Handling and care of negatives

[Truzi]

How do you deal with your color negatives? I've found answers to most of my questions on APUG, but there are a few details I could not find. Earlier this year I developed my first batch of color film; about 18 rolls. Most came out better than I expected for a first attempt. All of the rolls were intended as tests, so I did not risk any important photos. I used a Tetenal liquid kit, but separate bleach and fix from a Digibase kit.

QUESTIONS
0) Drying marks
I have improved greatly with this, and have few problems unrelated to laziness. In other words, if I don't rush myself, I am fine. I can still find issues if I zoom-in greater than I would ever print, but it is now a non-issue for practical purposes. I will still try to improve by using PE's suggestion of a stabilizer-wetted sponge wipe before drying. I tried a squeegee once... won't do that again.

1) Dust
I seemed to have dried my film with no major dust issues. Scanning, extrapolated to enlarging, is a different story. At least with enlarging I will have fewer surfaces to worry about (glassless carriers).
When I get to enlarging, it will be in a bathroom; I can run the shower first to help with dust and static.

Gently wiping with PEC pads and blowing the negatives with a generic can of air ("keyboard cleaner") seems to have helped. I think I have this under control, but would appreciate input. Any comments on anti-static brushes?
Also, I assume I should dust the negative strips before re-inserting into a Print File page.

2) Curling negatives
They had hung for two days, so were definitely dry before any flattening attempts.
After my first scanning attempted, I put the negatives in Print File pages, put the stack of pages between a couple hard-cover books, and then piled books, projectors, etc. on them. This helped greatly.

However, I have a few strange artifacts. Looking closely with the naked eye, the negatives seem to have some "pillowing." I can't describe it well, but if you put a plastic bag on the floor you can notice some areas are not perfectly flat. It is a bit like that when it occurs, and within the frames.
This did not affect scanning, and hopefully won't affect traditional enlarging. My guess is that stacking the pages did this.
Should I put only one page between each set of hard surfaces, or do I need to flatten in a different manner altogether?

3) Oily fingerprints
Yes, I know... gloves. I find it hard to pull the negatives from the Print File pages with my bare fingers. Any tips in general? Any suggestions on what gloves to buy?

4) Cleaning negatives
I've seen PEC-12 suggested to clean fingerprints et. Al., and have read claims it is archival and safe for color and B&W.
Should I re-stabilize if I clean a color negative with PEC-12 or any other fluid?

Tangentially related:
5) Cross-over
Is cross-over archival? In other words, if I mess up developing and get some cross-over, does it affect longevity/stability of the negatives? My guess is no, so long as I bleach, fix, and stabilize correctly, but why not ask?

6) Color balance
I have an Expodisc, viewing filters, and a Jobo Colorstar, none of which I've yet used (I forget what model Colorstar, as it's packed away - I believe it's a 3000). I am also considering a gray card. Should this be sufficient for snapshots? I understand Colorstar calibration may be a steep learning curve (and that some consider these units unnecessary).
I can see the color casts, but can't quite correct one cast without creating another - at least not easily (plus, I'm not sure if this is in the film, or from my scanning).
Ultimately I will be all analog - please tell me color balance in wet printing is easier than digital.


Background:
I just take snapshots. The culling of local mini-labs, and reduced quality in remaining ones, were the impetus for me joining APUG in the first place. (Interestingly, this has renewed my interest in B&W.)

My original goal was/is to get prints that at least equal average drugstore mini-lab prints circa 2005. Perhaps someday I will aspire to the quality some people on APUG consider second-nature, but that would be a bonus.
I don't want to mail my film out, and the only remaining local pro-shop pissed me off, losing my patronage, even though the quality was very good.

Thanx to APUG, I feel confident developing "important" rolls myself from this point. Although I need improvement, my results are close enough to the local mini-labs for my purposes.

 

[Sirius Glass]

I do not have a problem with these concerns. I rarely need to clean a negative other than to blow off dust. Cross over and color balance are not a problem. I do my own process and I have Samy's Camera do some processing.

