What is the workflow for shooting medium format film and getting digital files?
Asked 5/2/2018
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I'm used to a DSLR workflow where I shoot, copy the files to my computer, and edit them. If I start shooting medium format film (for example with a Rolleiflex), what does the workflow look like from unloading the film through ending up with digital images? I don't have darkroom experience, so I'm especially interested in the practical options for developing and scanning, including what is realistic to do at home versus sending to a lab.
Originally by Photography Stack Exchange contributor. Source · Licensed CC BY-SA 4.0
Photography Stack Exchange contributor
8y ago
2 Answers
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Assuming your end product is a digital image (i.e. not a paper print) the steps of your workflow are simple:
- develop the film
- scan the images
As for developing: it is important to consider Black & White and Color films as separate realms.
- black & white film is on one hand comparatively easy to develop - you need just three baths (developer / stop bath / fixer), the process is robust and easily done in DYI conditions. On the other hand the process has never been standardized. There are hundreds of developers, often optimized for a specific film make and choosing the "right" one involves as much art as science.
- color film (both reversal and negative) is comparatively more difficult to develop - still doable at home, but there is more chemistry involved and the tolerances are more tight. On the other hand the process has been standardized (E-6 for transparencies and C-41 for color negatives).
Most film photographers therefore develop their B&W film themselves, and send their color film to a lab.
As for scanning: there are broadly three options:
- a flatbed scanner, such as Epson V600 costing low hundreds of dollars (pounds) is something you can have at home (I do), but the resolution and dynamic range is somewhat limited.
- a high end CCD scanner, such as Hasselblad X5 costing tens of thousands of dollars (pounds) is not something you (or me) are likely to own, but with a little googling you should be able to find a processing service nearby that has one of these and will scan your negatives for you. The resolution and dynamic range is vastly improved over flatbeds, but the price and (in)convenience of having to send the negatives for the service means you will save this option only for special occasions.
- a wet mount drum scanner is the holy grail of film scanning. It gives the best resolution, and is the most hassle to operate. A fun fact is that many of these are available second hand, and with a little eBay luck you can get one for a relatively decent price. They are a chore to operate though, requiring you to install ancient interfaces (think Firewire).
Originally by user62463. Source · Licensed CC BY-SA 4.0
user62463
8y ago
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Generated from our catalog & community — verify before relying on it.
If your final goal is digital files, the basic workflow is:
- Shoot the film.
- Unload it from the camera.
- Develop the film.
- Scan the negatives or slides.
- Edit the resulting JPG/TIFF files as usual.
The simplest route for a beginner is to send the film to a lab and pay for scans. The lab develops the film and returns digital files plus the negatives, which you should keep for rescanning later if needed.
For home processing, black-and-white is the easiest place to start. It typically uses developer, stop bath, and fixer, and can be done with a changing bag or total darkness, a reel, and a daylight developing tank. It’s considered fairly forgiving.
Color negative (C-41) and slide film (E-6) can also be processed at home, but they involve tighter control and more chemistry, so many people prefer to use a lab for those.
If you do process at home, check local rules for chemical disposal, especially fixer, which contains silver and should not always be poured away.
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