Film photography is a great thing of the past. It’s like driving a Porsche 911 Targa from the days of Woodstock, wearing old school John Lennon sunglasses and a white scarf. It has its charm and beauty even if it’s not what one would call practical. I know quite a lot of people who’d love to try it but they seem scared by all that “load in total darkness - developer rinse fix rinse wash dry - OMG, I can’t see the results on the display on the back of my camera” nonsense. Others take a leap of faith and give it a go but then all the technical questions pop up. One of them is “what’s this whole developing story?”
Well, I know the story and I’m willing to share :D (but keep in mind, reading this story told by me is nothing like reading the genuine stuff from a genuine book. I hold no responsability for your ruined films, chemical intoxication, throwing your developing tank at a wall in madness or any other side effects. Besides, it’s part of the charm and beauty you get from driving that old 911 Targa, isn’t it?) Also, this crash course won’t be structured really logical. I just write it as it comes. For example, I won’t start with the normal talk about developing tanks, reels and changing bags. Maybe at a later date.
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There are literally tens of different developers out there. Each one is described as the Holy Graal of black and white film photography (oh, yes, forgot about one tiny little thing: all the rumblings to come are strictly about B&W!) and, at the end of the day, each one could actually be the Holy Graal for one photographer or another.
You can choose from syrup concentrate developers or powder developers, one shot developers or replenishable developers, small cans or big bottles. Each comes with good parts and bad parts. I won’t describe generic stuff here because I’m no guru. Just the things I’ve seen and tried.
The developer I’ve used most is the old mighty Rodinal (aka R09). This is pretty much the hundred years old bullet proof formula. Why do I like it?
- dirt cheap (you can pay 18 euros for 1 liter of concentrate R09 here in EU and use it at 1:50 dilution - although anything between 1:25 and 1:200 is possible. My math says an average of 0.2 euro cents per film)
- super stable formula (when UNDILUTED!!!). Opened bottles of Rodinal have been reported to work just fine after as much as 20 years, although you have to be pretty lazy to take that much time to finish it
- one shot developer: dilute it, use it, toss it. No compensation after a number of films, always the same results under the same conditions
- super creamy tones. It just warms my soul.
- crisp details
- can be easily used for the lazy-man’s tehnique (1+100 dilution, slowly agitate for 1 minute, tap against the sink, let it sit for an hour - applies to any film shot at nominal speed)
- compensating developer - theoretically should sqeeze the soul out of most films
- works wonders with all-school emulsions (APX, Foma, Efke, old Tri-X, Pan-F etc.) but I found it to be great with newer emulsions like Neopan 400 too.
Of course, it comes with some drawbacks too:
- tends to show the grain’s real face (it does NOT enhance grain but it doesn’t dissolve it either)
- only few films reach box speed in Rodinal. A third to a half stop slower is the daily routine (will explain more about film speed and EI later)
- takes forever to work with some films. For example, AGFA APX 100 in Rodinal at 1+50 dilution needs 17 minutes
Rodinal is like a smooth lady. It likes it soft and gentle. So don’t go around agitating like crazy or it will poke your eyes out with grain balls big enough to play a match of golf. I use 1 minute of gentle inversions (about 20 of them) at the beginning and then two gentle inversions each minute until the time is up. If you’re overly lazy you might like to try the stand developing method. So head over the RangeFinderForum and read this in-depth thread about it.
A while back I stumbled upon Diafine, another pretended Holy Graal, beat-all developer. Yes, I know, it’s like discovering fire in 2012. I have no expertise with Diafine yet. I just prepared my first batch last night and shot a test roll this morning (drying right now), but this is what I know about it:
- true two-bath, highly compensating developer
- all films require the same treatment (maybe with a couple of exceptions)
- doesn’t really care about temperature as long as it’s between 21 and 29 Celsius (great thing for those hot summer days)
- it gives some higher EI than box speed for most films, with some exceptions (one of them being Fomapan 400 - undergoing testing right now. I’ll probably append the results soon). In average you get about one stop higher EI (EI = Exposure Index. Forgot to mention it), but rumours say Tri-X is best rated at 1250 without increase in grain or loss in shadow detail.
- it CAN’T be used for pushing films (or pulling for that matter). Given its characteristics, each film has ONLY one EI in Diafine. My recomandation is to do your own test to figure out the EI based on your particular combination of film, developer, light reading and camera. One film ‘ruined’ for posterity is better than lots of films ruined for nothing.
- although you mix it from powder, people say it lasts for years.
- whatever you do, NEVER get any of solution B into solution A. If there’s anything Diafine hates, that mixing bottles and pouring the B into A. Of course, if you want to play a very very nasty prank to your darkroom mate you might try this. It will kill the whole batch in no time.
- you can develop films until you’re out of solution A (the process goes like this: you pour solution A in the tank, do the 3-5 minutes time with proper agitation, pour the solution back in its bottle, DO NOT RINSE, pour solution B in the tank, do the time, pour back, rinse, fix, wash and dry. This process actually means that while in A - where little to no developing takes place - the emulsion soaks in solution A and therefore retains a certain amount of it. As a result each developed film means that you have less and less solution A, until you’ll have too little to actually cover the roll in the tank. That’s the signal you should buy a new batch)
- you can develop any types of films together. They all need the exact same treatment (great for all those “let’s shoot this and that and those all-different films”) - I think I’ve already mentioned this before but nevertheless…
I’ve used some other developers too but only for a couple of films each. There are lots more of great stuff out there and in the end it’s just a matter of taste and habbits. For what I need these two seem ideal, each with its strong points and weaknesses, each suitable in certain situations but each great as a whole. Not to mention they’re both cheap and readily available and there is a lot of great info and discussions about both of them.
If I’d have to recommend one to a beginner, I’d probably go with Rodinal for its ease of use and reliability. It really is a bullet-proof developer and you have to be extremelly sloppy to go wrong with it. I bet I could teach my dog to use it.









