 

[Konical]

Good Evening, Truzi,

I can't help much on most of the items you list, but, in regard to excessive negative curling, try putting the film (after it's completely dry) back on a processing reel with the emulsion side out. Let it rest for several days and you should have lots of improvement--at least I have done this successfully with Fomapan Creative 200 B & W film which also suffers from a curling problem.

Konical

 

[HiHoSilver]

Good questions, Truzi. 'First time w/ MF, I found handling much more challenging than 35mm. Curling & dust was the bigger issues for me. I searched & got a few answers, but found what Konical describes above to work well for the curling.
Good luck w/ the rest of the questions & hope you have some fun w/ it.

 

[GRHazelton]

How do you deal with your color negatives? I've found answers to most of my questions on APUG, but there are a few details I could not find. Earlier this year I developed my first batch of color film; about 18 rolls. Most came out better than I expected for a first attempt. All of the rolls were intended as tests, so I did not risk any important photos. I used a Tetenal liquid kit, but separate bleach and fix from a Digibase kit.

QUESTIONS
0) Drying marks
I have improved greatly with this, and have few problems unrelated to laziness. In other words, if I don't rush myself, I am fine. I can still find issues if I zoom-in greater than I would ever print, but it is now a non-issue for practical purposes. I will still try to improve by using PE's suggestion of a stabilizer-wetted sponge wipe before drying. I tried a squeegee once... won't do that again.

1) Dust
I seemed to have dried my film with no major dust issues. Scanning, extrapolated to enlarging, is a different story. At least with enlarging I will have fewer surfaces to worry about (glassless carriers).
When I get to enlarging, it will be in a bathroom; I can run the shower first to help with dust and static.

Gently wiping with PEC pads and blowing the negatives with a generic can of air ("keyboard cleaner") seems to have helped. I think I have this under control, but would appreciate input. Any comments on anti-static brushes?
Also, I assume I should dust the negative strips before re-inserting into a Print File page.

2) Curling negatives
They had hung for two days, so were definitely dry before any flattening attempts.
After my first scanning attempted, I put the negatives in Print File pages, put the stack of pages between a couple hard-cover books, and then piled books, projectors, etc. on them. This helped greatly.

However, I have a few strange artifacts. Looking closely with the naked eye, the negatives seem to have some "pillowing." I can't describe it well, but if you put a plastic bag on the floor you can notice some areas are not perfectly flat. It is a bit like that when it occurs, and within the frames.
This did not affect scanning, and hopefully won't affect traditional enlarging. My guess is that stacking the pages did this.
Should I put only one page between each set of hard surfaces, or do I need to flatten in a different manner altogether?

3) Oily fingerprints
Yes, I know... gloves. I find it hard to pull the negatives from the Print File pages with my bare fingers. Any tips in general? Any suggestions on what gloves to buy?

4) Cleaning negatives
I've seen PEC-12 suggested to clean fingerprints et. Al., and have read claims it is archival and safe for color and B&W.
Should I re-stabilize if I clean a color negative with PEC-12 or any other fluid?

Tangentially related:
5) Cross-over
Is cross-over archival? In other words, if I mess up developing and get some cross-over, does it affect longevity/stability of the negatives? My guess is no, so long as I bleach, fix, and stabilize correctly, but why not ask?

6) Color balance
I have an Expodisc, viewing filters, and a Jobo Colorstar, none of which I've yet used (I forget what model Colorstar, as it's packed away - I believe it's a 3000). I am also considering a gray card. Should this be sufficient for snapshots? I understand Colorstar calibration may be a steep learning curve (and that some consider these units unnecessary).
I can see the color casts, but can't quite correct one cast without creating another - at least not easily (plus, I'm not sure if this is in the film, or from my scanning).
Ultimately I will be all analog - please tell me color balance in wet printing is easier than digital.


Background:
I just take snapshots. The culling of local mini-labs, and reduced quality in remaining ones, were the impetus for me joining APUG in the first place. (Interestingly, this has renewed my interest in B&W.)

