Single-use film cameras are incredibly popular for vacation photos. If you find yourself wishing you had your camera from home, you can easily pick up a disposable camera at the nearest drugstore or convenience store for $20 or less.

Disposable cameras also add a fun element to significant events like weddings or parties. Event planners and wedding photographers often buy them in bulk, placing one at each guest table or filling a big glass bowl with them at the bar. This not only provides guests with a fun activity that enhances the event’s happy and lively atmosphere, especially as the drinks start flowing, but it also captures unique moments from different perspectives. Plus, your guests essentially become your photographers!

Another excellent use for single-use cameras is during activities where your primary camera might get damaged, such as hiking, climbing, beach outings, or rainy days. They’re also fantastic for younger kids to use, thanks to their simplicity and straightforward operation.

Reasons to Push or Pull Film

Push – Low light and shutter speed not suitable for handheld photos. Low light is the most common reason people push. As a guide, when shooting handheld with an SLR, it’s best to keep your shutter at or above 60th of a second. With a rangefinder, you want to stay at or above a 30th of a second shutter speed—for anything lower you should either use a tripod or push your film a stop or two.
Push – Creative effects – Pushing is a fun way to change the look and many people push B&W and color film to get more contrast and increased grain – the more you push it the more contrasty and grainy your photos will be. Color film will have more saturation and possible color shifts.  
Push – An overcast day or the sun is going down. Shoot a 100-speed film and gain two extra stops (+2) by shooting at ISO 400 and develop it at ISO 400.
Pull/Push – You didn’t change the speed on your camera. You shoot 400 film at 100 ISO. Develop it at 400 (-2 Stops) and your photos should come out fine.
Pull – Sunny, bright, and high-contrast light. Pulling film reduces contrast and brings out details in the shadows.
Pull – Creative effects – Pulling film mutes colors and flattens the image with less contrast.

Terminology and Reference

ISO / Film Speed

Often referred to as film speed, ISO is a measurement of light sensitivity.

Lower numbers represent less sensitivity to light.  “Slow” film (low ISO) is a finer grain film, needing less light but requires a slower shutter speed, while “Fast” film (higher ISO) has more grain, a higher sensitivity to light, and can be used with fast shutter speeds.

What is a “STOP”

A stop is doubling or halving the amount of light let in when taking a photo.

A stop is a common term in photography and important in the pushing and pulling process, especially when you complete the film processing form. 400 ISO film set at 800 on your camera is 1 Stop (+1) underexposure because it’s doubled. But if you put 400 ISO film as 200 on your camera—that would be a 1 Stop (-1) overexposure because you halved it.

Push and Pull Chart

This chart simplifies how many stops a film is pushed or pulled when changing the ISO. For example, 400 ISO film set at 800 on your camera is 1 Stop (+1).

HOW TO SHOOT PUSHED OR PULL FILM

There are 2 parts to pushing or pulling film… 1) Shooting the image and then 2) developing the roll at the lab. This section details how to shoot and develop pushed or pulled film.

1) Shooting – Pushed/Pulled Film

To start, you will need a camera that allows you to manually change your ISO.  When pushing or pulling you simply set your camera or meter to the desired speed (different than the film speed) and shoot the film as you normally would. Pushing film

Pushing film

Most common in low light situations the film ISO or speed isn’t fast enough to shoot at box speed or suitable handheld shutter speed. Increasing (pushing) the ISO a stop or two allows you to shoot at a faster shutter speed or with a smaller aperture to increase the depth of field. Pushed film has increased contrast in the lighter areas with minimal effects on the shadows. To preserve the details in the shadows, make sure to meter for medium to darker areas of the image.

If you have 400 ISO film and you set it as 800 on your camera, that will be a 1 stop underexposure. When you are finished with the roll, write “+1” on the film cartridge and the order form so the lab knows to push it a stop in development.

Pushing Characteristics: Increases film contrast, More grain, Lightens Image
When developed bright areas become lighter, but shadows stay more or less the same—increases the contrast and grain of the film.

Pulling film

While the pulling technique can be done on color film, it’s not recommended and it’s almost exclusively done with a black and white film.  Most people pull film in sunny, bright, or high-contrast light.  Pulling decreases contrast, but brings out details in the shadows.

If you have 100 ISO film and you set it as 50 ISO on your camera, that will be a 1 stop overexposure. When you are finished with the roll, write “-1” on the film cartridge and the order form so the lab knows to pull it a stop in development.

Pulling Characteristics: Less contrast with increased details in shadows, flat and overall dull negative, darker image

Metering Tip – The most common mistake we see with regular and pushed black & white film is underexposure.  When it comes to metering for color negative—and especially black and white film—be mindful of what you’re metering for. We recommend metering for the shadows in even light and metering for the mid-tones in high-contrast light.  This will help you get better details in the shadows.

Mark your film – Once you’re done with the roll, be sure to write the push amount (+1, +2, etc.) on the film cartridge with a sharpie so the lab knows that it needs to be pushed. Also, select and write in the push amount on the order form. This will help ensure proper development in the lab.

