16 mm still plus-x Silver Nitrate Distilled Water

Ammonium Sodium Carbonate Hydroquinon Gelatin Ferric Citrate

Vitamin C Sodium Sulfite Potassium Bromide Instant Coffee Bleach

Potassium Washing Soda Sodium Metol Ferrycyanide Copper Sulfate 1. then expected. differently chemicals to respond can and texture own its has sion important formethattheemul It’s development. and – recorded has a what of representation the than more lot a is Forfilm me effects. cinematic special lends itself in that material film develop to possible it’s that mistakes “happy” of allowing the and error & trial through that hope actually I stock, film standard producing of aim the with tests accurate completing than Rather findings. their upon backtracking opportunistic an to akin more are experiments and matter,interest my unexplored and new then this on forwards steps make to compelled were they though But pioneers. the of tradition the in are booklet this in made experiments and tests The this required.“Thoughts onHandmadeEmulsion” conventionality aesthetic the and necessity commercial by was it as burdened pursue, never could that possibilities enormous up opens That it. from money make to need a by driven be or it sell to have We don’t commercially. nor aesthetically neither objectives, their match didn’t it because do didn’t they that of hardworkinourbasement,sowhytry? years Kodak’s repeat to going We’re not with? worked be they can how and ties, beside thepoint. good,” “as be to going not that’s It’s and convention. match don’t that realities physical to way give must thinking standard which in one making, of world different a into journey a on embark to is Toemulsion own your make 2 Thank youall,andaspecialthanks toLichunTseng forhelpingmeoutinthedark. others. many and Mowrey,site Farm, Ron APUG Light the The Pritchard, Brian zie, spired byaplethoraoffoundsources includingthoseofRobertSchaller, AlexMcKen andtextshavebeengathered, harvested,illegallyused,replenishedandin Re:inventing thepioneers A MAD FI RE N LM A : D INVENTING THE PIONEERS THE INVENTING sk, rather, what isitgoodfor?Whatareitsinherentproper E CO E

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- - 16 mm still plus-x negative Apart from actual manufacture, the mak- cess that can put me on a trajectory where WHAT IS A ing of provides a scope for I will be able to make my own film SILVER GELATIN experiment pregnant with possibilities. (in the literal sense). Not with the effort 2. Some knowledge of chemistry is to find a way to make “proper” color stock EMULSION of the greatest value in the general study with the realistic nature of contemporary of photographic processes. In the pioneer film materials. In re-inventing emulsion grains days, photographers had to make their own and color film with the helping hand of Photographic emulsion is a fine suspen- Gelatin emulsions, and it was by the combined technical publications from early cinema sion of insoluble light – sensitive crystals Emulsion efforts of a small coterie of experimenters and photographic experiments, I’m hoping in a sol, usually consisting of at the end of 1800 that the modern “dry to achieve findings that are “something gelatin. The light – sensitive component Base plate” came into being. Some of these men completely different and unique”. This is one or a mixture of silver halides: silver Backing were pure amateurs, others were practical booklet is hopefully made with the same bromide, chloride and iodide. The gelatin chemists and men of scientific training. curiosity and in the context of, and as a is used as a permeable binder, allowing B&W Emulsion Out of this little band of experimenters tribute to, all these books and papers made processing agents (e.g., developer, fixer, came the founders of most of the original by affectioned pioneers who where so keen toners, etc.) in aqueous solution to enter the colloid without dislodging the commercial emulsion-coating factories. to sharing their knowledge. crystals. The light – exposed crystals are reduced by the developer to black The inevitable then happened. The busi- metallic silver particles that form the image. Fixer removes the unexposed nesses came into competition with one The starting point is the home brewing of silver halide remaining on the film, leaving behind the reduced metallic another, and further advances gradually a basic silver emulsion based on gelatin, silver that forms the image. Color films and papers usually have multiple lay- became guarded as trade secrets. potassium bromide and silver nitrate. To ers of emulsion, with dye couplers added. Layers of dye are coated between — Thorne Baker, 1941 be able to resurrect the art, science, and emulsion layers to act as optical filters. craft of silver gelatin emulsions we need to experiment freely and share openly. A solution of silver nitrate is mixed into a warm gelatin solution containing Re:Inventing the It signifies a hope and commitment to potassium bromide, sodium chloride or other alkali metal halides. A reaction pioneers making sure these techniques, tricks and precipitates fine crystals of insoluble silver halides that are the light – sensi- handy tips remain openly available to all tive. The silver halide is actually being ‘peptized’ by the gelatin. The type This booklet is made as a starters guide who might need them. Let’s not keep any and quantity of gelatin used influences the final emulsion’s properties. to home brewing light sensitive emul- secrets! These (chemical) recipes, A pH buffer, crystal habit modifier, metal dopants, ripener, ripening restrain- sion that’s suitable to use on 16mm experiments and emulsion extras should be er, surfactants, defoamer, emulsion stabilizer and biocide are also used in clear (transparent) film. Most recipes absolutely public. Let’s make home brew emulsion making. Most modern emulsions are “washed” to remove some of on making your own silver gelatin emul- emulsion films! Let’s make a lot! the reaction byproducts (potassium nitrate and excess salts). The “washing” sion are for photographic purposes and or desalting step can be performed by ultrafiltration, dialysis, coagulation coating glass plates or paper. Practically My own tests where restricted to the 16mm (using acylated gelatin), or a classic noodle washing method. Emulsion mak- all of these recipes can be used on strips film format. The pictures in this booklet of ing also incorporates steps to increase sensitivity by using chemical sensitiz- of 16mm clear film. A black & white these tests are contact prints (as positive) ing agents and sensitizing dyes. emulsion is easily made with some from a Plus X negative (JK-blow up from silver nitrate, potassium bromide and Super8 original) to the handmade emul- gelatin. It’s actually similar to making sion. The reticulation tests are done with mayonnaise. The biggest challenges are outdated Svema 320 ASA negative material. to evenly coat the emulsion on a strip All tests were started and made to end up of 16mm clear film and make it possible in my film Konrad & Kurfurst: the home that the coated film can run through a brew emulsion as fragile metaphor for the printer or film camera. heroism of Konrad and his horse Kurfurst. Falling from his horse he became a national And…. I didn’t want to make B&W film hero but overtaken by history, an anti-hero. emulsion only, I wanted to go one step fur- ther (or actually back) by initiating a pro- — Esther Urlus, 2013

Re:inventing the pioneers 3 4 What is a silver gelatin emulsion 16 mm still spray pump Before Development After Development 1 The Gelatin X HOME BREW Yellow filter layer Gelatin belong to that class (absorbs blue light) SILVER GELATIN of substance known as col- 3. Blue-sensitive Yellow emulsion image loids from the Greek mean- EMULSION

ing of glue. From the early Hot Plate Green-sensitive Magenta emulsion image days of gelatin – bromide Red-sensitive Cyan emulsion image emulsion it had been known that emulsions prepared in base precisely the same manner but with different samples Color Emulsion of gelatin might vary greatly in light sensitiveness. Gelatin–x, the presence of which in ordinary gelatin is largely responsible for photo- Pan Film Bags graphic sensitiveness. Gelatin is made from skins and bones (mainly cows) which are Containers made up from a series of proteins. The principle one is collagen from which gelatin is derived. The gelatin manufacturer went about producing a consistent product, how- ever, it was found, soon after the 2nd World War when home photography came to the “To the beginner in emulsion making, fore that if the skins were treated slightly differently during the washing phase the the soundest advice that can be given resultant product could have an influence on the light sensitive materials it carried in is to avoid striving for high-speed the film emulsion, making them more or less sensitive to light. Substitutes like Agar- emulsions, at first at any rate. It is

agar has been employed with little success. Scale infinitely easier to make a good slow emulsion than a good fast one, and while transparency emulsions will 2 Color Emulsion probably not content the tyro, it is just In black – and – white photographic film there is usually one layer of silver salts. as well to start with these to learn the When the exposed grains are developed, the silver salts are converted to metallic principles and manipulations, and then silver, which blocks light and appears as the black part of the film negative. Color film try for faster results, and even then to uses at least three layers. Dyes, which adsorb to the surface of the silver salts, make be satisfied with what would probably the crystals sensitive to different . Typically the blue – sensitive layer is on top, be called slow negative emulsions, Timer followed by the green and red layers. During development, the exposed silver salts Syringe that is up to about 150 to 200 H. & D. are converted to metallic silver, just as with black – and – white film. But in a color There are several factors that have film, the by – products of the development reaction simultaneously combine with to be taken into account which it is chemicals known as color couplers that are included either in the film itself or in the as well to clear up developer solution to form colored dyes. Because the by – products are created in before starting on direct proportion to the amount of exposure and development, the dye clouds formed further details”. are also in proportion to the exposure and development. Following development, — E. J. Wall, 1929 the silver is converted back to silver salts in the bleach step. It is removed from the film in the fix step. This leaves behind only the formed color dyes, which combine to Airbrush make up the colored visible image. Propellant Cup with Hot Water Cheesecloth B&W Developer

