How to Take Great Digital Photos

Digital cameras are fast becoming the camera of choice. If you dont know the various settings and how to take advantage of the buttons and tricks on your digital camera, you might just miss out on that great shot.

Instructions

How to Take Great Digital Photos

1

If you find the exact right moment to take a picture, you dont want to be disappointed. But sometimes, no matter how great the moment and what you capture on your screen, the picture can turn out different than you expected. Make sure that you take the time to learn what all of the buttons mean by reading your manual. If your camera didnt come with a manual, stop by the makers website and review it online.Now that you are familiar with your particular model, take the time to calibrate the monitor. This is a simple procedure, but it requires that you have the paper you plan on printing out your pictures on. Match the white on your monitor as close as possible to the white on the paper.

2

Make sure you are gripping the camera correctly. Shaking will blur the photo. For the most part, the smaller the camera, the more difficult it will be to hold steady. Pull your elbows slightly against your sides and hold the camera in your right hand. If you have a camera that has an SLR or single Lens Reflex, support the lens with your left hand. Dont cover the flash or the sensors on the front of the camera.

3

Try moving your position rather than zooming when possible. In many cases, you can crop out unwanted background and frame pictures better by moving yourself rather than the lens.Check the lighting before snapping off the shot, try for natural lighting, even if you are inside. Open a blind depending on the time of day. Play around with different variances of lighting. This is a good time to take advantage of the large memory card you bought for storing multiple pictures. Be sure to note the changes you make to the lighting so you know what works best in future shots.

4

Move the position of your camera. Lower it when taking a picture of a child, for instance. Many times, the photo will come out distorted if you shoot it from the wrong angle. Play around with it and find what works best. Your display screen is great for this purpose.Wide angle lens shots distort the subject. If you are looking for a standard picture dont bother with this technique. If, however, you want to play with perspective and unique characteristics, then give it a try. Get closer to your subject, otherwise they will seem smaller. With the subject close in a wide angle lens shot, the background will move further away. To give you an idea of the effect, taking a shot from the step below of a person sitting down will make their leg seem twice as long and their head very small.

5

Whatever shot you take, enjoy the subject and it will reflect in the picture you take with your digital camera. The advantage over regular film cameras is you can snap away and not have to worry about getting carried away.

---

Digital cameras are fast becoming the camera of choice. If you dont know the various settings and how to take advantage of the buttons and tricks on your digital camera, you might just miss out on that great shot.

Instructions

How to Take Great Digital Photos

1

If you find the exact right moment to take a picture, you dont want to be disappointed. But sometimes, no matter how great the moment and what you capture on your screen, the picture can turn out different than you expected. Make sure that you take the time to learn what all of the buttons mean by reading your manual. If your camera didnt come with a manual, stop by the makers website and review it online.Now that you are familiar with your particular model, take the time to calibrate the monitor. This is a simple procedure, but it requires that you have the paper you plan on printing out your pictures on. Match the white on your monitor as close as possible to the white on the paper.

2

Make sure you are gripping the camera correctly. Shaking will blur the photo. For the most part, the smaller the camera, the more difficult it will be to hold steady. Pull your elbows slightly against your sides and hold the camera in your right hand. If you have a camera that has an SLR or single Lens Reflex, support the lens with your left hand. Dont cover the flash or the sensors on the front of the camera.

3

Try moving your position rather than zooming when possible. In many cases, you can crop out unwanted background and frame pictures better by moving yourself rather than the lens.Check the lighting before snapping off the shot, try for natural lighting, even if you are inside. Open a blind depending on the time of day. Play around with different variances of lighting.

Enhance your photography skill,The Top Secret Photography Techniques

. This is a good time to take advantage of the large memory card you bought for storing multiple pictures. Be sure to note the changes you make to the lighting so you know what works best in future shots.
4

Move the position of your camera. Lower it when taking a picture of a child, for instance. Many times, the photo will come out distorted if you shoot it from the wrong angle. Play around with it and find what works best. Your display screen is great for this purpose.Wide angle lens shots distort the subject. If you are looking for a standard picture dont bother with this technique. If, however, you want to play with perspective and unique characteristics, then give it a try. Get closer to your subject, otherwise they will seem smaller. With the subject close in a wide angle lens shot, the background will move further away. To give you an idea of the effect, taking a shot from the step below of a person sitting down will make their leg seem twice as long and their head very small.