2) Developing – Push Processing & Pull Processing

When the film is developed, Pushed film is left longer in the developer and Pulled film shorter, compensating for the different ISO setting, underexposing or overexposing film. Because Push and Pull processing time matters, it’s important to give instructions to the film lab and have the canister marked.

If you shoot 400 ISO film as 800, that is a 1 stop underexposure which will require a 1 stop push in development by processing it as an 800 ISO film. If you shoot a roll 1 stop under-exposed and don’t push in development, your photos will be under-exposed.

Other examples of pushed film:

Dark Scenes

Dark scenes like this can be hard to photograph which why you often need to push your film or have a very fast lens, and in this case, both were needed! This is Kodak Tri-X 400 shot as 800iso and pushed 1 stop in development.  It was taken with a Leica M5 and a super-fast Voigtlander Nokton 35mm f/1.2 that @kehcamera sent us!  This combination, along with a rangefinder that allows you to shoot at slower handheld shutter speeds is ideal for lowlight shooting.  All three of these were shot wide open at f/1.2 and produced very sharp results – we’re loving this lens so far and will be sharing more results in the future!

The Best Films for Pushing

While nearly all film types can be pushed, some have better results than others. Generally, pro-grade film stocks that have great exposure latitude will be best for pushing.

Pushing B&W film

True black and white film is the best and most common type of film to push.  Pushing film will both increase the film grain, making it more noticeable, and will add more contrast to your photos.  In fact, many people push black and white films solely to get more contrast out of certain film stocks.

• Recommended film stock to try – Tri-X 400 & Ilford HP5 plus.
  Kodak Tri-X or Ilford HP5 – See a comparison of the two films

Pushing Color negatives

Color negatives are the second most commonly pushed film.  Pushing color negatives results in slight color shifts from increased contrast. Grain is also more noticeable.

• Recommended film stock to try – Portra 400 & Fuji Pro400H
  View sample of pushed Portra 400

Pushing slide film

E-6 slide film is the least common film to push but can be pushed with good results. As with color negative film, you will see an increase, in contrast, possible color shifts, and slightly more noticeable grain.

• Recommended film stock to try – Provia 100f & Velvia 100
  View sample of Pushed Velvia 100

Big-name drugstores like Walmart, CVS, and Walgreens still develop film, but the days of 1-hour photo processing are long gone. Today, nearly all the big box stores send the film to third-party labs, with turnaround time ranging from three to five days at Walgreens and two to three weeks at CVS. Even more important, they no longer return the negatives, only providing your images as scans on a CD. Discarding negatives may be okay for the person with disposable cameras, but is a major drawback for the film enthusiast or the “found film” people.

Found film is actually a pretty big market for The Darkroom and its people finding an undeveloped roll of film in a drawer or the attic. These mystery time capsules can potentially contain images with huge sentimental value. Negatives are the foundation of shooting film and an important part of the traditional printing process. A low-quality scan of something sentimental or of an important subject is not an adequate replacement to the original film or “file”.

Costco film developing

More on Costco Photo Lab

In visiting our local Costco, we discovered that they’re no longer developing film. We were told by a photo lab employee that “we recently pulled their film processing equipment out of every building”.  Costco doesn’t even develop film online through their Costco Photo Center website.

Over a year ago, Kelvin Wang started a petition for Costco to start developing film again, but it hasn’t gotten much support.

WalMart film developing

More on Walmart Photo Lab

Walmart is no longer returning negatives to save on postage costs and only providing customers scanned images on a CD. In researching, Walmart film developing services vary from each store or region and this may not be company-wide policy. Many of the stores have completely stopped processing film and, like Costco, maybe in the process of phasing out film processing entirely.

 Sam’s Club film developing

More on Sam’s Club Photo Lab

In nearly all the stores, Sam’s Club stopped developing film in late 2013. Additionally, they don’t have in-store photo mailers and film development cannot be ordered or purchased online.

Walgreens film developing

More on Walgreens Photo Lab

Over 800 people a month Google “does Walgreens develop film“. It’s been reported that Walgreens stopped film processing on April 16th of 2015 and is using a 3rd party service. Using this service, Walgreens doesn’t return your negatives and it’s likely this 3rd party service destroys your negatives after scanning them. Walgreens film development cannot be ordered or purchased online.

Target film developing

More on Target Photo Labs

Target removed the Kodak processing machines from many of its stores and now offers a print-only photo center for those with digital files. This is true with our local Target, but may not be true with all stores.

CVS Pharmacy film developing

More on CVS Photo Center

Not all CVS stores develop film and the ones that do are sending directly to 3rd party services. Negatives aren’t returned and orders take about 3 weeks.  Additionally, CVS has stopped online film developing.

CVS Pharmacy processes film but doesn’t return film negatives

If you choose not to develop with The Darkroom, we suggest that you verify with the individual store, whether it’s Costco, Walgreens, Walmart, Target, Sam’s Club, CVS, or any other large retailer to confirm the send-out processing service returns your negatives.

What Is Medium Format Film?

In the heady days of film photography, film frames were broken down into three categories. These included small format, medium format, and large format. These then broke down further into sub-categories of film depending on the camera’s frame size. Small format film has a standard frame size of 36x24mm and is most commonly referred to as 35mm film stock. It is also referred to as 135 film – but less so these days.

