Some information on places to send your film for development in Singapore. It is really a compilation of information from members of the groups as I do not have personal experience of using all of them.
Analog Film Lab http://www.analogfilmlab.com/ The only lab that processes E-6 (positive slides) in Singapore. They are also the only option if you are shooting 4×5 large format film. They do C41 and B&W development too. They do mail order service so download the order form from their website and mail in your orders. Once processed, they will mail it back to you.
Black and White Reversal https://www.facebook.com/bwreversal/ The only place in Singapore to get your normal black & white film to be processed as slides. Only mail in service and check out the facebook page on what ISO to rate your film as.
Konota https://www.facebook.com/konotafujifilm/ (not updated for a while) They do C41 and B&W processing for 35mm, 110 and 120 format. For C41 processing, they offer express service (1hr) for extra fees. Their normal service is quite fast too as you can collect in the evening if you send in late morning. They do cross processing ie processing slides using C41 chemicals.
Ruby Photo We all know Ruby Photo at Peninsula Hotel Shopping Complex. They will collect your film and send them out to other labs for processing and collect it back. Ruby is now known as Ruby Ye Photo and has relocated to the basement (same building) to 3 Coleman Street, # B1-20 Peninsula Shopping Centre.
Whampoa Color Centre 272, Balestier Road, Tel: 6250-6922 (Closed on Sundays, Public Holidays and Wednesdays) C41 and B&W development and scanning services for 35mm and 120 format. B&W development, takes about a week (7 working days) while C41 development usually same day unless they have backlog.
This post is about black-and-white reversal for paper. We are going to use this expired 5×7 Ilford photo paper . We will need to trim it down for use inside this 4×5 film holder in the darkroom .
We will use a Chamonix 4×5 large format camera to take the shot.
For shooting photo paper as a positive, we need to add 2-3 stops to what the meter is reading.
The light meter is giving a f5.6 aperture and the shutter speed now is 0.6 second . For photo paper if we are using it as a positive we probably need to overexpose it by 2-3 stops
First Developer : the Ilford multigrade developer (1+9) Bleach : Part A – 1 g of potassium permanganate and add up to 250 ml water Part B – 13.5g of sodium bisulfate and add up to 250 ml of water. This will mix up to
Only mix the 2 parts to form the bleach when we are ready to use as this potassium permanganate based bleach does not keep well. Remember we always ADD ACID to Water so Always add the part B (which is a diluted sulphuric acid) to part A.
Second Developer : Reuse the Ilford multigrade developer used in first Developer Fixer : Ilford Rapid Fixer
Processing steps Based on Ilford Multigrade RC paper
Process for 1 minute
Wash for 1 minute
Bleach for 5 minutes
Wash for a minute
Expose for maybe 30 seconds under a normal light or natural light
There is a rekindled interest in 8×10 photography after a few NEW sub-$1k 8×10 cameras appeared in the scene. The most notably would be the Intrepid 8×10. As of this writing, it has far exceeded its lowly set target £18,000 goal with 255 backers. That would means there is going to be at least 220(less those who backed for non camera reward) 8×10 cameras out there. I guess that there maybe 150 new 8×10 cameras users while the rest are existing 8×10 users who are just buying another lighter and cheaper camera.
What does this means? This means there will be an increased demand for
tripods and tripod heads
processing equipment such as paper drums and tanks
Here i share my own experience in shooting in the 8×10 format.
The most important factor to look out for when looking for a 8×10 lens is the image circle. The minimum image circle to cover the 8×10 format is 12.8inches / 325mm (the diagonal of the film size). Ideally you should have a lens that has an image circle greater than 325mm if you intend to use movements which you normally would. After all, camera movement is a unique feature of a view camera. Next up for consideration is the focal length of the lens. A 300mm lens will be about the standard lens for the 8×10. A 210mm lens will be considered wide on the 8×10 lens. To get its estimated equivalent focal length in 35mm terms, simply divide the focal length by 8.