5

Whatever shot you take, enjoy the subject and it will reflect in the picture you take with your digital camera. The advantage over regular film cameras is you can snap away and not have to worry about getting carried away.

---

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What is the Best Way to Shoot Sports in Bright Sun With a Canon DSLR?

There are three main factors to consider when shooting sports with your digital camera. First, you want to use a fast enough shutter speed that you catch the action without creating a blurry photo. Second, you need enough light, and if you are shooting outdoors your placement is important. Third, you want to avoid the shutter delay common to digital cameras so you get the shot you want in a fast-paced setting.

Shutter Speed

Using a fast shutter speed is critical to getting a good photograph of a sports event, where the subjects will probably be in constant motion. Some Canon DSLR cameras have shutter speeds in the 1/4000 range. Getting as close to that as possible will give you not just a clear photograph free of blurring, but also maximum clarity and detail. If light is low and you must use a slow shutter speed, you can compensate in part by tracking with the shot. This takes a bit of practice, but if you are familiar with how the action flows in the sport you are shooting, you can learn to go with it and get good results. The nice thing about a digital camera is that you will have immediate feedback; you can check how the picture comes out on the digital viewfinder screen right away, and adjust your technique accordingly.

Lighting

The faster shutter speed means you need significantly more light than you normally would for a static shot. If you are shooting outdoors, try and place yourself with your back to the sun, especially on a day that is not cloudy or overcast. Open the aperture all the way, to 2.0 or 2.8 depending on your model, to allow in maximum light. The downside is that your depth of field will be radically reduced, and things in front of or behind your main subject won't be in focus. Stop down to a smaller aperture accordingly if adequate light is available. It's always helpful to take a few test shots before the action begins to get optimal settings.

Shutter Delay

One constant lament from digital camera users is the delay between the time you click the shutter and when the picture is taken. Delay times have been coming down, but there are ways to get around it for sports photography. Observe your shot through the viewfinder, and partially depress the shutter. This will activate the automatic features (if you are using them) that sometimes delay a shot. When the moment you want to capture arrives, depress the shutter the rest of the way, taking the picture. If you want to take several shots quickly in the hope of getting the best one, use the burst feature, which will take a number of shots and you only need to depress the shutter once. This avoids the delay of the camera writing the photographs to the memory card.

---

There are three main factors to consider when shooting sports with your digital camera. First, you want to use a fast enough shutter speed that you catch the action without creating a blurry photo. Second, you need enough light, and if you are shooting outdoors your placement is important. Third, you want to avoid the shutter delay common to digital cameras so you get the shot you want in a fast-paced setting.

Enhance your photography skill,The Top Secret Photography Techniques

.

Shutter Speed

Using a fast shutter speed is critical to getting a good photograph of a sports event, where the subjects will probably be in constant motion. Some Canon DSLR cameras have shutter speeds in the 1/4000 range. Getting as close to that as possible will give you not just a clear photograph free of blurring, but also maximum clarity and detail. If light is low and you must use a slow shutter speed, you can compensate in part by tracking with the shot. This takes a bit of practice, but if you are familiar with how the action flows in the sport you are shooting, you can learn to go with it and get good results. The nice thing about a digital camera is that you will have immediate feedback; you can check how the picture comes out on the digital viewfinder screen right away, and adjust your technique accordingly.

Lighting

The faster shutter speed means you need significantly more light than you normally would for a static shot. If you are shooting outdoors, try and place yourself with your back to the sun, especially on a day that is not cloudy or overcast. Open the aperture all the way, to 2.0 or 2.8 depending on your model, to allow in maximum light. The downside is that your depth of field will be radically reduced, and things in front of or behind your main subject won't be in focus. Stop down to a smaller aperture accordingly if adequate light is available. It's always helpful to take a few test shots before the action begins to get optimal settings.

Shutter Delay

One constant lament from digital camera users is the delay between the time you click the shutter and when the picture is taken. Delay times have been coming down, but there are ways to get around it for sports photography. Observe your shot through the viewfinder, and partially depress the shutter. This will activate the automatic features (if you are using them) that sometimes delay a shot. When the moment you want to capture arrives, depress the shutter the rest of the way, taking the picture. If you want to take several shots quickly in the hope of getting the best one, use the burst feature, which will take a number of shots and you only need to depress the shutter once. This avoids the delay of the camera writing the photographs to the memory card.