Before we get into medium format, let’s look at large-format films. Large format cameras typically have a frame size equal to or larger than 4×5 inches. However, large format film can include frame sizes such as 5×7″. 8×10″, and 11×14″. Kodak Portra 400 is still readily available in large format and includes 4×5″ and 8×10″. Given the larger size of this film, it doesn’t come in a roll like 35mm and 120. Instead, it is available in single sheets, with each sheet used as a single frame.

As for medium format, it is a film frame size that uses 120 roll film. All medium format film is 6cm wide and, depending on the frame of the camera, has varying lengths, including 6×4.5, 6×6, 6×7, 6×9, and even a panoramic 6×17. The length of the frame determines how many individual frames are available on a 120 roll of film. Typically, a 6×4.5cm roll of 120 medium format film fits 16 frames. The greater the length, the fewer frames fit on the roll.

Everyone who knows anything about cameras and photography knows that 35mm film is the mainstay of film photography. For those of us that grew up around film cameras, having a couple of rolls of Kodak 35mm sitting in the refrigerator was common. With the resurgence in film photography as a serious content medium, the range of 35mm film stock has grown. Fortunately, the same can be said for the medium format film stock range.

Medium format film photography is still just as important and popular as ever, with a growing range of film stock from big and small brands. Be sure to check out The Darkroom Film Index for a complete list of available 120 C-41, Slide, and Black and White films from brands including Kodak, Fujifilm, Lomography, Ilford, and Cinestill. Some of our favorites include the Kodak Tri-X 400, Fujifilm Velvia 50, and the Black and White Ilford Delta 3200.

If you’re looking for a range of medium format film stock to have a lot of fun with, there are a lot of boutique 120 rolls available. We highly recommend getting your hands on a handful of unique 120-roll films, including Lomography Kino 400, Lomography LomoChrome Purple, Bergger Pancro 400, and the Rollei Ortho 25 Plus.

Medium Format SLR Cameras

Medium format cameras are much larger than many popular 35mm film cameras. They take a much larger roll of film and feature a larger frame size. While they are much larger, they are still just as portable and versatile to use in the studio out in the field. The most popular style of medium format camera is the SLR – Single Lens Reflex. The ever-popular digital SLR is based on this clever design that hasn’t changed in decades.

An SLR medium format camera utilizes a mirror and a prism to transmit or bounce light through the lens and up to the camera viewfinder. How a medium format SLR is designed allows the photographer to see exactly what the lens is capturing without misalignment or distortion. As a result, what you see is what you get – including a proper view of the depth of field and composition framing.

On the flip side, medium format SLR cameras are a little loud and clunky due to the use of a larger internal mirror that flips out of the way to expose the film to light. When shooting at a much slower shutter speed(60th or below), the motion of the mirror can result in a camera shake, especially when shooting handheld.

A medium format SLR’s most common frame sizes are 6×4.5″ and 6×7″. A very popular choice for medium format SLRs is the Pentax 67 – named after the 6×7″ frame size. A prototype of the 67 appeared in 1965 with a commercial release as the Asahi Pentax 6×7 in Japan and Honeywell Pentax 6×7 in North America in 1969. While it retained a conventional 35mm SLR film camera aesthetic, it was a bit of a beast weighing in at 5.1lb. The Pentax relies on battery power to manage shutter timing, mirror movement, and the mechanical cloth shutter.

Today, The Pentax 67 can be found on most second-hand marketplaces and start from around $500 for a body-only version. Of course, the better the condition and the inclusion of quality glass can push the price up into the thousands.

The Darkroom’s Recommendations for SLR Cameras

Pentax 67 | Hasselblad 500cm | Mamiya 645 s1000 | Bronica SQ | Pentax 645

Medium Format TLR Cameras

Compared to the familiar-looking medium format SLRs, the Twin Lens Reflex (TLR) film cameras are boxy and more primitive-looking medium format film cameras. Thanks to their rectangle box appearance, TLRs are recognizable, along with the fixed twin lenses protruding from the front of the camera body. Thanks to their form, TLRs were considerably more compact than their SLR counterparts. However, their popularity has never diminished and is sought after today.

Unlike the SLR, the TLR did not feature a moving mirror that flipped out of the way to expose the film to the light. Instead, a medium format TLR used one of the objective lenses to take the photo, while the second provided the photographer with a view of the composition and possible frame. The viewfinder relies on a fixed mirror set at a 45-degree angle. The photographer holds the camera at waist height and looks down at the camera to see the viewfinder, focus, and capture the frame.

One of the most significant advantages of a medium format TLR camera is shooting discreetly. Since photographers hold the camera at waist height, they engage differently with a subject – especially when holding a larger SLR up to the eye. The downsides of TLR medium format cameras include the lack of prism resulting in backward images. Almost all TLRs feature a 6×6″ frame, and very few have the option for interchangeable lenses. It also takes some getting used to waist-level shooting as your perspective will be lower.