What is a silver gelatin emulsion 5 6 Home brew silver gelatin emulsion 16 mm still spray pump Bear in mind that the emulsion needs 5 Immersible (color) thermometer 2 Basic recipe: Solution B to be mixed and painted in a dark room that can be read in red light (digital a very simple Silver Nitrate – 10 g with on, and so you need to be thermometers are cheap and perfect Distilled or demineralized Water – 62.5 ml able to exit this room while it is drying for emulsion making particularly emulsion etc without letting any light in on your when they have a built–in alarm) A simple but highly effective recipe, Dissolve the silver nitrate in the water by way out! So the door needs to be either 6 Red (safe) light (You could try to producing a very slow emulsion (ASA 1) stirring or swirling, again, in a stainless a rotating door, or it must lead cover a tube light with red theatre suitable for contact printing. It does not steel container, and raise it’s temperature to a hallway/room that can be made very lamp filters. Mine works perfectly) to 40°C dark. Working at night helps if you are 7 Scale for measuring the powders doing this at home. Bear in mind that (Needs to be accurate to as low as The next steps must be conducted chemistry stains and is hard to track un- 0,1 gr. Bought my digital one in a under a red or amber safelight. der red light, so take precautions if you coin collectors shop) are attached to your bathroom fixtures 8 Large plastic syringe (or small jug) Stirring continuously, add solution B to and porcelain / enamel. for measuring liquids (30ml / cc min.) solution A in small, regular quantities, Cheesecloth 9 Plastic spoons so that the addition takes 10 minutes to (for stirring the emulsion) complete, about 5ml every 30 seconds. 1 Materials needed 10 A surface or table to lay the cleared produce a fast enough emulsion for any “It is of course convenient to have film on and to paint or airbrush the imaginable camera. This recipe is intended The more slowly the silver nitrate is a special dark–room adapted for all emulsion on. A dark background for contact printing, as the final material added, the larger will be the silver halide photographic work, but in some cases, it helps when painting/airbrushing is quite fragile, it is recommended that it grains produced. And the larger the grains, is impossible, we are well aware. If, how- the white emulsion onto clear. be treated as a negative (in development). the faster the emulsion. ever, the amateur will work after dark, 11 Masking tape to secure the film so The material is not suitable as viewing there is no reason why a dressing room, a it won’t move around when being copy. Rinse all implements with distilled 1 Optional step: Ripen the mixture. Keep bath room, or any spare room should not painted / airbrushed or demineralized water before use, and use the solution temperature at 50C for an- answer the purpose without permanently 12 A timer / stopwatch distilled or demineralized water for mixes. other 10 minutes, then let it cool slowly disarranging them.” 13 Clear film or cleared stock Keep it clean. to 40C. The ripening process allows the – William de Wiveleslie Abney, 1885 14 Airbrush (starter set) or soft paint size of the silver grains to grow, increas- brush, about 16–20 mm wide is ing the emulsion speed. Heat speeds nice, with a soft tip to pick up Mix separately the ripening. (The mixture can also be 1 A hot plate. (I use the cheapest more emulsion (in normal room light): cooled until it gels and stored overnight stove element from a household 15 B&W developer and fix at this point. Simply reheat when ready. warehouse). for processing. Solution A 2 Finally, once it has cooled and set, filter 2 A cooking pan. Put the pan with 16 Cheesecloth or cotton for Gelatin – 10 g the finished mixture through cotton or not to much hot water (50C) on the washing the emulsion (Knox brand (or equivalent) plain, unfla- cheesecloth, make sure to thoroughly hotplate. In the water I put the small 17 Rubber or latex gloves vored food gelatin, from the grocery store rinse the filter material with distilled container with emulsion to keep the 18 Masks Potassium Bromide – 8 g water first. temperature constant. In kitchen 19 Appropriate clothes Distilled or demineralized Water – 62.5 ml 3 Place the emulsion in a square of netting terms “A bain-marie” (about one-eighth-inch mesh) and fold 3 Containers for storage of emulsion Add the gelatin to the water and allow to the cloth over it. Hold the emulsion in (I use stainless steel photo develop- swell. Put the container (preferably stain- a pan of cold water and twist the cloth ing tanks as they are all ready light less steel, but plastic works as well) into so it is squeezed through the pores in tight. But all small containers with a a water bath and raise the temperature to the netting, making a kind of gelatin sealable top will do. It needs to hold 50°C. Add the potassium bromide and stir spaghetti. If no netting is available, use about 150ml max.) or swirl continuously until both ingredi- a square of cheesecloth or cotton and 4 Light tight plastic film bags. This ents are dissolved. crumble the jellied emulsion by hand in is to ensure the emulsion is not small 6–10 square mm pieces. Fold the exposed to any light once it has been cheesecloth with crumbled emulsion mixed.

Home brew silver gelatin emulsion 7 8 Basic emulsion recipe 16 mm still basic emulsion over a pan and pour cold water (around 3 A silver bromide process allows the size of the silver 15C) over the emulsion. Leave for a few iodide gelatin grains to grow, increasing the emulsion minutes and refresh the water at least emulsion speed. Heat speeds the ripening. (The 3 times. This is necessary in order to Gelatin – 10 g mixture can also be cooled until it gels remove excess silver salts. Potassium bromide – 32 g and stored overnight at this point. 4 Optional step: Melt and after–ripen. Melt Potassium iodide – 0,8 g Simply reheat to 104º F (40º C) when the emulsion by heating to 55C for 15 Silver nitrate ready and proceed with step 8.) Distilled water – 360 ml 8 Swell additional gelatin. Soak 40 grams of gelatin in distilled water until 1 Dissolve the gelatin. softened (20-30 minutes), then pour off Dissolve 10 grams of the excess water. gelatin in 360 ml 9 Combine the solutions (emulsifica-

Gelatin warm distilled water. tion). Add the softened gelatin to the

Distilled Water 2 Dissolve the potassium bromide silver nitrate solution and mix thor- and potassium iodide. Add 32 oughly. Cool the mixture and allow it Washing emulsion – Baker, 1941 grams of potassium bromide and 0.8 to set (this usually takes 2 to 4 hours). minutes, then slowly cool it to 40C. The gram potassium iodide to the gelatin 10 Shred the emulsion. Place the emul after–ripening doesn’t increase grain solution and stir until dissolved. sion in a square of cheesecloth or cot- increase grain size much, but does size much, but does increase speed. 3 Heat the solution. Heat the mixture ton. Hold this in a pan of cold water increase speed. 5 The emulsion is now finished and ready to 130º F (55º C). The solution must and shred the emulsion, making a kind 14 Coat. to use. If not used immediately: refrig- be maintained at that temperature. of gelatin spaghetti or ricotta cheese. 15 Chill. Leave the coated film flat until erate it in the meantime. Store it in a The simplest way to do this is to sur- This is necessary in order to remove the emulsion sets, then leave in the light-tight container, or simply place round the solution with a water bath. excess silver salts. dark to dry. the container in which you mixed it in- 4 Lights out. Turn out normal lights 11 Leach out the excess salts (halides). 16 Expose. side a light–tight film bag. Make sure to and work under a light red safelight. 17 Develop & Fix. Develop in an active label it so as not to open it accidentally 5 Make a solution developer such as Kodak D-8 (2:1), in white light. of silver nitrate. HC-110 (Dilution A), or Dektol (1:1). 6 To use, heat so that the gelatin melts, Wear gloves when Fix with a standard fixer. 35C might be a good starting point, working with Scale but the consistency will depend on the silver nitrate. temperature, and so this will be a matter Dissolve 40 grams

of personal preference. Potassium Bromide of silver nitrate in 400 ml distilled water. 6 Combine the silver nitrate and gelatin Pour off excess water and place the solutions slowly. This is known as the shredded emulsion in a large beaker or precipitation stage. Add the silver ni- other container. Pour 3 liters of cold trate solution slowly to the gelatin solu- water (below 68º F or 20º C) onto the tion at a rate of 20 ml every 30 seconds shredded emulsion, let it sit for 2.5 Hot Plate

Silver Nitrate for 10 minutes, stirring constantly. The minutes, then pour off 2 liters of the more slowly the silver nitrate is added, water and add 2 liters of fresh water. the larger will be the silver halide 12 Repeat. Repeat the washing process 5 grains produced--and the larger the times, using cold water. Pour off the grains, the faster the emulsion. excess water. 7 Ripen the mixture. Keep the solution 13 Melt and after–ripen. Melt the emul- temperature at 130º F (55º C) for a sion by heating to 130º F (55º C) for further 10 minutes, then allow to cool 15 minutes, then slowly cool it to 104º slowly to 104º F (40º C). The ripening F (40º C). The after-ripening doesn’t

Basic emulsion recipe 9 10 Basic emulsion recipe 16 mm still basic emulsion A real formula New York, in1920–Courtesy ofKodak Rochester, in Laboratories KodakResearch

Here is a real emulsion formula. At Kodak, we lucky if you get ISO 3 – 6 with it using modern called this an SRAD emulsion (Single Run Am- oxidized photo grade gelatins. You cannot get monia Digest). This is adapted from one by Baker active gelatins that are any good today, for the in his 1941s textbook on emulsion making. most part. The only way to get speed is by chemical sensiti- Solution A zation, or finishing. This involves the addition of Potassium Bromide 132 g any one of a variety of ingredients. The original Potassium Iodide 4.5 g was allyl thiourea, another was thiourea, and Gelatin 30 g then finally they added sodium thiocyanate. Water 1 liter Modern emulsions use either sodium thiosulfate or sodium thiosulfate plus a gold salt. It is done Solution B after the wash step, as excess halide represses this Silver nitrate 130 g sensitization. This finishing step varies for every Water 500 ml emulsion and sometimes for every batch of every emulsion. The problem is that the quantity, time and tem- 1 Heat A and B to 45 deg C perature must be determined by trial and error 2 Add 28% ammonium hydroxide to B as it is based on the surface area of the emulsion. with stirring until a clear solution results. This is a very complex procedure. This type of emulsion varies from batch to batch quite a bit in From here Red light only: speed, contrast and fog. 3 Add B -> A over 10 minutes 4 Hold for 30 minutes at 45 deg C. BTW, this emulsion is polydisperse and the 5 Let stand for 2 hours or until at iodide that would otherwise be in the core and room temperature. not very useful is churned by the action of the 6 Shred into noodles and wash. (make ammonia to be more uniformly distributed and sure all salts and ammonia are removed) therefore increases speed. This gives a rather high 7 Remelt and adjust gelatin percent to speed negative film with a long latitude and an Basic emulsionrecipe the desired level (5 – 10%) upwardly bowed mid scale. (sound familiar?) 8 Add spectral sensitizing dye and hold Yes, this curve is very similar to some very at 45 deg for 15 mins. revered products of the 40s, 50s and 60s. 9 Coat with a hardener and surfactant. I would use 10% glyoxal instead of Enjoy and have fun. chrome alum. 10 This can achieve up to ISO 40 speed.