---

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About Photography Lighting

In order to understand photography you must understand light. If you have poor lighting you will have bad photographs. Good lighting creates brilliant pictures. Every photographer needs to pay close attention to lighting conditions and, whenever possible, manipulate those conditions for effect. There are basics of photography lighting that every photographer should know. After mastering the fundamentals, it is up to the individual photographer to use light in her own unique way.

The Facts

Photography lighting basics require three light sources. The most important is the "key" light source. This is the brightest light and must shine directly on the subject of the photograph. The key light should be behind the photographer at an angle. The second light source is the "fill" light. It shines across the key light with less intensity and softens shadows. The fill light should ideally be close to a right angle to the key light. The third light source is the "back" or "background" light. This goes behind the subject of the photograph. If the background is important then the light should point away from the subject and light up the surroundings. If the subject is blending into the background the light can be pointed at the subject's back. This will distinguish the subject from the background. Other light sources can also be added to highlight specific things in the frame.

Misconceptions

Many amateur photographers believe that the automatic flash on a camera will take care of all lighting needs. The opposite is true. Automatic flashes usually wash out a photograph. They do not adapt for specific situations. They just saturate the frame with light. This is why people often appear to have red eyes when there is a flash in a dark place. Sometimes a flash will light up something close to the camera while leaving the background dark. Flashes are also ineffective at lighting up things at a distance. To get good photographs you must deliberately light what you are shooting.

Type

Photographers use a variety of light sources. The sun is the most obvious one. It provides great natural light but can cast harsh shadows. The sun is often in the wrong place from a photographer's perspective. In that case the photographer must change position or wait for the sun to move. Artificial lights can be moved at the photographer's whim. Photography lights can flash, strobe or provide constant illumination. They come with different kinds of bulbs that produce different color light. Filters, barn doors and gels are useful to diffuse and reduce harsh light. Reflectors act like light sources even though they don't produce their own light.

Benefits

A well lit photograph is a thing of beauty. It brings out elements in a scene that are not witnessed or appreciated by the naked eye. A little effort lighting a photograph goes a long way toward improving the picture. It doesn't have to be complicated. Simply having the sun behind you at a 45 degree angle to your subject and a reflector on the other side of the camera to remove shadows can produce a stunning picture. Since it is daytime, a background light probably isn't necessary. When taking pictures indoors use the lights you have around you. Turn as many on as you can find then position your subject to take advantage of where the light shines. As long as you understand photography lighting basics you can adapt to improve your photos.

Effects

Photography lighting allows you to create special effects. Colored lights and filters can change shades of what you see. Over lighting, under lighting and back lighting can create dramatic images with shadows. Focused lighting can illuminate specific objects while leaving the rest of the frame dark. The options are limitless when manipulating light for photography.

---

In order to understand photography you must understand light. If you have poor lighting you will have bad photographs. Good lighting creates brilliant pictures. Every photographer needs to pay close attention to lighting conditions and, whenever possible, manipulate those conditions for effect. There are basics of photography lighting that every photographer should know. After mastering the fundamentals, it is up to the individual photographer to use light in her own unique way.

Enhance your photography skill,The Top Secret Photography Techniques

.

The Facts

Photography lighting basics require three light sources. The most important is the "key" light source. This is the brightest light and must shine directly on the subject of the photograph. The key light should be behind the photographer at an angle. The second light source is the "fill" light. It shines across the key light with less intensity and softens shadows. The fill light should ideally be close to a right angle to the key light. The third light source is the "back" or "background" light. This goes behind the subject of the photograph. If the background is important then the light should point away from the subject and light up the surroundings. If the subject is blending into the background the light can be pointed at the subject's back. This will distinguish the subject from the background. Other light sources can also be added to highlight specific things in the frame.

Misconceptions

Many amateur photographers believe that the automatic flash on a camera will take care of all lighting needs. The opposite is true. Automatic flashes usually wash out a photograph. They do not adapt for specific situations. They just saturate the frame with light. This is why people often appear to have red eyes when there is a flash in a dark place. Sometimes a flash will light up something close to the camera while leaving the background dark. Flashes are also ineffective at lighting up things at a distance. To get good photographs you must deliberately light what you are shooting.

