub to about 40°C or 41°C, you put your developer bottles to stand in this water, and you wait for it to reach the right temperature. You might have to fiddle with the bath a bit and add a little more hot or cold water now and then, but it’s really not tough.

If you think you’re going to be doing it a lot, you can get a Sous Vide heater, which have become extremely popular for this use in the last year or so. This is a cooking tool you can clip to your water bath container, and it’ll regulate that water and keep it at the right temperature while your bottles of chemicals heat up in it (you don’t put the sous vide heater directly in the chemicals).

But I want to stress, you absolutely do not need a Sous Vide, or any other fancy heater. You can do everything yourself with just a thermometer. A Sous Vide (or other heater) just lets you set it up, go do something else, and come back to perfectly heated chemicals a while later.

So this brings us to the part about developing being unforgiving. This is the thing that kept me from developing colour film for the longest time: I kept hearing that you had to keep the water temperature within 1 degree in either direction, or your photos would turn out badly. I even read some people saying you had to keep withing 0.5 degrees.

After talking to a number of people, and my own experience, I think this is one of the biggest misconceptions there is. You can be off by at least a few degrees with no bad effects. I actually had a badly calibrated thermometer to start, and developed numerous rolls at 3 degrees off, and I didn’t notice at all, the photos all looked great. Recently, one of the hosts of the Film Photography Podcast mentioned that he had done experiments with developing at 10, and I think 20, degrees Fahrenheit off the correct temperature. He said he went above, and below the recommended temperature, and still wound up with fine photos. (He may have mentioned some extra grain at the extreme temperatures, and I definitely wouldn’t do this on PURPOSE and expect perfect results, but this is extremely interesting to me, and I’d like to try it myself sometime as an experiment.)

And one thing people don’t mention about C-41 temperature too is that of the 3 chemicals you use, only the first one, the developer needs to stay at the correct temperature, and (at least in the Unicolor kits we sell) the film only stays in that chemical for 3 and a half minutes. So you don’t want to worry too much about the developer losing temperature, since after 3:30 or so, you’re moving on to the next chemical anyway. (The next chemical is Blix, which even the Unicolor instructions say can be 10 degrees off in either direction).

There seems to be a lot of things in the film photography online world that aren’t completely, fully documented, and a lot of them seem to turn into games of Telephone sort of. Someone on a message board will say that you should try to stay within a few degrees of the correct temperature, and over the years this will be passed down from msg board to Facebook group to Twitter feed to msg board, etc, until someone is saying “If you don’t get within half a degree of the right temperature, your photos will EXPLODE and YOUR HOUSE WILL FLY INTO SPACE”. The temperature thing is a prime example of this, to me anyway.

Oh and also I wanted to cover why some people consider C-41 developing easier than B&W: With C-41, there is only a single developing time for your kit. It doesn’t matter whether you’re using ISO 100 or ISO 1600 film, whether it’s Kodak, Fuji, Lomography, etc. – it all just goes in the developer (then blix, then stabilizer) for set times. You can mix any C-41 colour films you want in one batch, and it’ll be fine. With B&W this is the complete opposite, and you have to look up times for each film/ISO/developer combination, and you can only mix multiple different films in one batch if they happen to share the same times.

So that’s that, I hope this is helpful. Because I actually sell C-41 developing kits, I always worry that I might sound like I’m biased or something, but I really do believe that it’s just as easy to develop Colour as it is B&W. I actually also sell B&W chemicals, so if I really thought that was an easier process, I’d just say so. And personally, I definitely love that the times are always the same and I don’t have to look things up every time I change film (or developer, ISO, etc), although I know some people really enjoy the process of experimenting with different times and temperatures and whatnot for B&W.

A Nice Review of Bergger Pancro 400 on Youtube

UPDATE: I originally forgot to link to Bergger Pancro in our store haha, woops, bad salesman.

I just wanted to point everyone to a very thorough review of Bergger Pancro 400 that I saw on Youtube. You may already be familiar with the MAX+ONE Portrait Photography channel, who make very good videos about film photography. Max and his friend Jules spent 3 months shooting only Bergger Pancro. He then tested out the film in a few different developers, and then made a great, comprehensive video about it. They shot in a variety of situations from Croatia to Munich, and did some prints as well. Great video, well worth a look.