While there are vintage lenses or barrel lenses out there in the used market, I would suggest getting one with a modern Copal shutter for a start. There are some good old lenses with old shutters but most of these shutters are at least 50-60 years old and many shutter mechanism in thet are worn out. Even the well know camera machinist shop , SK Grimes does not take in any more vintage shutters for repairs or CLA. Whereas a good Copal shutter will last you many more years to come and still serviceable.
You will be glad to know that with a big negative like 8×10, you will need less demanding performance from the lens so 8×10 lens are relatively cheaper compared to a high performance 35mm lens. After all, for the same scene, the 8×10 lens would need to resolve less lines per mm. I use the Schneider G-Claron 355mm lens with a Copal 3 shutter. The image circle of this lens is 444mm at f22 allowing quite a bit of movements on the 8×10. I also have a cheap Seneca 305mm f7 lens which is using a old Betax No 4 shutter.
There are other ways to work with vintage or barrel lens such as using a Packard shutter or shooting with low ISO paper negative or wetplate. However if you are new to 8×10 or just shooting 8×10 film, go for a lens with a Copal shutter first. Other lens experiments can come later!
If we are talking about panchromatic silver gelatin film, you only have a few choices from these 3 manufacturers Ilford, FOMA and Shanghai.
I have been using FOMA 8×10 film for the past 6 months and have been happy with it. It is a good balance between price and performance. I have also used Shanghai 8×10 before but their supply has been a bit erratic after they shifted their factory but I see that they are back on the market again. For me, I will stick to FOMA film for now. Ilford 8×10 film is about double the price of a FOMA sheet so I have not used any Ilford 8×10 film before.
Another cheaper alternative is 8×10 Xray film such as those produced by Fuji. However it is an orthochromatic film ie it is not sensitive to red light and is also of high contrast. Most of the Xray film are coated on both sides and making it susceptible to scratches when wet. I have tried a box and must say they are quite cheap to use and very suitable for alternative printing where a high contrast negative is desirable.
Tripod & tripod head
First thing is to ditch your ball head no matter how big and strong it is. A 8×10 camera with its lens is a big camera and you do not want to the whole camera to drop off when you loosen the ball. Go for a 3 axis panning head such as the Manfrotto Junior 410 head or even better the Manfrotto 3263 deluxe geared head. Match it with a set of strong tripod legs. Those who do not have a big budget can also look for the 2 axis Majestic tripod head. These heads are old, big and heavy and do not command a premium price on the used market, at least for now.
Do not be mislead into believing a lighter 8×10 camera means a smaller and lighter tripod. If you extend the bellows of the camera, it would turn into a sail or kite catching wind and before you know it, the whole camera and tripod will topple over.
Paper equipment such as paper drums and tanks
Last but not least would the film processing equipment, we have a few options for film processing
Trays processing – just processing the film in trays in total darkness. This kind of setup would cost the less assuming you already have a darkroom or lightproof area. Just buy 3 12×16 trays and you would be good to go.
Another kind of tray processing is using the Paterson Orbital processor where you will be processing one sheet at a time. It is a daylight tank where you load in the sheet in total darkness and then carry on the processing in daylight. These are hard to come by and are usually available as used in the UK ebay. Their prices have been increasing and will continue to do so.
Here are a few books that that personally recommended for your rccommends
1. The Book of Alternative Photographic Processes by Christopher James
This is a heavy book of almost 900 pages. Being the 3rd edition, it has the latest updated information on the various alternative photographic process including a chapter on wetplate collodion photography. The author shares the various formulas that are required for the various processes such as cyanotype printing , kallitype printing, salt printing etc.Buy it now on Amazon
2. Chemical Pictures The Wet Plate Collodion Book: Making Ambrotypes, Tintypes & Alumitypes
by Quinn B Jacobson (Author)
Quinn B Jacobson is considered to be one of the gurus in wetplate photography. He hosted regularly a live talk show on wetplate and other alternative photographic processes. This book covers everything you need to know about wet-plate collodion photography. Quinn teaches you how to make direct positive images on glass and metal plates; Ambrotypes, Tintypes, and Alumitypes.Buy it now on Amazon