Type

Photographers use a variety of light sources. The sun is the most obvious one. It provides great natural light but can cast harsh shadows. The sun is often in the wrong place from a photographer's perspective. In that case the photographer must change position or wait for the sun to move. Artificial lights can be moved at the photographer's whim. Photography lights can flash, strobe or provide constant illumination. They come with different kinds of bulbs that produce different color light. Filters, barn doors and gels are useful to diffuse and reduce harsh light. Reflectors act like light sources even though they don't produce their own light.

Benefits

A well lit photograph is a thing of beauty. It brings out elements in a scene that are not witnessed or appreciated by the naked eye. A little effort lighting a photograph goes a long way toward improving the picture. It doesn't have to be complicated. Simply having the sun behind you at a 45 degree angle to your subject and a reflector on the other side of the camera to remove shadows can produce a stunning picture. Since it is daytime, a background light probably isn't necessary. When taking pictures indoors use the lights you have around you. Turn as many on as you can find then position your subject to take advantage of where the light shines. As long as you understand photography lighting basics you can adapt to improve your photos.

Effects

Photography lighting allows you to create special effects. Colored lights and filters can change shades of what you see. Over lighting, under lighting and back lighting can create dramatic images with shadows. Focused lighting can illuminate specific objects while leaving the rest of the frame dark. The options are limitless when manipulating light for photography.

---

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  The Gateway to Astronaut Photography of Earth hosts the best and most complete online collection of astronaut photographs of the Earth.

What Is Incandescent Lighting As Related to Photography?

When taking photographs, the source and type of light must be considered to ensure that colors are accurately recorded. Incandescent light is produce in a bulb containing a filament, usually tungsten, and will produced a warmer, redder color than sunlight.

Incandescent light bulb

Color and Color Temperature

Sunlight produces natural color

Incandescent lights are also called hot lights or tungsten lights and a standard household bulb is a good example. Fluorescent lighting, commonly found in commercial or industrial settings, produces a cooler, bluer color than incandescent lights, so the two should not be confused. Photographers use a color temperature scale to help them determine how different lighting will effect the overall color cast of their photos.

Color temperature scale

Cool candle produces warm, red color

Photographers use the Kelvin temperature scale (K) to distinguish light color. Direct sunlight is about 5,200K to 5,550K. Commercial tungsten lights are about 3,500K and domestic tungsten bulbs (incandescent) are about 2,800K. Cooler lights produce a more red color cast, much like a candle produces a warm ambiance.

Film balance and white balance

Most film is balanced for sunlight and so some correction, called daylight conversion, will be needed if incandescent lighting is used instead of sunlight. Digital cameras have a white balance capability which is designed to correct for different light such as direct sun, incandescent and flourescent. The white balance on a digital camera can also be adjusted by temperature using the Kelvin temperature scale.

Color correction

There are several methods to correct for light color. Film is produced for different types of light, so selecting the proper film is important and a tungsten-balanced film will correct incandescent lighting. Filters that directly attach to the camera lens and are designed for color correction will also correct for different types of light. A blue 80A filter will correct for the warm incandescent light and produce a naturally colored photo. Using a graphics program to process digital photos will provide some sophisticated methods to improve color casts too.

Artistic lighting

In some cases, a reddish color cast is desired by the photographer. The reason may be to produce a warmer photograph. In this case, unfiltered and uncorrected incandescent lighting is used.

---

When taking photographs, the source and type of light must be considered to ensure that colors are accurately recorded.

Enhance your photography skill,The Top Secret Photography Techniques

. Incandescent light is produce in a bulb containing a filament, usually tungsten, and will produced a warmer, redder color than sunlight.

Incandescent light bulb

Color and Color Temperature

Sunlight produces natural color

Incandescent lights are also called hot lights or tungsten lights and a standard household bulb is a good example. Fluorescent lighting, commonly found in commercial or industrial settings, produces a cooler, bluer color than incandescent lights, so the two should not be confused. Photographers use a color temperature scale to help them determine how different lighting will effect the overall color cast of their photos.

Color temperature scale

Cool candle produces warm, red color

Photographers use the Kelvin temperature scale (K) to distinguish light color. Direct sunlight is about 5,200K to 5,550K. Commercial tungsten lights are about 3,500K and domestic tungsten bulbs (incandescent) are about 2,800K. Cooler lights produce a more red color cast, much like a candle produces a warm ambiance.

