amfoto1 wrote:
Hi Bob,
You're right... doing your own B&W film processing and printing is relatively inexpensive. I used to really enjoy doing it and still have a complete darkroom accommodating 35mm, medium format and 4x5" film, although it's all boxed up in storage at the moment.
It's another thing entirely shooting color film. I haven't done much of that recently, but in the past...
Slide film cost about 50 cents per shot.... Bought in bulk 36 exposure rolls cost me about $6 or $7 each, while it cost $13 or $14 per roll to have it processed. I bet it's more than this now!
Color print film developed locally cost about the same as slides, for the general consumer using a typical "one hour" lab and getting a stack of 4x6 prints made by some pimply kid making minimum wage.
Color print film processed at pro lab level was much more expensive due to greater care in the processing and larger, color balanced prints. This could run as much as $2 a shot!
It's not practical to do your own color slide or color negative processing.
It is possible to do color printing, but pricey. I did it many years ago and really didn't see much savings over having consumer grade prints made. Color printing is much harder than B&W. Color print processing time and temperatures have to be more tightly controlled.
Comparing the cost of shooting digital needs to consider more than just the purchase of the camera, which initially was a lot more than a film camera. Granted, prices of digital cameras have come down considerably. I recall my first DSLR... with all of 6MP and a fairly basic AF system... cost $2400 with a battery grip in 2004. In comparison, a high-end film camera with battery grip that I'd bought just a few years earlier cost $800. There's been a lot of inflation since, but the overall cost per MP of digital cameras has come down considerably.
However to "shoot digital" you also need memory cards, a computer, software, storage drives and potentially a backup service. None of those things are free.
Many people who bought a film camera would use it for decades, where with digital many (most?) people "feel the need" to upgrade every 2 or 3 years.
First there were digital that had short life spans. One popular Olympus camera had a shutter life of about 20,000 clicks, so a lot of them were being returned for shutter replacement under warranty.
Then the megapixel race started.... 1.2MP... 1.5MP... 3MP.... 6MP... 8MP... 10 and 12MP... 15MP... 18MP... 20 and 21MP... 24MP... now 26MP and even 32.5MP... or you should upgrade to full frame for 45MP, 50MP, even 60MP... or to medium format for 100MP!
Meanwhile there was also a features race going on... image stabilization, CCD to CMOS, fancier and fancier AF systems, IBIS, faster and faster frame rates, memory card changes, yada, yada, yada!
Now we have to dump our 3 year old DSLRs and buy a mirrorless camera, if we want to avoid being "outcasts"!
Hi Bob, br br You're right... doing your own B&am... (
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If I recall correctly, in the early days of digital photography with color chips, the chips provided 640x480 pixels. The chips were with Bayer Masks, meaning that the resolution was about 1/4 of that size for Red and Blue, and 1/2 for green. Our gold standard for high resolution was Kodachrome 25, which was estimated to provide the massive number of 20-25 Megapixels! Far beyond anything we might dream of for early digital cameras.
For really high resolution images in B&W we used astronomy films of 8x10 inches with resolution of 2000 lines per inch.
When digital cameras reached 20-24 Megapixels (RGB with Bayer Mask), we were overjoyed. Then over the past few years, we reached 60-100 MPixels (Bayer), noise levels beyond our dreams with acceptable images even at ISO- 3200. We had other tricks up our sleeves, e.g., using monochrome cameras with an array of changeable filters for Red, Green and Blue, giving us "True" RGB for every pixels. (Still the Gold Standard). Alternately, we could really blow the bank, and buy 3 Chip CCD cameras. The prospect of taking high speed combined with high resolution images, at high Frames per Second of birds in flight was the stuff dreams were made of. Cropping images of small birds with high density chips changed the BIF game.
Well, the latest generation of images compromised with Bayer masks on APS-C cameras, providing 24 frames per second. Then the game upped thestakes, with 60 MegaBytes at 10 frames per second, and now (perhaps soon to be surpassed) cameras that provide 30 frames per second. The prospect of Avalanche detectors promises chips with ISO of 1 million or more, with virtually no noise.
When analyzing the resultant photos of Birds In Flight, we can now see details of subtle changes in feather position, wing configuration, head orientation, tail disposition, lifting coverrts, etc., that were almost unavailable even 10 years ago, except for people with terribly expensive cameras ($50,000 - $100,000 cameras). And the future holds even more remarkable developments, with Avalanche detectors, higher speed storage media, UV and IR channels with simultaneous RGB, etc. This is part of the art of technical photography, and the esthetics are fascinating and exciting to behold. This doesn't abolish the appeal of Film and Tray development, but it is part of an expanding world of the wonders of photography. Photography is a field that has been around for 170 years, and keeps growing. There is fortunately room for all these methods.