Now, here come the caveats. This formula as- sumed, as they did at the time, that you were using 11 standard (ACTIVE) photo gelatins, and you will be 3 2 1 4. ripening leadstofog. far, too Carried light. to sensitivity their in increase marked a in results but halide silver of crystals the of distribution size-frequency the or size the on effect little but has first, the unlike treatment, heat second This after-ripening. or digestion as known is operation hour. one to This up period a for 70C. to 50C from formula, the to according varies, which temperature a to heated and melted again are emulsions negative washing, After D has notprovedsatisfactoryingeneralpractice.Ifammoniaisusedwash morethoroughly. repeated for about five or eight times. Here it may be stated that distilled water for washing thorough byteasingtheshredswithaglassrodorspoon.Thewashing procedureisthen water afterfiveminutesandallowtheshredstodrain.Thedrainingmay bemademore Put theshredsintobagformedbymaterial,andfilljarwith water. Removethe A pieceofcheeseclothorcotton(previouslywashedout)istiedover a jarorcookingpan. Small lotsofemulsioncanbebrokenupbythehandtoconsistency ofricottacheese. ably) runningwatertoremovethepotassiumorammoniumnitrateand excessbromide. the jellyhastobebrokenintosmallshredsor“noodles.”Thesearewashedincold(prefer When ripeningiscompletetheemulsionchilledquicklytopreventfurtherchangeand Washing gelatin. the of nature and concentration the by and halide free by (4) and iodide, by (3) ammonia, of presence the by (2) heat, by (1) influenced favorably is process ripening The important. more the apparently is latter The ripening). (Ostwald disappear which smaller the of expense the at size in increase crystals larger the or crystals larger form to clump crystals the either size; in increase crystals the period this During ripening. as known is hr. 2 process This to min. 30 from more or 50C of temperature a at kept is emulsion the emulsification After Ripening washing. by removed been have bromide silver of solvents excess and by–products the after receives emulsion the which digestion the on and ripening, of degree and method the on halides, silver the of precipitation of method the on dependent also is it But “impurities.” inherent its and used, gelatin particular the on extent important an quite to depends emulsion the of light to sensitiveness The 12 igestion orafterripening Ripening, washing and digestion D W RIPENING, IGESTION A SHING SHING A N D - 16 mm still basic emulsion + alcohol HOW TO GET THE EMULSON SILVER BROMIDE GELATIN OF PHOTOGRAPHIC EMULSIONS 5. ON A (CLEAR) Airbrush

In factories film base is coated with emulsion in rolls of 36 inches/90 cm, or more in width and often 1000 to 2000 feet in length. The most common coating method in use involves passage of the film base beneath a roller which is immersed in a long shallow X 1000 X 1000 trough containing the liquid emulsion to be coated. Propellant 0 - 5 Minutes. 160 Minutes. Immediately after coating, the film is chilled either by passage through a “chill box” containing refrigerated air or by contact with chilled drums. The emulsion which is normally fluid at temperatures above 90F. sets rapidly to a gel at temperatures of 50F. and below. The sheet of chilled, coated film is then conducted by automatic ma- chinery to the drying room where it is either looped and dried or carried over an arrangement of rollers continu- ously through the drier. The emulsion is dried by clean air X 1000 X 1000 of the proper temperature and relative humidity. 5 - 15 Minutes. 120 Minutes. — C.B. Neblette, 1927 – 1951 A compact subbing machine made by T.H. Dixon of Letch- worth, England (1919-1940) Film base All photographic films are made up in basically the same way. The film base is usually plastic such as tri-acetate or polyester which is coated with a light sensitive emulsion. In - ic films and papers, the primary purpose of the base is to sup- port or hold the emulsion in place. The base, or support, may X 1000 X 1000 be transparent or opaque, depending upon how the recorded 40 Minutes. 60 - 80 Minutes. image is to be used. A transparent base is used for transparen- cies that are viewed by transmitted light and for negatives that are printed with transmitted light. An opaque base is used for prints that are viewed by reflected light. A small laboratory coating Progress of ripinening, showing increase in size of grain. machine by T.H. Dixon and Co., Ltd., Letchworth, England (1919-1940) How to make your own transparent clear film If obtaining clear film through the official channels is to difficult or expensive: Make your own clear leader by bleaching old (found footage) film to clear the entire image with toilet The silver bromide grain chlorine. Sometimes commercial film-labs will let you have clear film/leader from startup Trivellli ripening, 1921 prints if you ask nicely. Or use totally outdated unexposed film stock. Expose this film to light and drop it in fix till its clear. Rinse well.

Ripening, washing and digestion 13 14 How to get the emulsion on a (clear) film base 16 mm still basic emulsion + alcohol Coating your film base 3 Filmdipper As to coating, the home brew emulsion sticks well to I tried to make a film dipper: Around cleared acetate film that retains its commercially given 8 meter (=40 sec) of 16mm clear film gelatin coating, and seems to stick well enough to uncoated rolled on a (drain pipe) tube and dipped acetate, the clear leader you can buy in bulk. This will re- into a tray filled with emulsion. This quire some experimentation on your part. If you use cleared tube is placed inside a bigger one and film with a remaining gelatin coating make sure you coat closed on both sides, as being a light your home brew emulsion on this gelatin side. It is handy tight tank which i could store in a to have a flat surface or table to lay the clear film on so you fridge. It didn’t work for the simple

A double coating machine, can easily paint or airbrush the emulsion while it stays reason that the water in the emulsion also by Dixon and Co. horizontal. Use plenty of masking or duck tape to secure couldn’t dry out in the light and air (1919-1940) the film on the table so it won’t move around when being tight tank. The emulsion stayed soft and painted or airbrushed. Best to this in normal light. As the started to drip off the clear film and got coating has to be done in red safety light in a dark room setting it helps if the surface mouldy. I found an example of a simple where the clear film is taped on has a dark background. So you can see at least a little film dipper and of one using the “kissing Diagram illustrating priciple of trough and roller coat- where the white colored emulsion is already coated onto the clear film. The table I roller” technique in the Thorne Baker ing machines. Left: filmdipper, right: kissing rollers used is two meters long (2 meter is ± 10 second in 16mm). I taped the film alongside book Photographic (Baines, Britisch Journal of Photography.) each other in multiple (10 – 20) rows. With a line of white masking tape on both sides Emulsion Technique of the row to mark, in the length of the table, where the clear film is situated. And (1941). I’m consider- coated all rows of clear film in one go. ing this version.

1 Airbrush Film Dipper I had great fun (and results) in coating the film with a cheap Airbrush starter set (I used a Revell). These are easy to find on the internet and often used for painting miniature model making stuff. As the emulsion is not as fluid as water you need a 0.4 or a 0.5 spray mouth on your airbrush. And thats ± what a starter set offers. Nice mistake: air bubbles, as the emulsion dries quickly due to the cold pressurized air and a very thin layer of emulsion. I did extra tests with both extra water (10%) plus a tiny bit of hypo clear to avoid drying “too” quickly, as well as a few drops of alcohol (96%) to make the emulsion thinner. This I added in the home brew emulsion just before coating. See pictures for the test results. For my first coating experiment I used an air pump plant spray device. To see if I could coat the emulsion with it. The air bubbles where so big that an image was barely visible. It actually looked great but I doubt if I will use it in my film.

2 Using a Brush Using a very soft brush that picks up a lot of emulsion can also be an option. Re–dip it frequently. Multiple coats are fine, and help build up enough thickness so that the maximum density of the final image is extremely high. You have to be aware, though, that too much thickness can make the film impossible to fix completely. Bear in mind that this is art, not science. If you want regular results, use commercial film and send it to a lab, but don’t send hand-coated film to a lab. Coat on strips of a manageable length; say, about 1,5 meter / 4 feet. Dry in total darkness, and be aware that it is light–sensitive film! Soft Brush

How to get the emulsion on a (clear) film base 15 16 How to get the emulsion on a (clear) film base 16 mm still basic emulsion + water + H10 EXPOSING & DEVELOPING Taping the film on the table 6. THE EMULSION (as a negative) B&W Developer 1 Exposure As the home brew emulsion is of such low sensitivity (around 1 or 2 ASA) the best way to get an image on your film is by using a print- ing technique. Keep in mind that the emulsion made by the basic recipe is light sensitive for blue and violet light. So the next steps have to be taken in a dark room setting with red or 1 Taping the film 2 Taping the film amber safelight. on the table on the table Emulsion making 2 Dark room fotogram style Place small objects directly on top of the film the emulsion. Stan Brackage did it with moth wings... Also grass, weeds, hair, skin, dust, feathers, pins, nails, sand, sugar, screws, pasta, salt and pepper will do, then exposed to light and develop. It will leave a nice contrasty negative silhouette impression. In his exploration Man Ray called it “rayo- 3 Taping the film 4 Taping the film graphs”. His style capitalised on the stark on the table on the table and unexpected effects of negative imaging, unusual juxtapositions of identifiable objects, Handmade brushed emulsion variations in the exposure time given to differ- ent objects within a single image, and moving objects as the sensitive materials were being exposed.