Film balance and white balance

Most film is balanced for sunlight and so some correction, called daylight conversion, will be needed if incandescent lighting is used instead of sunlight. Digital cameras have a white balance capability which is designed to correct for different light such as direct sun, incandescent and flourescent. The white balance on a digital camera can also be adjusted by temperature using the Kelvin temperature scale.

Color correction

There are several methods to correct for light color. Film is produced for different types of light, so selecting the proper film is important and a tungsten-balanced film will correct incandescent lighting. Filters that directly attach to the camera lens and are designed for color correction will also correct for different types of light. A blue 80A filter will correct for the warm incandescent light and produce a naturally colored photo. Using a graphics program to process digital photos will provide some sophisticated methods to improve color casts too.

Artistic lighting

In some cases, a reddish color cast is desired by the photographer. The reason may be to produce a warmer photograph. In this case, unfiltered and uncorrected incandescent lighting is used.

---

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How to Use the Slow Sync Mode on a Digital SLR

Many digital SLR cameras settings that allow the user to embellish photos by adjusting the flash and aperture. Manipulating the slow sync mode on your camera offers a very unusual style of flash photography.

Instructions

1

Locate the slow sync option. Some models have the feature within the menu system, and others have a button on the rear of the camera body.

2

Use a tripod when using the slow sync mode on a digital camera to freeze everything within the frame. Tripods stop the common blur effect found on some photos due to unsteady hands holding the camera at very slow shutter speeds.

3

Blur the environment around the subject of the photo by hand holding the digital camera in slow sync flash mode. These shots offer an array of strange and differing effects.

4

Keep adjusting the shutter speeds of the digital camera to produce differing effects from the slow sync feature. Every event or shoot will present new ways to discover this technique.

5

Read over the camera's owner's manual to find the information regarding the flash options available to that particular model of digital camera.

---

Many digital SLR cameras settings that allow the user to embellish photos by adjusting the flash and aperture. Manipulating the slow sync mode on your camera offers a very unusual style of flash photography.

Enhance your photography skill,The Top Secret Photography Techniques

.

Instructions

1

Locate the slow sync option. Some models have the feature within the menu system, and others have a button on the rear of the camera body.

2

Use a tripod when using the slow sync mode on a digital camera to freeze everything within the frame. Tripods stop the common blur effect found on some photos due to unsteady hands holding the camera at very slow shutter speeds.

3

Blur the environment around the subject of the photo by hand holding the digital camera in slow sync flash mode. These shots offer an array of strange and differing effects.

4

Keep adjusting the shutter speeds of the digital camera to produce differing effects from the slow sync feature. Every event or shoot will present new ways to discover this technique.

5

Read over the camera's owner's manual to find the information regarding the flash options available to that particular model of digital camera.

---

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How to Develop 120 B&W Film

Photography has been a popular hobby for more than 100 years. While most people have switched to digital cameras or take their film to a retailer for processing, you can develop film yourself at home with supplies you can buy at a local camera shop. It might seem like a daunting task at first, but the more you do it, the easier it becomes.

Instructions

Loading the film

1

Rinse the developing tank and all of the parts that come with it in hot water and thoroughly dry it. Be sure you have removed all traces of chemicals.

2

Choose a room where you will transfer the film from the canister to the developing tank. This should be an interior room with no windows, and you'll have to stick a towel at the bottom of the door, and maybe use electrical tape around the edges of the door. The room needs to be completely without light, or you could ruin the film.

3

Before turning out the lights, lay out the equipment you'll use so that you can work with it in the dark. If you don't have a lot of experience doing this, you might want to simulate the process in the dark a few times before you actually try to load the film into the developing canister with an old roll of film.

4

Before turning out the lights, put the center column back into the canister. If the reel isn't already adjusted for 120 film (it will most likely be set for 35 mm), you'll need to set it. Twist the wheel past where it would normally stop, taking care not to break it. When you separate the two parts of the wheel, you'll see a long groove on one of the pieces, with three smaller grooves that intersect it; the outermost groove is for 120 film. Put the wheel back together by sliding the pieces together using that groove.

5

Turn out the lights and be sure the room is completely dark. Use the bottle opener to open the film canister.

6

Take the spool of film out of the canister, and unwind it until you feel a piece of tape. This tape holds the paper backing to the film. Slowly remove the tape and paper from the film. When handling the film, handle it by the edges.

7

Cut off the lead from the film so that the edge of the film is straight.