I’ll quote some of Max’s thoughts from his review, but you should watch the entire video for more:

“Bergger Pancro is an amazing and very interesting film. It does have a rather flat characteristic, which makes it well suited for scanning and also doing prints of the negatives. I have to say that most of the time while editing in Lightroom, it was mostly about increasing the brightness and adding a little bit of contrast, so it was not really kind of working hard on getting the kind of dynamic range that you sometimes want an image to get kind of hard contrasts and things like that. So it was really easy to edit, and it felt the same while doing the split grades, that was kind of interesting to see how easy that was, and how quick we could often get results that suited our taste and what we had intended to do.

This is a film that I can highly recommend. I really appreciate it’s kind of glowy look for skin tones and skin in general. For Black & White portraits, I really think this gives it a certain modern and at the same time classic look, and I will definitely use this film again and again, especially using it with Kodak D-76 or, if I’m shooting it at ISO 200, with Spur Acurol-N.

So this is a film that I will most definitely order some more of, and that I really enjoy shooting.”


An Overview of Developing Film

Developing Tank

Since I added C-41 developing kits to the store the other day, I’ve had a few emails about developing your own film. I’ve been developing my film (Black & White initially, and then Colour) for a while now, but I can still remember the time before I did, and how daunting it was. For me, part of the problem was that initially, I saw a lot of very in-depth instructions on the web, as well as videos, but I just wanted to figure out a general overview. I hope this article will help with people in my situation, and I’ve decided to word some of it in a Question/Answer format.

Is it hard to develop your own film?

Nope! There are a number of steps you have to follow, but they’re all easy steps. To me, calling something “hard” means that you have to practice it before being able to do it, and also that you have to make choices/decisions along the way, which you might get wrong.

Developing film is not like this. You just do certain pre-defined steps, and as long as you do the correct things, your film should turn out perfectly.

What’s more, there’s less room for error than some people let on. People make some very scary claims about how perfectly, precisely, exact you must keep your water temperature, especially when developing colour film, but a lot of those claims are very exaggerated (in my opinion, some people like the idea that they have mastered a very tough process where you can’t vary your temperature by 0.5 degrees or else your film will be completely unusable).

The thing you’ll notice if you spend any time discussing home developing online is that 99.9% of people say “you should do it, it’s great!”, and almost nobody ever says “Oh it was a disaster, sooo hard!” It just really is something almost anyone can do.

Can you give me a really broad overview of the process?

Sure! So first, you take a bunch of photos. You probably knew that step haha.

Next, you have to transfer your film to a developing tank. This is basically a plastic jar that is designed to not let any light in. It has plastic reels inside that you spool your film around.

Now that your film is in the developing tank, you pour in developing liquid and wait for a certain amount of time (between 3 and 10 minutes depending on the film and developing liquid). While you’re waiting, you agitate the tank once or twice per minute, by turning it over a few times.

Now, you pour out the developing liquid, and you put in another liquid. The next liquid might be a few different things – it varies depending on whether you’re doing Colour film, or Black & White, but once it’s in there, you do the same thing: Leave it in for a certain amount of time, while agitating the tank 1 or 2 times a minute.

Now, there’s one more chemical liquid to pour in. Again it might be one of a couple of things (Fixer or Stabilizer generally), and you leave it in for a certain amount of time, then remove it.

Now you can open up the tank and you have negatives! You hang them up to dry.

There are a couple of parts where you pour water into the tank during the process as well, to rinse the negatives. This might be at the end or the middle, depending on B&W or Colour, but it’s the easiest thing possible.

Do you need a darkroom?

No, you don’t. There is only one step of developing film that requires darkness, and that’s when you transfer your film to the developing tank. This only takes a few minutes, and you can do this a couple of ways:

The easiest way is to use a changing bag. This is a special, light-proof bag that you stick your developing tank and film in, along with a few other things (scissors, can opener to open the film can). It has holes with elastics around them, so you can stick your arms inside the bag without letting any light in.