Popular choices for medium format TLR film cameras include Yashica MAT 124G and the Rolleiflex 2.8. Both are relatively compact, discreet, and quiet to operate. The Rolleiflex 2.8 was almost half the weight of the Pentax 67 at 2.8lb. Given the fixed lenses, lack of prism, and no moving mirror, the Rolleiflex was intuitive to operate yet delivered stunningly rich image quality. The Rolleiflex 2.8 is available in several versions and lens configurations. A Rolleiflex 2.8 starts at around $1,000 on the pre-owned market.

The Darkroom’s Recommendations for TLR Cameras

Rolleiflex 2.8 | Yashica MAT 124G | Mamiya C30 | Minolta Autocord | Rolleicord

Medium Format Rangefinders

The final style of medium format film camera is the rangefinder. Much like classic and modern 35mm rangefinder film and digital cameras, medium format RF cameras boast a see-through viewfinder that delivers a separate view to that seen by the lens. Most medium format rangefinder film cameras feature a lens mount to accommodate interchangeable lenses and lens adaptors. Rangefinder cameras come in a wide variety of frame sizes ranging from 6×4.5″ up to 6×9″.

As with most rangefinder cameras (film and digital), the medium format rangefinders are hugely popular amongst photojournalists and street photographers. The ability to frame up a composition through the viewfinder allows you to apply color filters when shooting with black and white film stock – especially if the camera has TTL metering. However, not seeing Through The Lens (TTL) makes it tricky to know if a flare or obstruction impacts the composition. As a result, rangefinder medium format cameras are not ideal for fine art and portrait shoots.

The Fujifilm GW 690 III Pro is popular for street photographers seeking a medium format rangefinder film camera. Another popular option is the Mamiya 7 – it is ideal for slower shutter speeds and handheld shooting thanks to its quiet operation. It weighed only 2 pounds for the body plus the weight of the chosen lens. A stand-out feature of the Mamiya 7 is the 6×7″ format and the delivery of stunning image quality and ultra-rich detail.

While second-hand copies of the Mamiya 7 are available, they are super pricey. Being a more recent model, a Mamiya 7 in excellent condition starts at around $2,500 for the body only. A Mamiya 7 with a lens like the popular 80mm f/4 sells for about $5,000 or more.

The Darkroom’s Recommendations for Rangefinders

Mamiya 7 | Mamiya 6 | FujiFilm GF670 | FujiFilm GW690III | FujiFIlm GA645

Don’t Be Intimidated By Medium Format

While it’s true that professional photographers typically use medium format film cameras, that doesn’t make these amazing analog cameras their sole domain. Any photographer with a thirst for analog photography should consider working with 35mm and 120 films. The jump in image quality and print resolution will astound you when shooting with a medium format film camera.

It’s also important to point out that while some rangefinder film cameras are expensive, plenty of affordable Single Lens Reflex (SLR) and Twin Lens Reflex (TLR) options are available at highly affordable prices. What’s more, the pre-owned medium format camera market shows no signs of drying up anytime soon.

Nor does the range of medium format 120 films have a shortage of exciting options to suit a range of shooting conditions and genres. Be sure to check out the Film Index over on The Darkroom site, and as always, you can rely on us to process, develop and print your medium format masterpieces every time.

How Does Color Filters Affect B&W Film?

When you shoot black and white film, it’s tough to get the same effect as shooting color. B&W film records the colors of light as white, and color filters block some wavelengths from being captured. When taking pictures, they act as sunglasses, filtering out specific frequencies to not distract from your picture’s quality. The process often makes objects appear clearer because their background has been eliminated, along with all those pesky reflections that can get in people’s shots without asking. Colored lens filters can help to ensure objects remain well defined in images while still providing some vibrancy for mood shots or scenery backgrounds.

Choosing the Right Color Filters

As a B&W film photographer, you probably know that there is a lot of debate about using colored filters in your photography. Some say they should not be used at all, while others believe that they can add interesting effects to the final image. Many kinds of color filters are available today, but most photographers use these standard colors; yellow, orange, red, and green. These colored filters have been around since the early days of film photography and have been used by professional photographers ever since then.

Cons to Consider When Using Color Filters

The color filters covered in this article refer to the circular type. Mounting lower-quality filters on the front of a lens can increase the risk of flare. However, some filters with more expensive and advanced coatings can overcome this risk.  Although, flare can happen with good filters as well which is why it is good to have a lens hood as well.

Each filter reduces the amount of light transmitted by 1 to 4 stops and could significantly affect your shooting style. It is recommended to use a film such as Delta 400 or Tri-X 400.

Delta 400 Film Review | Tri-X 400 Film Review

400 ISO film will still allow enough light even with -4 stops. In obtaining test shots for this article, we were able to shoot with 50 ISO and 100 ISO with a red filter during the day without a tripod. A tripod is a great way to achieve balance as pushing film increases contrast (as do filters) so the contrast could get way too strong especially with a red filter.

Most newer cameras use TTL metering to correct the impact of filters automatically. Some older models will need to have exposure adjusted manually – reference an owner’s manual to see how your camera meters correctly. However, beginners should stick to a film camera with TTL metering until they get used to the process and outcomes of using colored filters. It is also essential to consider the use of SLR versus Rangefinder-style cameras. With an SLR, you will see the impact of the color filter when framing the shot. However, with a rangefinder, you won’t see how the color filter impacts as you are not looking through the lens.