8

Take the end of the film, and feed it into the tabs on the reel. Slide the film a few centimeters into the reel, then twist the reel back-and-forth. This will load the film onto the reel. When you get to the end of the reel, cut the spindle off and load the last of the film onto the reel.

9

Put the reel into the canister by sliding it over the center column, then put the lid on the canister. Make sure the lid is on straight and that it's on tight. You can now put the lights back on.

Developing the film

10

Pre-soak the film by putting water in the canister. The best way to do this is to put the canister in the sink, and pour water in until it's overflowing (this will ensure that the entire roll will go through the pre-soak). Let it soak for five minutes.

11

Pour the water out. Don't worry if the water is discolored, as this is normal.

12

Determine how long you'll need to use the developer. If this information is not available on the packaging, you can look it up on the Massive Dev Chart on DigitalTruth.com, but it will usually be between seven and 12 minutes.

13

Now determine how much you'll have to dilute the developer. If the label says 1+9, you'll use one part developer to nine parts water; if it's 1+7, it will be one part developer to seven parts water, and so on.

14

Pour the developer mix into the tank, making sure you have enough to completely submerge the film. Start the timer and put the cap on the tank. Once a minute, agitate the tank for 10-second intervals by flipping the tank over several times.

15

When the time is up, take the cap off the tank and pour out the developer.

16

Even though the developer has been poured out of the tank, the developer still on the film's surface is active, so it needs to be removed. You could do this by using a chemical called stop bath. Pour the stop bath in so that the film is completely submerged, then shake the canister. Let it sit for one minute, then pour it out. You could also use water. Fill the tank with water, shake it up and pour it out. Do this two times.

17

The next step is to add the fixer. During this process, the images on the film will be set and will no longer be light-sensitive. Dilute the fixer the same way you diluted the developer (it's usually one part fixer plus four parts water, but check the package to make sure). Pour the fixer in the same way you added the developer and agitate it for 10 seconds (do this once every minute). Check the packaging for the length of time the fix needs to be used, but it's usually five to 10 minutes.

18

When the time is up, pour out the fixer. Fill the canister with water and agitate it, then dump out the water. Repeat this step twice. The film can now safely be exposed to light.

19

Take the lid off the tank and pull out the reel. Keep the film on the reel, but look at it to see if it developed properly. It's normal for the film to have a slight purple tint, but if it's dark purple, put it back in the fixer for another two or three minutes. If you need to do this, rinse off the fixer like you did in Step 9. If not, fill the tank about halfway with fresh water and put the reel back in. Screw the cap back on, shake the canister vigorously for about 30 seconds, and pour out the water. Do this for about 10 minutes.

20

After the film has been cleaned, empty the water out of the canister. Pour a little bit of wetting agent into the canister, then slowly fill up the canister with water until the reel is submerged. If it foams, tap the side of the canister to prevent any bubbles from sticking to your film. Let it sit for 30 seconds, then pour the wetting agent out of the canister and remove the reel. Do not wash the film.

21

Twist the reel apart and take off half of it. Without touching an exposure, grab one end of the film and unfurl it by lifting it off the reel. Don't let the wet film touch the ground or any other objects. Hang the film somewhere dust-free to dry. Use a clothespin to attach one end of the film to a clothes hanger, and another clothespin at the other end of the film to weigh it down (don't put the clothespin on one of your exposures). Leave the film hanging up to dry for four to eight hours.

22

Once the film is dry, take it down, and cut it into short strips so that it's more manageable, so you can print contact sheets and make prints. Just make sure you cut the film between the exposures.

---

Photography has been a popular hobby for more than 100 years. While most people have switched to digital cameras or take their film to a retailer for processing, you can develop film yourself at home with supplies you can buy at a local camera shop. It might seem like a daunting task at first, but the more you do it, the easier it becomes.

Instructions

Loading the film

1

Rinse the developing tank and all of the parts that come with it in hot water and thoroughly dry it. Be sure you have removed all traces of chemicals.

2

Choose a room where you will transfer the film from the canister to the developing tank. This should be an interior room with no windows, and you'll have to stick a towel at the bottom of the door, and maybe use electrical tape around the edges of the door. The room needs to be completely without light, or you could ruin the film.

3

Before turning out the lights, lay out the equipment you'll use so that you can work with it in the dark. If you don't have a lot of experience doing this, you might want to simulate the process in the dark a few times before you actually try to load the film into the developing canister with an old roll of film.