If you don’t have a changing bag handy though, it’s fine, you just need to black out a room for a few minutes. Personally, I’ve done it in both a bathroom, and a walk-in closet. In both cases, I just put a towel on the ground to block light from coming in the door, and I also put electrical tape up to cover the door cracks. While this is a dark room, it’s easy to set up when you need it, and isn’t the same as setting a complex darkroom with sinks and lots of equipment, like some people imagine it. That sort of darkroom is only needed when you actually print traditional darkroom photos (instead of scanning your negatives and sharing them online, or printing them on a printer).

So wait, I have to transfer the film to the developing tank in total darkness? Isn’t that hard?

You do indeed have to perform this step in total darkness (you can’t use a red light like you may have seen in movies, etc.- that’s for doing darkroom printing).

This is the trickiest step, and the ideal situation is to have a cheap, or wasted, roll of film that you can practice with in the light. What I personally did was to watch a few Youtube videos very carefully, so that I was pretty sure I knew what to do, and then I tried it on a long-expired roll of no-name film I got at a camera show. I did it once in the light, and was very confident that I knew what was going on, so I took a regular roll of film I had shot (that wasn’t too important and wouldn’t kill me if I ruined), and I tried doing the procedure for real, in the dark. Watching the Youtube videos and practicing once paid off, and I transferred the film just fine, and it came out perfectly.

If you don’t have a spare roll of useless film, it can seem painful to waste a roll to test this out. What I’ve always said is that hey, you can get a cheap roll for $5 CAD (even cheaper in US dollars), and I think you might as well just get one and shoot a bunch of quick snapshots, and chalk the few dollars up to learning a new skill. Having said that though, I still have a handful of unusable rolls handy that would be perfect for practicing, so if you make an order on Buy Film Canada, just make a note that you’d like one, and I’ll send it if I have one (I’ll also try to remove this part of this blog post when I run out, so if you see this, I probably have one). These rolls have been completely exposed and rewound, so photos will come out completely white from them, there is 0% chance of any photos coming from them, so please only request one if you need to practice transferring film to a developing tank.

How much does developing your own film cost, is it cheaper?

There’s an up-front cost that can run between $0 (if you find someone dumping their old stuff on Craigslist/Kijiji) to maybe $120 if you buy all the equipment brand new. Buying new is quicker and convenient, but old equipment does the job just as well, unless it’s damaged.

Paying the up-front costs might not be fun if you buy everything new, but you can do what digital shooters do: Pay a bunch of money up front, and then magically forget that it happened, and pretend that everything you do from then on is free haha.

Once you’ve paid the up-front costs, the actual cost of developing each roll is definitely cheaper than doing it at a lab. It depends what you use, but I would say that at most it’s going to be half the price of doing it in a lab, and a lot of people use chemicals very efficiently and spend much less than that (especially with B&W film).

If you also figure in the costs of travelling to a lab, maybe paying for parking, etc., it definitely winds up a lot cheaper for most people.

The main thing to really consider other than price is: Do you enjoy developing film? I used to think it was going to be a hassle, but I thought “Oh well, the round trip to a lab takes me 40 minutes, then another 40 minutes to go pick up the negatives later!” and did it. What I found out was that the process is very fun and relaxing to me, and it’s something I look forward to now. Other people might find the complete opposite though.

What equipment do I actually need?

The basics are:

  • A developing tank with reels. The most common of these are Paterson brand, and Buy Film Canada can actually special order these for you (and we’ll stock them if there’s enough demand). There’s also AP brand which are very similar, and also fine.
  • A changing bag (optional). This is convenient to have, but if you can black out a room for 10 minutes, it’s not necessary.
  • A timer. You can use your smartphone for this.
  • A can opener to remove the lids of 35mm film cans.
  • Scissors to cut the film from the canister.
  • Some sort of clips to hang the negatives to dry. (I need to clarify this, but people do use laundry clips.
  • Some containers to hold the chemicals – you can buy special ones fairly inexpensively, but I believe some people do use empty plastic pop bottles (thoroughly cleaned of course).

What chemicals do I need?

If you want to develop colour film, there’s basically only 1 choice for home developers, that’s called a C-41 Press Kit. We sell them on Buy Film Canada, and they contain everything you need to develop colour film.