Using Color Filters

To get a more creative and exciting look for your black and white photos, be sure to not only convert them with the right color filter but also experiment by using an assortment of different ones.

If certain colors in a scene seem too similar, it can make the B&W picture relatively flat and milky. You can change this mood by adjusting the color contrast. A color filter allows you to alter accents of colors in different tones from their original representation.

Yellow Filter (-1 Stop)

A yellow filter gives an excellent balance between photographic effect and ease of use. Many people like to “bring out their clouds” with this type. The yellow filter darkens blues but reproduces green and other colors in lighter shades. It gives more differentiation between different kinds of leaves while flesh tones have a natural look. It works well with pictures containing people against an environmental background.

Orange Filter (-2 Stops)

Orange filters are more dramatic than yellow but less so than red. The sky will take on a dark tone when recorded in blue skies thanks to its strong contrast with the clouds and gives off an impactful look that other colors cannot match. Orange also helps penetrate through haze efficiently, giving flowers their signature “pop.” So if you’re into your landscape shots and lush floras, screw on the Orange filter.

Red Filter (-3 Stops)

A red filter is the go-to for bold and dramatic effects. Not only will it give your photos a more intense feel, but using this type of color eliminates any haziness that might be present in those shots with mixed material buildings or foggy landscapes – giving you clarity where there was once misty atmosphere before. When you add a red filter to your camera, blue skies will become very dark. Instead of looking at pictures in which there are endless amounts of fluffy white clouds drifting lazily across an open field or high above some pretty scenery, now they come out dark and ominous providing a much more dramatic feel.

Green Filter (-2 Stop)

Green filters are used almost exclusively for scenes that contain a lot of green. A green filter will allow leaves to appear more natural with a lighter feel to them. It will lighten dark green leaves, which usually read as very deep in shadows without it.

Although this solution might not work for every type of landscape photograph, it’s often an ideal fit when applied to ones with an abundance of greens.

Side-by-side examples

B&W Film Used With Color Filters

Portraits on Ilford Delta 400

Cityscape on Ilford Delta 100

Still Life on Tri-X 400

Daylight scene on Ilford Delta 400

Portrait on Kodak Tri-X 400

Daylight nature scene on Ilford Delta 400

Final Thoughts On Using Color Filters

Using a colored filter can create a unique look for B&W photography. Experimenting with different filters can yield beautiful results. We can all agree that it isn’t always necessary but may provide exciting effects for particular subjects or scenes. The kinds of effects that you never knew were possible, simply based on the color in the scene. Keep in mind that when it comes to exposure compensation, the outcomes will vary depending on the brand and filter type. For the purpose of this article, we used Tiffen Filters and were pleased with the outcome. Don’t forget to check out our Film Index for all you need to know about Black and White films. Once all is said and done, remember to check out The Darkroom’s easy online order form to get your rolls processed and printed.

FILM

First tip is giving the gift of their favorite film. We highly recommend filmphotographystore.com. The people over at the FPP are great. They have a great selection of film, but sometimes especially recently, color negative film is running a little bit low in stock and on occasion it can be hard to find, and which is a bummer, but that’s a great opportunity to try something different, to get them something that they haven’t shopped before, like say a black and white film, like Triax 400 or HB5. Say they love Triax 400, you could get them a bunch of it and stock them up for a while or say they haven’t shot black and white in a while, the FPP offers black and white film samplers with a variety of black and white films. So you could get them that, and they could just shoot a bunch of different film, have fun with it and see which black and white film they like most.

All the film that I’m showing you right now, I’ve recently got in the past month from filmphotographystore.com. So they have a really good selection, including a bunch of 120 films. So say the person that you’re shopping for shoots medium format. Right now they currently have Loma 100, Lomo 400 and Lumo 800 in 120. I love this film. This would be a great gift. I would love to get this as a gift as well.

CAMERA

So next is a camera or camera gear. You could get them an actual camera itself. For instance, my wife got me this Rollie 35 over six years ago back when we were dating. She knew nothing about film photography but wanted to get me something that I didn’t have. And she just Googled cool cameras and came across this Rollie 35, thought it was cool, because it was so compact and different from anything I had. And this is a camera I never would have gotten myself. But since she got it, I love it. I have other cameras that I shoot more with than this one, but this is a camera that has so much sentimental value. I’ll never get rid of it because she got it for me.

So that’s something I highly recommend the people over at keh.com would be a great resource. You could tell them your budget and then talk about the person that you’re shopping for. And they’ll help you find a camera just through their little website chat that they offer. They have a lot of used gear that comes with a warranty and that’s where I buy most of my cameras as well. So I highly recommend them.

And then if the person that you’re shopping for already has a camera, say they have a Nikon body or a Canon body or whatever, you could get them a lens. And you know, that they have like say a 50mm lens. You could get them a wide-angle lens. So like this is a Nikon 24 millimeter 2.8. I got it for around a hundred bucks. So depending on what your budget is, you could get them a lens that they don’t have, or you could get them a camera strap or something like that, that they might like, a flash, KEH sells flashes. I don’t know if they should sell camera straps, but there are a lot of places out there that sell camera straps. And that would be a great gift as well to get them a nice cool camera strap.

