Originally posted by NorthPentax What do I need if I want to go half the way?
I know now that I have always been wrong about film development, the easy part is to develop the negatives. And it's not expensive either.
Is it easy to develop color negatives or is it just B&W that's cheap and easy?
And is it possible to do the same thing with film from the Pentax 645N?
What kind of scanner do I need?
How is the quality of scanned negatives compared to developed paper copies?
I still have an active bid on a ZX-5. :-)
Thanks for your input, Lowell Goudge.
Black and white film developing is an easy four step process: develop, stop, fix, wash. Many people also use a chemical called PhotoFlo after the wash so the drying film doesn't get water spots. You can easily complete the process within an hour and a half, and within an hour as you become more experienced.
I've never done color myself, but from what I've heard it's much more temperature sensitive than black and white (for B&W the only really accurate temperature you need is the developer solution; all the rest aren't temperature sensitive but you want to keep the temperature as close as possible.) Color is more complex--and more dangerous!--than B&W, but my father shot and developed thousands of his own slides (E-6) back in the day. I said "dangerous" because color chemistry (well, E-6 chemistry, at least) contains strong bases that can cause chemical burns. I know nothing about color negative (C-41) home development, though.
Medium format film, like that for a 645(N)(II) or a 67, is developed just like normal 35 mm, but you need a wider developing reel for the film and the time and chemical quantities may be different.
You can scan film from your garden-variety flatbed scanner, but since film is a transmissive medium, not reflective like paper, you need a special film scanning attachment for it to work. There are several flatbeds with those out there, but I don't know any off the top of my head. There are also dedicated film scanners, but I think that for most people, unless you're making huuuuuge prints, the flatbed would be good enough.
According to the guys n' gals at
the Analog Photography User's Group (APUG), nothing's better than a traditional wet darkroom print. Then again, they're the film and darkroom fanatics... but I'd tend to agree. I've yet to see an inkjet print that
really looks like a darkroom print. Darkroom prints are a lot more fun to make too!