For Black & White, there is a larger range of possibilities. You buy B&W chemicals piece by piece, and you need 3 things: A developer, a stop bath, and a fixer. A typical shopping list for these might look like this:

  • Developer: Ilford Ilfosol 3 or Ilford DD-X or Kodak D76 or Kodak HC-110 or Rodinal (also sold as Blazinol). There are many other developers, these are the most popular.
  • Stop bath: Ilford Ilfostop or Kodak Indicator Stop Bath
  • Fixer: Ilford Rapid Fixer or Ilford Ilfostop Stop Bath or Kodak Fixer or Kodak Kodafix.

As you can see, there are a lot of options, but they’re all decent choices. To start, you probably just want to pick whichever you can find most easily.

Buy Film Canada doesn’t sell any B&W chemicals right now, but we have access to them, so if you’re interested, drop us a note, and if a few people are interested, we’ll stock them!

Well, that’s about it for now. I hope this accomplished the goal of just sort of giving a wide angle overview of developing.

For me, the toughest part was actually just getting myself in gear to buy the equipment and do it. Once I did, it was just as easy as everyone says, plus a lot more fun than I expected. If you have any questions about this article, please email

Pushing/Pulling Film vs. Under/Overexposure – a Quick Definition

I’ve tried to keep this post brief and basic, and just explain what the difference between these two terms is. I’m going to follow it up with a couple of posts explaing why you might choose one of the other of these for colour or B&W film. They should be linked below once I write them.

A lot of people new to film get confused at the difference between overexposure/underexposure and pushing/pulling film. This is understandable, because the terms refer to very similar things, with one main difference. I’m also going to use the term “box speed” here:

Shooting at Box Speed means that you use the official manufacturer ISO for the film (ie. the ISO on the box).

Underexposing film means that you change your settings so that less light than recommended hits the film.

Overexposing film means that you let more light than recommended hit the film.

Pushing film means that you underexpose it, but also develop it for a longer time, to compensate for the underexposure.

Pulling film means that you overexpose it, but also develop it for a shorter time to compensate.

So basically, when you use the terms pushing and pulling, the key difference is that the actual development process is different than normal.

When you overexpose, or underexpose film, but don’t compensate for it while developing, you’ll get photos that look brighter, or darker than if you shot at normal box speed. If you push or pull however, your photos should look mostly the same as shooting at box speed, but the amount of contrast and grain will be a bit different (I’ll explain that later).

Probably the most time that you hear about pushing or pulling is when people talk about pushing Black & White film. I’m going to explain a typical situation where you might do this:

Pushing B&W film: An example

Imagine you are out with your camera one evening, and you have a roll of Ilford HP5+, and you want to take some photos. You check your camera’s meter, and it says that if you shoot at box speed (which is ISO 400 for HP5), your shutter speed will be 1/15 seconds.

“Oh no!” you think, “I know from experience I can’t hold my camera steady for a fifteenth of a second. My photos will all be blurry.”

Pushing your film is the solution to this situation! All you have to do is to trick your camera into thinking your roll of film is a higher ISO, perhaps ISO 1600. This is 2 stops higher than the box speed, so you can use a much faster shutter speed. For each stop, you double your shutter speed, so you can now take pictures at 1/60s (four times faster than 1/15s).

A common way to trick your camera is to set the ISO dial to 1600. If your camera doesn’t have an ISO dial but does have an exposure compensation setting (which is often marked as EV+/-), you can set that to -2.00. Finally, some cameras have neither of these options, and just read the film’s ISO directly from the DX Code on the canister (a simple bar code), in which case you need to learn about DX Code hacking (a whole other topic).

So now, once you’ve tricked your camera into thinking you’re shooting ISO 1600 film, you go about your business and shoot the film. Once you’re done, you make a note that you have pushed the film 2 stops, and now it’s developing time.

Most labs that develop Black & White film will do the next part for you. You just have to tell them “Please push process this, I shot it at 2 stops above box speed, ISO 1600”, or something like that – it’s probably extra smart to marker this onto the actual film canister too.

If you develop film yourself, you will just need to leave the film in the developer solution for longer than normal. How much longer depends on how many stops you pushed the film by, and what film and developer you’re using. The Massive Dev Chart is the ultimate reference for this, so just consult that.