DEVELOPMENT

So the third thing is development. You could help cover their development. And that’s where we come in. We are a traditional dip and dunk lab that does Aesics slide film, C 41 color negative film and black and white film ll in house. We develop, scan and print and we offer a digital gift card, which you can buy here. And it’s something that you can put their email in, send it to them, and then they can use it next time they make an order and it can go towards future orders as well. And not only is that really convenient, but if you spend over $50 you will get a free desktop calendar. This is our 2022 calendar, it has all new cameras with camera descriptions, and then every month has a new camera.

So if you spend over $50 on the gift card, not only will you help cover their processing, but you can also get them this cool calendar, but it gets even better. If you spend over $75, you’ll get this desktop calendar as well as a tote bag. And it’s cool because I talked about how I got this Rollie 35 as a gift many years ago for my wife. So we figured it’d be really fitting for the holidays to put it on our tote bag. It has our brand new logo, as well as our new logo on the other side. So if you spend $75 or more, you’ll get a tote bag as well as the calendar.

Give a Gift, Get a Gift!

Buy a gift card

And then if you go over $150, which would be amazing if I shoot film and got $150 credit, I’d be really excited. You will not only get the calendar, the tote bag, but you also get a dark room hat. We also sell this hat, some stickers and some different things. But yeah, if you have any questions about what to get someone who shoots film, if you want some pointers on what type of film to get, what type of camera or anything like that, feel free to send me a message in Instagram comments, I would love to help and give you some pointers.

Preparing digital files

The Darkroom’s black & white prints are printed on Ilford Galerie RC Digital Silver Paper. Our preferred format for this product is 8-bit Grayscale JPEG format images. Make sure your monitor isn’t too bright as most monitors are too bright at their default settings.

File size should be 200-300 dpi at the output size for optimum quality.

Mounting

Galerie RC Digital Silver prints can be mounted in one of the following ways. Where prints are to be mounted for long periods (in excess of 12 years), the dry mounting method is recommended.

Dry mounting

Galerie RC Digital Silver prints can be dry mounted in the usual way. The use of a silicone release paper is recommended for the .44M pearl surface whereas a foil overlay is recommended for glossy surfaces. Although the manufacturers’ recommendations should be followed, most tissues will give good results in a dry mounting press at a temperature of 80-90°C (144-165ºF) with prints under pressure for about 30-40 seconds.

Double-sided adhesive sheets/cold mounting films

These provide a very effective and convenient means of mounting Galerie RC Digital Silver paper onto porous or non-porous surfaces, without the need for special machinery. Some adhesive sheets allow the print to be repositioned after fixing. Several makes are available in sheet or roll form.

Spray adhesives

Spray adhesives are suitable for mounting Galerie RC Digital Silver.
Note: Always read the safety advice given by the manufacturers before using spray adhesives.

Contact adhesives

These adhesives are available in liquid form for brushing or spraying and are suitable for mounting Galerie RC Digital Silver prints onto porous or non-porous mounts. Solvents must be allowed to evaporate completely from both print and mount before the two are brought into contact.

Wet Mounting

Galerie RC Digital Silver paper can be mounted onto porous surfaces (e.g. hardboard) using wet adhesives such as those designed for wall coverings. When mounting large prints, this method is an advantage, as there is time to position the print correctly and remove any air bubbles that might have become trapped between the print and the mount, without damaging the print. Wet mounting resin-coated prints on non-porous materials (e.g. metal) is not recommended.

Displaying Prints

It is recommended that prints made for display are toned to protect them from the oxidizing gases that are found in many environments. Oxidizing gases come from everyday items such as newly laid carpet, wet gloss paint, newly applied adhesives, and traffic fumes. Selenium toner is recommended as it has little effect on the image color. Sulfide (sepia) toning also gives an image of increased stability as do polysulphide toners (e.g. Kodak Brown Toner) but these will also give a significant warm, brown shift in image tone.

Some metal replacement toners can also protect the image, e.g. gold and platinum toners, but also with a shift in image tone. Other metal replacement toners such as blue (iron) and red (copper) give no extra protection and the image might fade. Dye toners give no protection to the image.

Also recommended for image protection with a minimal effect on image tone are image stabilizing solutions such as Agfa Sistan, Tetenal Stabinal, and Fuji AgGuard.

Laminating and encapsulation may also help to protect the image but ideally, prints should be toned before laminating and encapsulation.

Storage

Galerie RC Digital Silver prints processed by The Darkroom will have a more than adequate storage life for most purposes. However print life will be shortened in adverse storage conditions, or if the print is exposed to oxidizing gases.

Long term print storage

When exceptionally long-term print life is needed, prints must be processed as described in this technical guide and then stored under special storage conditions. The ISO standard on print storage (ISO IT9.20 – 1994) has two levels of storage conditions: medium-term and extended-term. Medium-term is for prints with a life expectancy of at least ten years. Extended-term is for prints with a longer life expectancy and to prolong the life of all prints. Briefly, the main conditions are; freedom from chemical contamination, either airborne or from storage containers, also protection from high levels of ultra-violet radiation, particularly sunlight but also fluorescent lighting.