How to make your own Sections of film are placed on a table your film underneath emulsion facing up and the objects on top. To get sharp, in focus images press film and objects together under a glass plate, and exposed one section at a time to light. This can be done underneath a photo as the area of light can be directed onto the film or using a hand held 5 Taping the film 6 Taping the film torch passed over the film. As with any exposure method, you will have to initially do on the table on the table test strips to get the best over-all basic exposure time depending on your light source. Exposures are not usually more than a couple of seconds as a rule and if you keep the development time constant, this will be the only variable and so this won’t be hard.

Esther Urlus, taping 3 Developing + Fixing the film on a table, 2013 Develop in a standard developer and fixer. Use cold water for rinses, and make sure no solutions are over 20°C / 65 F, otherwise the emulsion might come off. Bear in mind

How to get the emulsion on a (clear) film base 17 18 Exposing & Developing the emulsion (as a negative) 16 mm still basic emulsion + water + H10 5 5 Developer 6 Fixing There are minor differences in each The fixer solution clears the undeveloped manufacturer’s developing chemistry but silver halide grains from the film. The most contain the same basic chemicals. undeveloped grains leave the film and Each chemical has a specific function in dissolve in the fixer solution. the process. 1 Clearing agent: Ammonium or 1 Reducer: Chemical reduction of the sodium thiosulfate are clearing agents. exposed silver bromide grains into 2 Preservative: Again, sodium sulfite visible metallic silver is the function of is used as a preservative in the fixer the reducer. The reduction process is solution. provided by hydroquinone, often with 3 Hardener: Aluminum chloride is typi- the compound Metol. cally used as a hardener. It shrinks and 2 Activator: The activator causes the hardens the emulsion. emulsion to soften and swell so that reducers can reach the exposed grains. Sodium Carbonate is usually used as the 7 Safety activator. The silver (a heavy metal) that accumu- 3 Restrainer: Potassium bromide is used lates in the fixer is toxic to aquatic life. as a restrainer to moderate the rate of The silver can be removed from the fixer development. by electroplate in a silver recovery unit. 4 Preservative: Sodium sulfite, a typical Best to retain the fixer and send it to preservative, helps protect the reducing recyclers for this process. Contact printing how agents from oxidation because of their it works by Ashleigh contact with air. It also reacts with oxi- Vaillancourt dation products to reduce their activity. that the wet emulsion is very fragile and Unfortunately these are hard to find. scratches easily, and that it is susceptible Building your own tank is also possible to veiling, running, and reticulation–all see the picture on http://www.peaceman. of which make working with hand-made de/blog/index.php/selbstbau-super-8- emulsion exciting. You really should use entwicklungsmaschine. a hypo–clearing agent at the end, as it is a silver image and will degrade if left contaminated with fixer, but the longer 4 A developing method it’s in any solution, the greater the risk 1 Developer D-19 (3–5 min) of falling off, so use your own judgment. 2 Rinse (2 times with clean water) If you’re just using it as an image source 3 Fix with a standard acid fixer until from which to print back onto regular all milky areas are gone, or as gone as film, this isn’t an issue. possible (2–5 min) 4 Rinse (at least 5 times with clean Small amounts of the 16mm film (around water, or as long as you’re willing 2 meter / 7 feet) can be developed and to risk it) fixed in photo trays or buckets. For big- 5 Hypoclearing or wetting agent, ger amounts its handy to have a Russian any brand (1 min) Lomo Tank, suitable for larger amounts 6 Hang to dry of 16mm film (and Super8 and 35mm).

Exposing & Developing the emulsion (as a negative) 19 20 Exposing & Developing the emulsion (as a negative) 16 mm still brush 8 RECIPE PRINTING FOR B&W 7. A NEGATIVE DEVELOPER TO A POSITIVE + FIX Acetic Acid

D19 developer recipe Contact Printing This is the method used by the lab to copy recipe for 1 liter film. A is made on a machine Metol – 0.2 g called (sensibly enough) a Contact Printer, Sodium Sulfite (Na2SO3) – 90 g in which the original film and unexposed Hydroquinon (C6H4(OH)2) – 8 g print stock are sandwiched together, emul- Sodium Carbonate (Na2CO3) – 52.5 g sion against emulsion, and are run at a

Distilled Water Potassium Bromide (KBr) – 5 g constant speed past a light which shines Water at 120 degrees F/50C to make 1 liter through the original, exposing the print Bolex stock with the same image. A lens is not necessary, and there is always a magnification of 1. The film format cannot change, F5 ACID FIX TF–2 Alkaline 16mm stays 16mm. Basically all work prints, answer prints and release prints are con- recipe for 1 liter Sodium tact prints. The only other type of printing is Optical Printing, which is usually done Thiosulfate to add an effect or to blow up or make a reduction print.

Sodium thiosulfate – 240 g Metol Sodium sulfite – 15 g Fixer Optical Printing Hydroquinon Acetic acid, 28% solution – 48 ml Basically, re–photographing film frame crystals – 7.5 g Distilled water – 1 liter by frame. Normally through a film Potassium alum (hardener) Sodium Thiosulfate – 250 g camera re–filming a projected image Water at 125 degrees F Sodium Sulfite – 15 g frame by frame. This is a way to make a to make 1 liter Sodium Metaborate – 10 g copy of a film with many more possibili- Water to make 1 liter ties than contact printing, but, at least Cool down before use! with 16mm, resulting in a little added A working temperature TF–2 is for users who are contrast and a little loss of clarity. Optical Printer close to 65 degrees F (20C) determined to use sodium Sodium Thiosulfate is best. Higher temperature thiosulfate rather than Potassium Bromide DIY contact demands more care to protect ammonium thiosulfate and who would like a printing ways the surface of the emulsion. formula superior to Adjusting a flatbed editing the traditional acid table, by-packing in a camera hypo fixers. TF–2 (Bolex), with a picture syn- will wash out of chronizer, a torch light: In fact, negative and print anything that transports film

Sodium Sulfite materials more could be adapted. You only

Sodium Carbonate rapidly than will an need to include a light source. acid fixer. And keep in mind: emulsion side against emulsion side, and USAGE run at a constant speed past Fix the film for three times the clearing a light which shines through time, usually 3 to 5 minutes. Follow with a the original, exposing the print two minute wash in running water for film. stock with the same image. A hypo clearing agent is not required.

Exposing & Developing the emulsion (as a negative) 21 22 Printing a negative to a positive 16 mm still brush 1 Double loaded camera CREATING COLOR The camera itself can be loaded with negative and print stock in the dark room and (ON) FILM then run without a lens allowing light to expose the stock. Longer sections can be 8. done this way but the camera has a tendency to jam with the double thickness of film, so a hand crank assist is useful. Do exposure tests before attempting a mega length. As ordinarily prepared, photographic For max. 10–15 meter / 35-50 feet. emulsions are not sensitive to red or green, their sensitivity being limited to blue and violet and to the invisible 2 Flatbed printing ultra-violet regions of the spectrum. Ordiary versus panchromatic film A Steenbeck (a film -viewing or editing table) can be adapted for printing film. Nega- In 1873, H. W. Vogel found that the ad-

tive and print stock are double loaded over the picture area while the light from the dition of certain dyes to an emulsion A. prism has been reduced with neutral density filters and a cardboard slit. Plenty of made it sensitive approximately to gaffer tape is also needed to make the Steenbeck light tight (the screen is also blanked the spectral region absorbed by the out) and the ‘printing’ area needs to be masked as well. With a bit of trial and error the dye. Thus, a yellow dye sensitizes to B. results can be very good and consistent. Suitable for mega length. the blue, a red dye to the green, and a blue dye to the red region of the C. spectrum. — C.B. Neblette, 1927 – 1952 3 Picture synchronizer Attach (e.g. duck tape) a torch light to the synchronizer. If needed, use ND (neutral Although this booklet is about is making 4000 5000 6000 7000 8000 Wavelength density) filters to control the amount of your own B&W emulsion and creating Fig. 8.1. Spectograms of (a) unsensitized, light. Cover the light leaks, don’t worry to color by coloring the B&W emulsion, it is (b) green and (c) red sensitized emulsions. much about little light leaks as the home handy to know something about the color Spectrogram unsensitized ortho panchromatic brew emulsion is not very sensitive (1–2 sensitivity of B&W emulsions. The Basic ASA). Double load one of the gangs with Emulsion, as made in this booklet, is so called “color-blind”. There is no sensitizer negative and unexposed film and let the added and therefor the emulsion can only be exposed by blue and violet colored light machine run. (like daylight). If you would use this home brew emulsion in a camera and expose (hy- Picture synchronizer pothetical as its only 1 to 4 ASA, but still possible on very sunny days) it can only see blue and violet objects. Green and red objects will stay unexposed on the film which means they will look black on the positive film image. Nowadays all B&W camera films are panchromatic and therefore sensitive to the whole color spectrum. Most B&W positive print films (stock for printing a negative to a positive) are orthochro- matic: sensitive to violet, blue and green. This type of film can be used in a red dark room light without being exposed (or fogged) by the red light.