My original goal was/is to get prints that at least equal average drugstore mini-lab prints circa 2005. Perhaps someday I will aspire to the quality some people on APUG consider second-nature, but that would be a bonus.
I don't want to mail my film out, and the only remaining local pro-shop pissed me off, losing my patronage, even though the quality was very good.

Thanx to APUG, I feel confident developing "important" rolls myself from this point. Although I need improvement, my results are close enough to the local mini-labs for my purposes.

#3 I've found that a fine crochet hook is useful in removing 35mm negs from PrintFile pages, the hook can catch the perforations and extract the strip far enough to grab it with glove hands. I often apply Edwal's Print Cleaner it can help with drying marks and helps remove/prevent static charges.

 

[Patrick Robert James]

3) Wash your hands. Works well! Use your fingernail to get the negs out. You should be coordinated enough to grab the corner without touching the rest.

6) I use LAB mode for color correction. I can fix anything with it, but I have been doing it that way for a decade. Learning how to do it though takes a lot of work retraining your mind on how you think about color.

 

[Helinophoto]

I have found that re-wetting (old) negatives and hanging them to dry with weights can straighten them out, this applies to negatives that has stayed in the canister for a very long time.

Curly negatives that won't go on the spool? I've had that, and in extreme cases, I have actually made the film wet (making sure to hold it at both ends as you do) in the shower and then juggle it onto an equally wet spool. (it works, but it's a mess with the anti halation layer coming off).

Curly negatives after drying? It's a drag, I've found no other alternatives but to force the film into sleeves and put the sleeve into my folder and forget about it for a while. (some will straighten out over time, some will always be somewhat curly, like my Rollei ortho 25, it's still angry after 2 years in a sleeve ).

I hold the negatives on the edges, I pull them gently out by grabbing the edge very carefully, or with 35mm, i actually push the film out from the sleeve from the other end. Both instances making sure my fingers are as dry as possible, couldn't be bothered to use gloves.

Did you know that photographers used to cover up small scratches in the negatives, by using the oil you have on the side of the nose and behind your ears? (I have never tried it)

 

[LAG]

How do you deal with your color negatives? .....

Excuse me Truzi

I deal with all my negatives (film) the same way, carefully


QUESTIONS

0) Drying marks

If any, wash again and dry again


1) Dust

Shower or water spray for room, blowing for negs. (both sides). No brushes. Before inserting (/re) and after extracting a Print File Page for use.



2) Curling negatives

(The longer the time the film had remained wrapped-up inside/outside the cassette, the greater the problems to flatten)

By doing the way you do, seems to be better only with one page, right. However, make sure they’re perfectly clean before flattering by stacking books. Bend the other way around may cause damage to film base. I prefer hung the negatives for as long as is necessary or simply cut the film/strips.


3) Oily fingerprints

Hands clean. You can push out the film without touching it (folding carefully the sheet …) to have enough film good to grab.


4) Cleaning negatives

Water


5) Cross-over

If I understand you correctly, the longevity is basically just a matter of good fixing (of course good storing & good handling help)


6) Color balance

Colour negative = Inevitable colour cast = Filters. Colour balance with film is much funnier (an enriching and more “positive” experience) than digital.


Good luck

 

[Diapositivo]

3) Oily fingerprints
Yes, I know... gloves. I find it hard to pull the negatives from the Print File pages with my bare fingers. Any tips in general? Any suggestions on what gloves to buy?

First of all, congratulations on your decision to develop at home important rolls. When you are proficient with developing (which will happen quite soon) you will actually fear sending your rolls outside for development.

Regarding gloves, I use white cotton gloves from photography material providers, IIRC mine were branded Hama. They are a little thick
http://c7.alamy.com/comp/BY64BP/white-gloves-on-black-background-BY64BP.jpg

I suppose you'll do very well with "lintless" cotton gloves, such as you easily find online, sold in dozens, which appear to be thinner
(as an example: https://www.amazon.com/Archival-Methods-White-Cotton-Gloves/dp/B0036WBWP6)

I use gloves when I insert film into the reel, using a changing bag. I don't use gloves when handling film in all subsequent phases, I just wash my hands very carefully and mind to touch the film only by the edge.