For medium-term storage: a stable temperature up to 25°C/77°F (but preferably below 20°C/68°F) with a maximum daily cycle of +/- 2°C/4°F; and a stable humidity between approximately 20%RH and 50%RH with a maximum daily cycle of +/- 10%.

For extended-term storage: a stable temperature up to 18°C/65°F (but preferably lower) with a maximum daily cycle of +/- 1°C/2°F; and a stable humidity between approximately 30%RH and 50%RH with a maximum daily cycle of +/- 5%.

When it comes to photographic paper, Ilford is one of the most trusted brands across the world. Every product is crafted carefully, keeping in mind the requirements of modern photographers who love traditional photographic processes – and the gelatin silver print paper is no exception.

We rely on Ilford products at The Darkroom, thanks to the premium quality photographic paper they offer. The Ilford Galerie RC Digital Silver, in particular, is perfect for the gelatin silver printing process. It is a black and white panchromatic photographic paper designed with the latest silver halide emulsion technology. Coated onto a bright white water-resistant and resin-coated base, this medium-weight (190gsm) paper is absolute bliss to work with.

The best part about the Galerie RC Digital Silver paper is that it delivers excellent contrast and sharpness on a super-even surface. The resultant imagery is intricate, delicate, and precise – just as the images use the conventional printing material and exposing equipment. The paper has exceptional spectral sensitivity and exposure characteristics. It makes it well-suited to optical digital exposure systems with tricolor laser enlargers and LED systems from reputed brands.

The only precaution you need to take is to handle and use the paper in total darkness. While the Ilford 2000RT chemicals suit processing the Galerie RC Digital Silver, you can also opt for all conventional black and white machine processing chemicals.

A guide to mounting, displaying and storing prints with Ilford’s Galerie RC Digital Silver

Best Black and White Films for Gelatin Silver

Just like printing paper, films play an essential role in the whole process of gelatin silver printing. We’re listing some of our absolute favorites at The Darkroom; have a look at these fantastic black and white films.

Ilford Delta 3200

A high-speed ISO film that is perfect for shooting in low lighting conditions. The 35mm format has a very noticeable, chunky grain, which, when adequately exposed, looks terrific. The grain in the 120 formats is more subtle, with an even texture and pleasant look.

The film has medium contrast, very subtle tones, and excellent exposure latitude. All the features of this film make it apt for window-lit as well as low-light portrait photographs. All you need to do is be super careful not to underexpose the film, else it loses its texture and looks flat.

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5

Rated 5 out of 5

5 out of 5 stars (based on 4 reviews)

Film Review

Ilford HP5 Plus 400

This black and white film from Ilford comes in four formats – 35mm, 120, 4×5, and 8×10. It is one of the oldest running film stocks and offers a classy, elegant look. The stunning subtle tones and medium contrast produce great detail in the shadows. The exceptional tonal range and incredible exposure latitude are why this film is still super popular amongst photographers.

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5

Rated 5 out of 5

5 out of 5 stars (based on 2 reviews)

Film Review

Kodak TRI-X 400

Hands down, one of the most popular films from Kodak is known for its classic and beautiful grain. The significant part about this product is that it has maintained its quality since 1954 with the same contrast and richness in tone. When metering the film, opt for mid-tones and shadows while ensuring you do not end up underexposing it.

The film has an excellent exposure latitude, which easily allows you to push up to 3 stops. It also means that the film works well with overexposure. The film is versatile and works wonders with all genres of photography, but it mostly delivers the best results for street photography and portraiture.

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4.5

Rated 4.5 out of 5

4.5 out of 5 stars (based on 8 reviews)

Film Review

Summing Up

Photography is all about finesse and perfection, and that’s precisely what we, at The Darkroom, strive to deliver. We make sure we put forth our best from the choice of products to developing and printing photographs. We choose to work with products of top brands – the ones that we know are of excellent quality and will deliver an equivalent output too.

If you’re a passionate film photographer, feel free to reach out to us – we’d love to help you out with the development and printing of your films. The Darkroom is one of the only labs with the expertise, equipment, skilled technicians, and know-how to print stunning and true black and white on real Ilford Gelatin Silver photographic paper.

Regardless of shooting with Ilford, Kodak, or Fujifilm stock we’ll develop and scan your photos. We have 45 years of hard-earned experience and know-how in film photography and darkroom services. As a result, we are the best choice for your experience with Gelatin Silver photographic paper.

What is gelatin silver print in photography?

The gelatin silver print or gelatin developing out paper (DOP) is a monochrome imaging process based on the light sensitivity of silver halides. They have been made for both contact printing and enlarging purposes by modifying the paper’s light sensitivity

The latest Disposable Cameras Reviewed, Ranked, and Compared

When you are looking to capture moments, you don’t want to get wrapped up in the technical side of things. Disposable cameras take care of that for you with their fixed aperture, shutter speed, and focus.