1 Basic Silver Gelatin Emulsion: unsensitized “color-blind” emulsion. Sensitive for violet and blue only. 2 Orthochromatic (green-sensitized): Sensitive to violet, blue and green. The sensitiv- ity in the green is caused by the addition of a magenta / red dye to the emulsion, mostly erythrosin in conjunction with ammonia. If you want to do it more modern: the H.W. Sands Corp. dye SDE3008 can also be used as a green sensitizer. 3 Panchromatic (fully color-sensitized): sensitivity in the red caused by the addition of a cyan / blue dye often a representative of the cyanines. Modern style: Sands dye SDA3057 will work as a red sensitizer.

All conventional modern dyes should be added just before the final coating (mix at least 15 minutes). But… These modern dye’s are very, very expensive.

Printing a negative to a positive 23 24 Creating Color (on) film 16 mm still iron (direct) toning If only I could make my own color film. and prints. The colorvir process cre- works better with Chlorobromide emul- Not that I want to re-invent a commercial looking film stock. I just want to find ways to ates wild colors and special effects, and sions than with pure Bromide emulsions create color on film. Luckily many pioneers from the early beginnings of photography thus, is an experimenters dream. like our Basic Emulsion. To get a colored went there already. My favorites are the inventions that didn’t make it commercially, or It can be hard to get hold of the result with our home brew emulsion it the forgotten ones and the experiments made only once as they where too time consum- chemicals now, they stopped produc- works best if you do the chromogen (re) ing. Analogue film is about time anyway and slow, ing it years ago, but if you can get your developing after the original B&W de- very slow. So if making a home brew color emul- hands on them, then the possibilities veloping and fixing process is done. First sion film stock is a mission “impossible” for now are endless. bleach the black silver image with (R54) what are the ways to obtain a sense of color on my and Potassium basic B&W emulsion? All the coloring recipes bromide. After this the chromogen devel- included are focused on blue and green tints due 2 Toning oping process (R71 and color components to my own preference. Be careful: some of these Film toning is the process of replacing R72) should be done in normal (white) chemicals are poisonous and very corrosive. Wear the silver particles in the emulsion with light. Use a light acid (R34) and protective clothing, gloves and glasses colored, silver salts, by means of chemi- bleach the black silver metal away with cals. There is a direct way and an indirect the Farmer reducer (R45). Panortho-ordinary way. With an indirect coloring a developed and fixed image is first bleached and then 1 Tinting dyed. A direct way is a one bath process. 4 Early try-outs in Film tinting is the process of adding color to black – and – white film, usually by means In both the (black) silver is replaced by creating color: of soaking the film in dye and staining the film emulsion. The effect is that all of the color. Commonly known are the sepia and 1 Gaspar Color A three color subtrac- light shining through is filtered, so that what would be white light is, in fact, another brown toning. Metal replacement toners tive reversal print stock. It appeared color. All hand painted films, including the films by Méliès, are made by tinting tech- replace the metallic silver, through a series in 1934 and was the first three layer niques. As is the Stencil Film Technique. of chemical reactions, with a ferrocyanide color film that could be processed salt of a transition metal. Some metals, with minor modifications to contem- Materials: such as platinum or gold can protect the porary laboratory techniques. It did 1 Dr.Martins Bombay Inks comes in 3 Food coloring also works well and can image. Others, such as iron (blue toner) or not require toning, color develop- a variety of different colors although be mixed with a variety of substances- copper (red toner) may reduce the lifetime ment or use of dyes during process- I usually buy the basics and mix up. acts like a dye. Or try adding it to of the image. ing. It used pre-dyed emulsions Mixing does not always yield the Crystal Craze. (if you can still find it at and dye bleaching. Invented by Bela desired results, but then again, who hardware stores/paint supply stores). Gaspar and used by Oskar Fishinger. needs precision? These are water- 4 Permanent markers 3 Chromogen 2 Duplex film was made with an emul- based paints and they come in little 5 Rubber stamps used with (re)developing sion on both sides. One side could dropper bottles. The paint does not permanent ink An other way to directly color B&W film be toned iron blue and the other side really chip off unless you’ve applied 6 Marshall Transparent Oil Paints comes from the invention of a three emul- could be dye toned orange. Dascolor 20 layers. I usually use the clear 7 Powdered pigments used to dye sion layered film with color couplings. used such a system. colors, but sometimes have used the homemade egg tempera paint (made In the color process a developer agent, in 3 Kinemacolor was a system of photo- opaque colors. with egg yolk). combination with a color coupling, reacts graphing on (panchro- 2 India Ink also works on film, al- 8 Pebeo Gel Crystal or Vitrail Gel on the oxidation of the silver during the matic) film alternate frames through though I find that it does not always (For painting on glass & metal. developing by producing a color. This red and green filters at high speed – 32 adhere to the stock. Mixing India Comes in transparent, opalescent color is made synchronous on the black frames per second – and showing at Ink with a little household bleach and translucent). silver image. After development the black the same high frame rate on a projector will produces a thicker substance. 9 White-out silver metal is bleached away, the color with similar revolving red and green Use a q-tip to apply to processed 10 Some graffiti brands of spray paints remains. If this color component is in the filters, special heavy duty projectors film. It will quickly bleach away 11 Colorvir is a magical box of toners developer (and not in the emulsion) its had to be manufactured. your image. Dab it right away with and dyes created by French chemist called a chromogen developing process. a paper towel. What you’ll have left Pierre Jaffeux. The kit is a multifaceted The process is such a process. is a degraded emulsion with color toning / dyeing process which can be This process can also be used to color seeping through. used on all types of B&W negatives B&W film in mono colors. Although it

Creating Color (on) film 25 26 Creating Color (on) film 16 mm still iron (direct) toning

with 1 part

R71 developer 20 g 1 liter 20 g 10 g 10 g 1 liter 20 g 10 g 10 g 1 liter 0,7 g 100 ml 1 g 100 ml 1 g 100 ml 0,5 mg 0,5 mg 100 ml 1 g 100 ml 1 g 100 ml

.

R72 coupler D – Indirect Metal Toning D – Indirect (iron) Carpentier 1967) (Photo technique, P. Bleach bath Potassium ferricyanide Water till Bleach till a grey-white for 5-10 image. Wash minutes. According Agfa (recipe 263) the image then can be colored in the following solutions. Leave in the Color Bath till the image doesn’t change anymore. Rinse well afterwards. The Color bath solutions can be mixed for olive green tones. Color bath green Ferric chloride Potassium bromide Oxalic acid Water till Color bath blue/green Ferric oxalate Potassium bromide Oxalic acid Water till Blue Alpha-napthol Alcohol or Methyl Alcohol Cyan Dichloro alpha-napthol Alcohol or Methyl Alcohol Cyan 2,4-dichloro- alpha-napthol Alcohol or Methyl Alcohol Green 2,4-dichloro- alpha-napthol 2,5-dichloro acetoacetanilide Alcohol or Methyl Alcohol Yellow o-chloroaceotanilide Alcohol or Methyl Alcoho Yellow 2,5-dichloro acetanilide Alcohol or Methyl Alcohol For use, mix 10 parts of of The developer has a very short live and can only be used ones. So mix shortly before use

1 g 2-3 drops 1 liter 2,5 g 5 g 1 liter 40 g 50 ml 1 liter 5 g 20 ml 1 liter 100 g 1 liter 100 g 1 liter 2 g* 30 or 80 g 1 g 1 g 1 g 1 l 0,5 g 12 ml 100 ml 0,5 g 0,5 g 12 ml 100 ml

Helfficher 1967) R69 – Clearing bath for toning bleach-etch Potassium permanganate Sulpheric Acid Water till An other Bleach-Etch Bath can be used with the same B: Color Dye Bath bath – Bleach–etch R67 Potassium ferricyanide Potassium iodide Water till Metal Toning C – Indirect (iron) Bleach bath Potassium ferricyanide Ammonia 25% Water till Color bath Ferric chloride Hydrochloric acid (salt acid) 25% Water till Bleach till the black silver is yellowish. Rinse till the yellow color is gone and max. 3-5 minutes in the Color Bath. The color will just then appear during the washing following the Color Bath. (Hansma) R54 – Bleach bath previous to (re)developing Chromogen Solution A Potassium ferricyanide Water till Solution B Potassium bromide Water till for use mix 1 part A + B developer – Chromogenic R71 (Helfficher 1967) Diethyl-p-phenylene- diamine hydrochloride Sodium carbonate Sodium Sulfite Potassium bromide Hydroxylamine hydrochloride Water till *(this is Genochrome or Activol) – ColorR72 Couplers ( Magenta p-nitrophenyl acetanilide Acetone Ethanol (denatured) Brown 2,5-dichloroaceto- acetanilide p-nitrophenyl acetonitrile Acetone Ethanol (denatured) Chromogen Recipes - - -