Once your film is developed, you will now magically have a bunch of photos that look like they were exposed at box speed, even though you didn’t have enough light to do so.

There are a couple of trade-offs however. Your images will have more contrast when you push the film, and will also be more grainy. This is not necessarily a bad thing, depending on what you’re looking for, and some people will push film just to get this effect.

Pulling B&W Film

Pulling film, as you may have guessed,  works basically in the same way, except you’re adjusting everything in the opposite direction. So your camera will take longer exposures, the film will spend less time in the developer (whether you or the lab is developing it), and your photos will have less contrast and grain.

In practice, pushing B&W film is much more common than pulling.

What about colour film?

Pushing or pulling colour film is entirely possible, but not as common either. One reason may be that photo labs tend to develop colour film in large, automated machines, and they don’t have the flexibility to leave some film in the machine for longer than everything else. This isn’t the case with B&W film, because all the different types already have different developing times, so labs don’t really stick these in big machines, they tend to use a more manual process.

If you develop C-41 colour film yourself though, you can certainly push or pull it, and the instructions that come with your home developing kit should cover that.

One last, important thing to remember

If you choose to push or pull a roll of film, you have to commit for the entire roll. That’s because you’re going to be putting the entire roll in the developing chemicals for a longer or shorter time.

There are a number of stylistic reasons that you might want to underexpose or overexpose a photo, without compensating for it later. If that’s the case, you don’t need to deal with pushing or pulling the film.

I hope this explains the difference between these 2 things decently, and I guess I sort of veered into explaining the whole concept of pushing and pulling. I still plan to write a couple of posts about doing this with colour film though, so if they’re not linked below, they should be soon!


Buying C-41 Colour Film Developing Kits in Canada

UPDATE (May 17, 2017): We have C-41 kits coming to our store, at very competitive prices! Pre-order forms may be up in the next day, and the actual kits should be here soon too.

Ever since I started this site, everyone has asked me for C-41 developing kits. I’ve just secured a deal with a supplier, and should have the kits ready to ship extremely soon. They’re going to ship to me on Monday, so this weekend (May 20/21, 2017), I’m going to have pre-order forms up, so that I can make extra sure that I get enough of them. I’m not sure if a lot of people will order them immediately, but I just don’t want to be in the position where I sell out immediately and some people have to wait.

If you want to be notified when the kits come in, or when the pre-order items are up, one good way would be to join our newsletter. The signup form follows, and please write with any more questions about this!


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A New Initiative to Preserve Film Photography, from Finland.

Juho from Camera Ventures, a Finnish business, has launched a site asking for people to contribute to a global map of film photography (“analog photography” in his words). The page that goes with this appeal is incredibly interesting, and Juho writes that he has been researching this topic for 9 months. In my opinion, it shows.

The page is a comprehensive look at the film photography ecosystem, and Juho identifies what he considers the 4 major problems that the scene will face in the future. These basically revolve around the supply chain for old cameras, development equipment, minilabs, scanners, and that sort of thing. He correctly points out that a lack of film is not necessarily the danger that the ecosystem faces.

I agree with this completely. I just wrote yesterday about scanning being a major pain point for people when it comes to film, and I’ve actually got a long piece of writing I’ll be posting soon that talks about some other holes in the ecosystem, but I don’t think film is one. More film is being produced now than anyone thought likely just a few years ago, and I think that piece of the puzzle is fine.

It’s actually funny, if you read old forums posts from about 10, or even 5 years ago, it’s hard not to find people who are very alarmed about supplies actual film disappearing completely. This makes perfect sense, because film is a consumable item, with a shelf life, but as so often happens, it turns out that people were worrying about the wrong thing.

Nowadays, film is probably the thing that is easiest to buy. Getting a nice camera is more of a pain (having to deal with people from Ebay/Kijiji/Letgo/Craigslist/whatever), and choices for scanners are even worse, with only a few decent options out there, and legends like the Pakon F-135 permanently out of production, and skyrocketing in price.

So, good luck to Camera Ventures with their map, I’m going to contribute myself with the resources from the “Where to Get Film Developed in Canada in 2017” page I recently made (and still need to format a bit more neatly).