For many years now, the term “disposable camera” often brings to mind a cheapo version of an old-school point and shoot. Picture one hanging on the front counter at your local pharmacy-a quick grab in case you need it for some last resort photography that is bound to produce mediocre results. But this isn’t always the way these cameras are used! There’s actually quite a lot of quality disposable film options out there if shot with care – so we rounded up and compared the top options. View the post

Best Disposable Cameras of 2021

Ilford Sprite 35 II – An affordable way to jump into analog photography

Camera

Not all cameras can shoot double exposures. Some older, fully manual cameras allow you to stay on the same frame between shots making it very easy, but other cameras have to be “tricked” into doing so. To keep it simple, we recommend getting a camera that has a dedicated setting for multiple exposures. Unsure if your camera can shoot double exposures? Do a quick Google or YouTube search on your camera’s specs and you should be able to find out quickly.

If your camera does not have a multiple exposure setting, you’ll shoot the entire roll (first pass), 

1. Load and shoot a roll of film as you normally would for your first pass
2. Pull the leader when the roll is finished
3. Reload it into your camera for the second pass
4. Shoot over it again creating double exposures

The only trick with this technique is being careful to align your second set of frames. Use a marker to mark the film’s position at the mouth of the cartridge. This will let you know that you shouldn’t pull your film beyond this line when you reload the film for the second pass. Also, keep your first set of images in mind. It’s a lot to remember so you may want to take notes of the images you shot

Film

For the best double exposures, we suggest using black & white or color negative film as they have good exposure latitude which means they handle over-exposure well, making metering much less intimidating. Between the two, we highly recommend black & white since its lack of color simplifies overlapping images and has the best exposure latitude. While you can capture double exposures on E-6 slide film, you will need to pay very close attention to your metering since it has less exposure latitude and is much less forgiving when overexposed.

Metering

For most people, metering correctly is the most intimidating aspect for double exposures. The good news is, with the right film selection you can pretty much meter normally without blowing out your photos. Yes, a double exposure literally means you’re exposing the frame to light twice so you’ll want to underexpose by cutting the exposure in half, so the double-exposed shots equal out to a fully exposed image.  With that being said since black & white and color negative film do so well with overexposure you’re still likely to get great results if you shoot each exposure normally.

The best way to master metering for double exposures is simply to go out and try it. In the end, it all depends on the results you want and the framing of your shots. Keep this in mind: anything that is white/bright will destroy information and anything black/dark will maintain information for the next exposure.

The landscape was taken first and was metered for the highlights and the portrait was taken 2nd and was metered for the skin tone. Since the evenly exposed skin tones overlapped with the dark shadows of the first shot the portrait shows really well. If you want to see the features in a double exposure portrait you should evenly expose the skin tone and overlap it with the dark part of the first exposure.

Captured on Portra 800 with a Hasselblad 503 – 80mm f/2.8

If you want a silhouette double exposure you need to expose for the highlights for the silhouette shot and then evenly expose for the other shot. The dark silhouette will retain the evenly exposed image and the bright part of the silhouette image will eliminate the evenly exposed image. This camera didn’t have a multiple exposure setting so the film back was removed before cocking the shutter, then put back on for the second exposure!

The first six double exposures were shot all with a double exposure setting but these two examples by Aaron Checkwood were shot at separate times. Meaning, he shot all the flower shots first, removed the film, then reshot all the wave shots, overlapping them. When doing this technique you need to use the same camera and pay close attention to putting the film in the same way so your frame lines match.

“Like any double exposure you want to create some dark areas so using flowers that have darker tints usually work best for me. I usually shoot the flowers first and try to blow out the background as much as possible which is insanely difficult to meter. Too shadowy on the flower and you lose the details and too exposed and you lose wave features. The other part that you have to consider is the actual wave. When I shoot in the water I use a fisheye so I’m inside the tubing part of the wave—the roundness creates shadows around the edges on the flowers and therefore you see more flower details. I used to use funky films so I could cross-process them and get weird colors, but now I want true colors so I’m sticking to Velvia 100 and pushing it a stop.”

To see more of Aaron’s work check out thecheckrepublic.com and follow him on Instagram at @the_check_republic.

Captured on Portra 160 with a Canon Elan 7 – 35mm f/2

This St. Louis Arch double exposure was created by metering for the mid-tones for each shot and flipping the camera to create this abstract look.

This Provia 100f double exposure was taken with an Elan 7 – 85mm f/1.8.

Slide film doesn’t have a lot of exposure latitude which means you need to pay close attention when metering. The first shot was the silhouette – metering for the skin tones which means the bright sky is blown out. The second shot was the rocks metered for the highlights. When these two exposures are overlapped the blown-out sky destroys the overlapping rocks but the dark part retains the images.

This double exposure was captured on Acros 100

Both shots were metered for the mid-tones and the highlights still didn’t blow out which shows the amazing exposure latitude of B&W film. If both shots were metered for the shadows the highlights would have completely blown out which would have made this double exposure much stronger.

Captured on Lomography 400 with a Canon Elan7 – 50mm f/1.8

This is two over-lapped silhouettes that were both metered for the highlights. The first silhouette was taken up close and the second from much further back so the further back silhouette was framed in the closer up one.