30 gr 50 gr 30 ml 850 ml 15 gr 150 5 g 15 ml 1 liter 4 g 4 g 4 g 1 liter 4 g 6 g 20 ml 1 liter 4 g 4 g 6 g 1 liter

YE toning

D YE toning

D

irect Indirect A – Bleach-etch bath A – Bleach-etch Solution A Copper sulphate Potassium citrate Acetic acid Distilleted water till Solution B Ammonium thiocyanate Distilleted water till Add solution B to A while stirring constantly. Bleach the film for 2–15 min. The longer bleached the clearer Rinse the color. short after the Bleach bath. bath B – Color DYE color dye (basic) Acetic acid Distilleted water till Color dyes (basic) suitable: rhodamine (red), auramine (yellow), malachiet green (green), methylene blue (blue). If the clear parts of the film color as well use more Acetic acid. Coloring bath takes 1–5 min. Longer is not neces sarily as the coloring stops after 10 min. Rinse till the white parts in the film are clear again. If this not doesn’t work its possible to clear the white parts by using the R69 Clearing bath If to long in this bath the color will disap shortly. pear again. If the bath is working to strong, dilute with more water. D E – Direct Metal Toning E – Direct (iron) Hanlo, 1996) (B. Blue potassium ferricyanide ferric chloride water till Green / blue Potassium ferricyanide Ammonium ferric citrate Acetic acid Water till Bath tillLeave the in desired the Color Toning color appears. Rinse shortly If rinsed after. to long the color will get less intense. And other: Metal Toning F – Direct (iron) 1935) (E. Vogel Blue Potassium ferricyanide ammoniumFerric citrate (green) Citric acid Water till Bath tillLeave the in desired the Color Toning color appears. Rinse shortly If rinsed after. to long the color will get less intense.The Iron Toning component is ammoniumFerric citrate (green) or even better with ammoniumFerric oxalate (C6H12FeN3O12). The latter gives a deeper blue coloring and better exposure quality.

Creating Color (on) film 27 28 Creating Color (on) film 16 mm still methyleen blue (indirect) toning Chromogen Recipes

R34 – Stop bath for Chromogen The blue-green coupler Cyan (re)developing 2-4-dichloro- Dichloor-a-naphtol 1 g Acetic acid 15-20 ml 1-naphthol 1 g Methyl alcohol 96% 100 ml Water till 1 liter Acetone 5 cc Basic developer 250 cc Green R45 – Farmer reducer The magenta coupler Dichloororthocresol 0,9 g P-nitrophenyl- Alcohol 96% 100 ml Solution A acetonitrile 0.05 g Sodium thiosulfate 100 g Acetone 5 cc Yellow Water till 1 liter Basic developer 250 cc Orthochloro- acetoaceetanilide 1 g Solution B The yellow coupler Alcohol 96% 100 ml Potassium Aceto acetanilide 0.5 g ferricyanide 100 g Acetone 5 cc Magenta Water till 1 liter Basic developer 250 cc Paranitrophenyl- acetonitril 8 g Add just before use 100 ml A + 6 ml B + 100 ml The image is formed in color on development Alcohol 96% 100 ml water. This Solution has a life time of 15 to 30 with the above solutions, and is afterwards fixed minutes. in plain hypo solution. The reduced silver is then Bleach Bath removed by treatment with hypo-ferricyanide Potassium ferricyanide 25 g Colored emulsions by developing when the clear dye images are left. Potassium bromide 12 g (Baker 1941) Water till 1 liter It should be pointed out, without refined facili- G — Colored emulsions by developing ties for both coating and processing, that only by Tull Neutral Fix Bath comparatively crude experiments can be envisaged Sodium thiosulfate 200 g with monopacks. Chromogenic developer by Tull Water till 1 liter Although it is beyond the scope of this book to en- Diaethyl- or ter into the manufacture of emulsions containing Dimethyl-para- Prepare short before use as the solution can only Creating Color(on)film color formers, the following formulas for produc- phenyleendiamine 1 g be kept for 2 hours. Developer time at 20C-68F ing colored images by direct development of silver Sodium sulfite 5 g is 15-20 minutes. Afterwards rinse for 5 min. bromide emulsions may be given. Potassium carbonate 20 g Bleach the Silver image in the Bleach Bath and Color Coupler solution 100 ml rinse again for 5 min. Fix in a 20% neutral Sodium A basic developer is used as follows Water till 1 liter thiosulfate solution. Rinse well and dry. Sodium carbonate 40 g Sodium sulphite 20 g 2-amino-5-diethyl Color Coupler Solutions aminotoluene hydro-chloride 0.5 g Blue 2 % potassium A-naphtol 0,7 g

29 bromide 30 cc Alcohol 96% 100 ml water 1000 cc 2 1 9. will result. One then needs the lyrical, musical and cinematic taste to sculpt the the sculpt to taste cinematic and musical lyrical, the needs then One result. will what exactly knowing not is filmmaking of type this about exciting most is What one could achieve a partial reversal of some some of reversal partial a achieve could one development, mid during print white and black a to light fogging/giving By raphers. nique andmadeitpopularamong photog artist ManRay, whoperfectedthetech monly associatedwiththephotographer/ nates fromadarkroomtechnique com The SolarisationorSabatiereffectorigi Solarisation emulsion? brew home our about what But perature. can withstandsuddenchangesintem that emulsions quality better produce to lengths great to gone have manufacturers because reticulation, create to difficult very is it emulsions film modern Withtoday’s into largercollections. together cluster to grain causing contract or expand to emulsion the forces perature the suddenanddramaticchangeintem because is This reticulate. may film the wash freezing a to fixer warm a from or fixer cold a to developer warm a from film the take you example for If temperature. in difference dramatic a has that another to bath one from taken is it when caused film, a of layer emulsion the of distortion the is Reticulation emulsions. hardened non in Especially emulsion. an of part gelatin the in appear can that pattern relief A also veryimportanttohavefuninandaloveoftheprocess. It’s work. actually to experiment or direction new a in employed be often can there learn you what but work experiments all not again, Then results. happy have inevitably will you ingredients good with stick you If experiments. the of results the celebrates and exploits demonstrates, best which film a into result Reticulation 30 Happy mistakes M H A IST PPY

A KES

------3 my home brew emulsion with the basic basic the with emulsion brew home my developed also i So of. aware are we then cupboards kitchen our in chemistry more have we means just It developers. B&W other most than “cleaner” any not its friendly environmentally very sounds it Although short. where chemicals photographic of supplies as WWII during (invented?) / used was it that said is it but clear, quite not are Caffenol of origins The C Vitamin Soda Washing Instant Coffee bought inadrugstoreand/orsupermarket: be can that ingredients household of out made is that developer B&W a is Caffenol (B&W developingwithinstantcoffee) ry and error . n u f e v a h d n a r, o r r e d n a y Tr twice. look or effect same a produce never developer. You the in it putting of sec. will 45’s – 30’s the within light a shine quickly only, fixing and developing so process, developing negative the developer.During “aged” slightly a use to best is it image own your solarize to want you If print. final the in tones negative and positive of mixture a with up end and tones the of Caffenol (powder)

(withcaffein)

Jeff Scher , 2004

16 mm still methyleen blue (indirect) toning by imagesfrugales2010:http://caffenol.blogspot.com C-L C-H, Recipes Caffenol-C-M, blue though. got Tonerimage silver black The bath. Iron the in disappeared color yellow the Toning Iron direct Unfortunately recipe. a with blue into image silver black the toning afterwards and process developing Caffenol the to due yellow golden in parts clear Tinting the film. my coloring double of way a invented I thought I second split For a purpose. on there not but actually yellow.beautiful Quite golden strong a of were image the in parts clear the but okay was image B&W The emulsion. the of softness the and time developing long the to due risky Although recipe. Caffenol Caffenol-C-M Caffenol-C-H Caffenol-C-L

Washing Soda, 54 g/l 54 g/l 16 g/l waterfree

Vitamin-C 16 g/l 16 g/l 10 g/l

Potassium - 1 g/l 1(-2) g/l* Bromide Kbr

Instant 40g/l 40 g/l 40 g/l Coffee

Use for Low to medium General purpose, General purpose, speed film up to 100 speed enhancing, speed enhancing, ASA, speed enhanc- low fog. stand-development, ing use push 1 or 2 low pH, low fog, as starting point. small grain, high acctuance.

Time 20ºC 15 minutes as a 15 minutes as a 70 minutes as a starting point. starting point. starting point.

Agitation Standard, 10 times Standard, 10 times 10 gentle turns initially, 3 times initially, 3 times initially, then let every minute. every minute. stand.