4

Before turning out the lights, put the center column back into the canister. If the reel isn't already adjusted for 120 film (it will most likely be set for 35 mm), you'll need to set it. Twist the wheel past where it would normally stop, taking care not to break it. When you separate the two parts of the wheel, you'll see a long groove on one of the pieces, with three smaller grooves that intersect it; the outermost groove is for 120 film. Put the wheel back together by sliding the pieces together using that groove.

5

Turn out the lights and be sure the room is completely dark. Use the bottle opener to open the film canister.

6

Take the spool of film out of the canister, and unwind it until you feel a piece of tape. This tape holds the paper backing to the film. Slowly remove the tape and paper from the film. When handling the film, handle it by the edges.

7

Cut off the lead from the film so that the edge of the film is straight.

8

Take the end of the film, and feed it into the tabs on the reel. Slide the film a few centimeters into the reel, then twist the reel back-and-forth. This will load the film onto the reel. When you get to the end of the reel, cut the spindle off and load the last of the film onto the reel.

9

Put the reel into the canister by sliding it over the center column, then put the lid on the canister. Make sure the lid is on straight and that it's on tight. You can now put the lights back on.

Developing the film

10

Pre-soak the film by putting water in the canister. The best way to do this is to put the canister in the sink, and pour water in until it's overflowing (this will ensure that the entire roll will go through the pre-soak).

Enhance your photography skill,The Top Secret Photography Techniques

. Let it soak for five minutes.
11

Pour the water out. Don't worry if the water is discolored, as this is normal.

12

Determine how long you'll need to use the developer. If this information is not available on the packaging, you can look it up on the Massive Dev Chart on DigitalTruth.com, but it will usually be between seven and 12 minutes.

13

Now determine how much you'll have to dilute the developer. If the label says 1+9, you'll use one part developer to nine parts water; if it's 1+7, it will be one part developer to seven parts water, and so on.

14

Pour the developer mix into the tank, making sure you have enough to completely submerge the film. Start the timer and put the cap on the tank. Once a minute, agitate the tank for 10-second intervals by flipping the tank over several times.

15

When the time is up, take the cap off the tank and pour out the developer.

16

Even though the developer has been poured out of the tank, the developer still on the film's surface is active, so it needs to be removed. You could do this by using a chemical called stop bath. Pour the stop bath in so that the film is completely submerged, then shake the canister. Let it sit for one minute, then pour it out. You could also use water. Fill the tank with water, shake it up and pour it out. Do this two times.

17

The next step is to add the fixer. During this process, the images on the film will be set and will no longer be light-sensitive. Dilute the fixer the same way you diluted the developer (it's usually one part fixer plus four parts water, but check the package to make sure). Pour the fixer in the same way you added the developer and agitate it for 10 seconds (do this once every minute). Check the packaging for the length of time the fix needs to be used, but it's usually five to 10 minutes.

18

When the time is up, pour out the fixer. Fill the canister with water and agitate it, then dump out the water. Repeat this step twice. The film can now safely be exposed to light.

19

Take the lid off the tank and pull out the reel. Keep the film on the reel, but look at it to see if it developed properly. It's normal for the film to have a slight purple tint, but if it's dark purple, put it back in the fixer for another two or three minutes. If you need to do this, rinse off the fixer like you did in Step 9. If not, fill the tank about halfway with fresh water and put the reel back in. Screw the cap back on, shake the canister vigorously for about 30 seconds, and pour out the water. Do this for about 10 minutes.

20

After the film has been cleaned, empty the water out of the canister. Pour a little bit of wetting agent into the canister, then slowly fill up the canister with water until the reel is submerged. If it foams, tap the side of the canister to prevent any bubbles from sticking to your film. Let it sit for 30 seconds, then pour the wetting agent out of the canister and remove the reel. Do not wash the film.

21

Twist the reel apart and take off half of it. Without touching an exposure, grab one end of the film and unfurl it by lifting it off the reel. Don't let the wet film touch the ground or any other objects. Hang the film somewhere dust-free to dry. Use a clothespin to attach one end of the film to a clothes hanger, and another clothespin at the other end of the film to weigh it down (don't put the clothespin on one of your exposures). Leave the film hanging up to dry for four to eight hours.

22

Once the film is dry, take it down, and cut it into short strips so that it's more manageable, so you can print contact sheets and make prints. Just make sure you cut the film between the exposures.

---

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