Remarks Easy to brew, easy to - *Use more than 1 g/l get, quite foolproof. only if you get un- even development. Washing Soda Presoak 5 minutes. Instant Coffee Simply the best! Happy mistakes General remarks > HAVE FUN!!! Coffee needs a couple of minutes for proper diluting. Don’t store the mix. Add agents in given order. Use demineralized water if in doubt. Adjust times for different temperatures. Check temperature after diluting the soda. Standard international units used, 31 Vitamin C recalculate for your preferred units. Measure with accuracy especially Caffenol-C-L. A 10. Acetic acid99-100% (C6H8O7.xFe.xNH3) Ammonium ferriccitrate Ammonia solution 32 better exposurequality. latter givesadeeper bluecoloringand monium oxalate(C6H12FeN3O12). The (green) canbereplacedbyferricam For toningFerric ammonium citrate well closedandprotectedfromlight. Keepgreen scalesarelight-sensitive. photographic purposes.Bothbrown and scales, butgreenscalesarepreferredfor toning solutions.Occursalsoasbrown with EnumberE381.Usediniron- nium andcitricacid.Afoodadditive in water. Its a compound of ferri, ammo brown powderwhichisverysoluble monium citrate.Itisagreenorreddish- Ammonium Iron(III)Citrate;Ironam Other namesFerric ammonium citrate; oxide residues. Ammonia solutioncandissolvesilver coloration withcopper(II)solutions. Like manyamines,itgivesadeepblue with acharacteristicpungentsmell. in water. Ammoniaisacolorlessgas It isasolutionofammonia(NH3) also knownasAmmoniahydroxide. film coloringtoners. tive. Glacialaceticacidisalsousedin remove (calc)dryingspotsfromnega Acetic acidareusedasstopbathorto and attackstheskin.Solutionsof2% concentrated aceticacidiscorrosive Although itisclassifiedasaweakacid, roughly 8%aceticacidbyvolume). vinegar (apartfromwater;is Acetic acidisthemaincomponentof luted isalsocalledGlacialAceticAcid. It isacolorlessliquidthatwhenundi Chemistry usedand otherthingsyouneedtoknow U C HE SE (NH4OH) (CH3COOH)

D M

ISTRY

- - - - - C B Copper sulphate Citric acid Boric acid Ammonium rhodanide Ammonium thiocyanateor is alsousedinfilmcoloringtoners. strong vinegarodorinthedarkroom.It but commonlyusedaceticacidleavesa neutralize andstoptheiractionquickly, are alkaline,soamildacidisusedto tographic film.Photographicdevelopers part oftheprocessfordevelopingpho stopbathas can beusedasalower-odor white crystallinepowder. Citricacid At roomtemperature,citricacidisa in asolution. acids andbaseswhenproperlymixed resists pHchangeswhenexposedto The chemical,knownasabufferagent, properties inregardstopH(acidity). mixed withachemicaltogiveitspecial fer agent.Abuffersolutioniswater quantities. Itisusedinfixasabuf taken internallyorinhaledinlarge in water. Boricacidispoisonousif crystals orawhitepowderthatdissolves cum. Itexistsintheformofcolorless acid, orthoboricacidandacidumbori Also calledhydrogenborate,boracic tion withacids. Can producepoisonedgasincombina process)andfixerbath. (bleach-etch raphy. Alsousedaspartincoloring used asastabilizingagentinphotog also canbeharmful ifswallowed. ment, irritatingto theeyesandskin, and toning. Itsverytoxictotheenviron per bromidebleachforintensification with potassiumbromideformaking cop tion forcoppersulfatewascombining it and alcohol.Themostcommonapplica bright-blue crystalsare solubleinwater sulfuric acidonelementalcopper. The substance wasmadebythereactionof Also knownasbluevitriol,this (H3BO3) (C6H8O7) (CuSO4·5H2O)

(NH4CNS)

- - -

- - - - - 16 mm still caffenol F Ferric ammonium citrate (green) or to respiratory organs, eyes, skin, and fruits. Members of the spinach family Potassium ferricyanide (K3[Fe(CN)6]) ammonium iron(III) citrate intestines. Upon mixing hydrochloric are high in oxalates, as is sorrel. Rhubarb Bright red salt. It is soluble in water and It is used as a reducing agent of metal acid with common oxidizing chemicals, leaves contain about 0.5% oxalic acid. its solution shows some green-yellow salts of low activity like silver and is such as sodium hypochlorite (bleach, fluorescence and is not containable. also in a commonly used recipe with NaClO) or potassium permanganate P Potassium alum KAl(SO4)2 The compound has widespread use in potassium ferricyanide to make cyano- (KMnO4), the toxic gas chlorine is white small crystals. It is used as a blueprint drawing and in photography type blue prints. See Ammonium ferric produced. hardener for photographic emulsions ( process). Iron and copper citrate. (films and papers), usually as part of the toning involve the use of potassium Hydroquinone (C6H4(OH)2) fixer, although modern materials are ad- ferricyanide. Potassium ferricyanide is Ferric chloride also called It is a white granular solid. It is a major equately hardened and this practice has used as an oxidizing agent to remove iron(III) chloride (FeCl3) component in most photographic de- fallen out of favor. But it could be wise silver from negatives and positives, a The color of iron(III) chloride crystals velopers for film and paper where, with to use for the home brew emulsion. process called dot etching. In color pho- depends on the viewing angle: by the compound Metol, it reduces silver tography, potassium ferricyanide is used reflected light the crystals appear dark halides to elemental silver. Dangerous to Potassium bromide (KBr) to reduce the size of color dots without green, but by transmitted light they the the environment and avoid all con- is a salt. A white/grey crystalline reducing their number, as a kind of appear purple-red. Iron(III) chloride is tact with skin, eyes and by inhalation. powder, soluble in water. In addition to manual color correction. toxic, highly corrosive and acidic. The manufacture of silver bromide, potas- It is also used in black-and-white anhydrous material is a powerful de- Hydroxylammonium chloride sium bromide is used as a restrainer in photography with sodium thiosulfate hydrating agent. Used in photographic (HONH2·HCl) black and white developer formulas. (hypo) to reduce the density of a nega- color toners and for etching gravure Another name for Hydroxylamine hy- It improves differentiation between tive or gelatin silver print where the plates. drochloride. White solid crystalline. Is exposed and unexposed crystals of silver mixture is known as Farmer’s reducer; used as a color stabilizer and emulsion halide, and thus reduces fog. this can help offset problems from over- Ferric oxalate also known as additive in color films. Harmful, irritat- exposure of the negative, or brighten iron(III) oxalate (Fe2(C2O4)3) ing and dangerous to the environment. Potassium carbonate (K2CO3) the highlights in the print. It can be used to reduce the compounds Other names are Potash or Pearl Ash. Potassium ferricyanide has very low of silver metal to the metallic state. In M Metol ((C7H10NO)2SO4) It is a white salt, soluble in water toxicity, its main hazard being that it these methods, substances are used that is the chemical compound with the (insoluble in ethanol). A highly soluble is a mild irritant to the eyes and skin. form colored insoluble pigments with name monomethyl-p-aminophenol alkaline accelerator used in most devel- However, under very strongly acidic the iron. Ferric oxalate and ammo- hemisulfate. In its pure form, it is a oping solutions. All developing agents conditions, highly toxic hydrogen nium ferric oxalate are light-sensitive solid, rather light-sensitive chemical. (not developing solutions) are either gas is evolved. Other names iron(III) salts that can be used in the Other names N-methyl-p-aminophenol neutral or slightly acid. Most de- Potassium hexacyanoferrate(III), sensitizer. Harmful when in contact sulfate, p-(methylamino)phenol sulfate, veloping agents must be in an alkaline Prussian red. with skin and inhalation. monomethyl-p-aminophenol hemis- state to be effective reducing agents, ulfate, Elon (Kodak), Rhodol, Enel, thus solutions require an alkali to acti- Potassium iodide (KI) H Hydrochloric acid Viterol, Scalol, Genol, Satrapol. It is a vate the developing agent. A develop- White salt. It absorbs water less readily. is a clear, colorless solution of hy- developing agent used in black & white ing solution contains an accelerator so Aged and impure samples are yellow drogen chloride (HCl) in water. It is photographic developers. the solution becomes alkaline. Without because of aerial oxidation. Potassium a highly corrosive, strong mineral an accelerator, there is little or no ac- iodide is a mild irritant and should be acid. Hydrochloric acid was known to O Oxalic acid (H2C2O4) tion. An other common used accelerator handled with gloves. European alchemists as spirits of salt is an organic compound; it is a colorless is sodium carbonate. KI is a precursor to silver iodide (AgI) or acidum salis (salt acid). Both names crystalline solid that dissolves in water an important chemical in film pho- are still used, especially in non-English to give colorless solutions. In terms of Potassium citrate (C6H5K3O7.H2O) tography. The use of iodide to gelatin- languages. Historically hydrochloric acid strength, it is much stronger than Transparent crystals or white, granular bromide emulsions makes a higher acid was produced from vitriol (sulfuric acetic acid. Oxalic acid is a reducing powder. Very soluble in water, insoluble degree of digestion possible without the acid) and common salt. It first appeared agent. Oxalic acid is used as a mordant in ethanol. Chemical used in blue and danger of fog and leads to emulsions of during the Renaissance. The solution in dyeing processes and also used in green toners. higher sensitivity + brighter negatives has a corrosive effect on human tissue, bleaches. Its presence makes it danger- with higher contrast and density + shift potentially causing irreversible damage ous to eat unripe carambola or monstera

Chemistry used and other things you need to know 33 34 Chemistry used and other things you need to know 16 mm still caffenol in spectral sensitiveness towards the pH regulator to maintain stable alkaline A BRIEF longer wave-lengths. conditions necessary for the action HISTORY of the majority of photographic film 11. Potassium permanganate (KMnO4) developing agents. See also Potassium 1727 — Johann H. Schulze, a German for social and action photography and Dark purplish–bronze–gray needles, carbonate. physicist, discovers that silver salts turn . magenta–rose in solution. Formerly dark when exposed to light. 1878 — Edward Muybridge known for his known as permanganate of potash Sodium sulfite (Na2SO3) 1780 — Carl Scheele, a Swedish chemist, pioneering work on animal locomotion or Condy’s crystals. It dissolves in Other name is Hypo clear. Colorless shows that the changes in the color of which used multiple to capture water to give intensely pink or purple crystals or white powder. In photog- the silver salts could be made permanent motion in stop-action , and solutions. Keep in dark brown glass raphy it is used to protect developer through the use of chemicals his zoopraxiscope, a device for project- bottles otherwise it will decompose. It solutions from oxidation and (as hypo 1826 — J.N.Niépce produces the world’s ing motion pictures that pre-dated the is a strong oxidizing agent especially in clear solution) to wash fixer (sodium first known photograph with a pewter flexible perforated film strip used in acid solutions. Weak Sulpheric acid per- thiosulfate) from film and photo-paper plate coated with bitumen of Judea, a cinematography. mangenate solutions oxidate silver into emulsions. Also used as clear bath in mixture similar to asphalt. Exposure 1878 — The longer the emulsion was silver sulfate. Potassium permanganate B&W reversal process. The anhydrous time (outside in full sun) was 8 hours heated, the more sensitive it became. is also used to remove / bleach a black form is much more stable against oxida- 1830s — , a French inven- The cause, called ripening, was first silver image in a reversal process. By tion by air. tor, develops the first practical method identified by Sir Joseph Wilson Swan. adding Sodium chloride or Potassium of photography by placing a sheet of 1882 — In France, Etienne Marey devel- bromide the oxidated silver is reduced Sodium thiosulfate (Na2S2O3) silver-coated copper treated with crys- ops a camera—shaped like a gun—that to silver chloride or silver bromide. Other names Sodium hyposulfite and tals of iodine inside a camera and expos- can take twelve pictures per second. Very corrosive. Avoid any contact with Hyposulphite of soda. A colorless crys- ing it to an image for 5 to 40 minutes. 1884 — George Eastman formed the East- skin and eyes. Reacts highly explosive talline compound. Silver halides, e.g. Vapors from heated mercury developed man Dry Plate & Film Company.East- with concentrated sulfuric acid. When AgBr, a typical components of photo- the image and sodium thiosulfate made man and William H. Walker introduces solid permanganate is mixed with pure graphic emulsions, dissolve upon treat- the image permanent. film made on a paper base instead of glycerol or other simple alcohols it will ment with aqueous thiosulfate. In this 1839 — A British inventor, William H. glass, wound in a roll, eliminating the result in a violent combustion reaction. application to , Fox Talbot, an English classical archae- need for glass plates. discovered by and used ologist, made paper sensitive to light by 1884 — H.W.Vogel creates the first pan- S Silver Nitrate (AgNO3) for both film and bathing it in a solution of salt and silver chromatic emulsion (azalineplates). A chemical compound prepared by processing, the sodium thiosulfate is nitrate. The silver turned dark when 1887 — Hannibal Goodwin patented the reaction of nitric acid with silver, known as a photographic fixer, and exposed to light and created a negative, a method and purified by re-crystallization. A is often referred to as hypo, from the which could be used to print positives for making colorless crystalline material that is original chemical name, hyposulphite on other sheets of light sensitive paper. transpar- very soluble in water. It is darkened by of soda. 1851 — The British photographer ent, flexible sunlight or contact with organic matter Frederick S. Archer develops a pho- roll film out such as the skin. Silver Nitrate forms tographic process using a glass plate of nitrocel- with one of the halogens (bromide, coated with a mixture of silver salts and lulose film chloride, iodide) a light-sensitive an emulsion made of collodion. Because base, which chemical. Taken internally silver nitrate the collodion had to remain moist dur- was used in is a poison. ing exposure and developing, photog- Thomas Edi- raphers had to process the pictures son’s Kineto- Sodium carbonate (Na2CO3) immediately. scope, an Other name Washing Soda. In monohy- 1871 — English physician and amateur early machine drate form a white powder. Hazardous photographer Richard Leach Maddox for viewing Kinetoscope in case of skin contact (irritant), of invented the dry gelatin photographic animation. eye contact (irritant), of ingestion, emulsion plate process. It was these 1888 — The name Eastman “Kodak” Co. of inhalation (lung irritant). Sodium origins that led to the miniaturization was born and the KODAK camera was carbonate is used as an accelerator, as a and adaptability of photographic emul- placed on the market, with the slogan, sions, and consequently paved the way “You press the button - we do the rest.”

Chemistry used and other things you need to know 35 36 A brief history 16 mm still reticulation 1891–1894 — Thomas Edison and optical sensor within the projector. LINKS, BOOKS W.K. Dickson develop and patented the 1923 — Kodak introduces a 16 mm rever- Kinetoscope, a motion picture exhibition sal film on (safety) base, 12. & PAPERS device that introduced the basic the first 16 mm CINE-KODAK Motion approach that would become the Picture Camera, and the KODASCOPE standard for all cinematic projection Projector. by creating the illusion of movement 1932 — The first 8 mm amateur motion- by conveying a strip of perforated film picture film, cameras, and projectors bearing sequential images over a light were introduced. source with a high-speed . 1948 — Ansel Adams formulated his find- 1895 — Auguste en Louis Lumière in- ings on the : An approach vented cinematography. The two French to a standardized way of working that thelightfarm.com handmadefilm.org unblinkingeye.com/ brianpritchard.com brothers patent a combination movie guarantees a correct exposure in every Articles/Emulsion/ emulsion.html camera and projector: The cinématogra- situation, even in the trickiest light- phe. The first footage ever to be recorded ing conditions such as back lighting, using it was recorded on March 19, extreme difference between light and 1895. This first film shows workers leav- shadow areas of a scene, and many ing the Lumière factory. similar conditions that are most likely 1907 — Homolka discovers that certain going to throw off your camera’s meter- dyes such as indoxyl and thio-indoxyl ing giving you a completely incorrect develop a colored image, along with the exposure. filmlabs.org Emulsions and zauberklang.ch/ dwrphotos.com/ silver metallic black, which are not sol- 2012 — Following the demise of Koda- Coating with Ron colorsys.php blog/EmulsionRe Mowrey: http:// search.htm uble in water. After bleaching away the chrome, Kodak has stopped the produc- www.youtube.com/ silver metalic a colored image remains: tion (after 77 years) of all its other color watch?v=i4q0Ryh the birth of chromogen developing reversal films. The company said that 9pBE 1919 — De Forest patented his sound- the move was due to dropping customer on-film—Phonofilm—process, which demand and complex manufacturing Books & papers improved issues, and has essentially left Fujifilm 1 Photographic Emulsion Technique / on the work as the sole remaining player in the T. Thorne Baker (1941 and 1948) of Finnish market. The first color reversal, or slide, 2 Photographic Emulsions / E.J. Wall (1929) inventor Eric film (Kodachrome) was manufactured in 3 Photographic Notebook / Dr. E. Vogel (1935) Tigerstedt and 1935. At first as a cine-film, later also for 4 The Negative / Ansel Adams (1948) firstcall-photo- Scribd.com/ the German photographic use. graphic.co.uk/ doc/130834332/ 5 Dark Room Recipes / D. Helfferich (1975) partnership 2013 — Fujifilm has stopped its produc- categories/28/b-w- Photographic- 6 Photography: Its Materials and Processes, Tri-Ergon. tion of Motion Picture Film products by toner-chemicals? Emulsion-Tech Handbook of Photography and Reprography, perpage=ALL nique Phonofilm March, 2013. Photography: Principles and Practices / recorded C.B. Neblette (1927-1952) sound directly 7 The Photographic Emulsion / B.H. Carroll, onto film as D. Hubbard, & C.M. Kretschman parallel lines 8 Photo Chemicals and Recipes / J.J. Hansma (1956) of variable 9 Encyclopedia for Photo- and Cinematography

Phonofilm reel shades of gray, (Elsevier 1953-1958) which later 10 Photo Technique / P. C a r p e n t i e r ( 1 9 6 7 ) became known as a “variable density” 11 Coloured Black and White / B. Hanlo (1996) system as opposed to “variable area” 12 Photography with Emulsions / systems. Optical sound tracks are visual View from the window at le Gras, J.N.Niépce William de Wiveleslie Abney (1885) renditions of sound wave forms and 13 The Fundamentals of Photography / provide sound through a light beam and C. E. K. Mees (1921)

A brief history 37 38 Links, books & papers 16 mm still reticulation EXTRA’S: Plate VII. 13. OPTICAL SOUND

Seed 27 Hammer How it works “Gilt Edge” “Special 16 mm fi lm works with an optical sound (1.4 to 1.8 µ) Extra Fast” (3.5 µ) track situated in the frame line of the fi lm. It works with a lamp shining through the opti- cal sound track hitting a photosensitive cell. Because the sound-track varies in density, a light with varying intensity arises on the cell. A current controlled by the cell will proportionally vary with the illumination of the sound pattern, this alternating signal is amplifi ed and thus made audible. Cramer Cramer “Inst. Iso.” “Crown” (3.6 x 1.5 µ to (5.3 µ) 1.1 x 3.7 µ)

Sound on fi lm

Seed 27. Seed 27. Before After Left – variable area, width of transparent Right – variable density, whole track Intensification Intensifaction part varies with audio varies in density with audio (1.3 to 4.0 µ) (2.8 to 10.4 µ)

Photgraphs of Silver “Grain”

16 mm stills basic emulsion: coating by brush Schematic of optical sound reproduction Esther Urlus, 2013

Extra’s 39 40 Extra’s