Paterson vs Jobo for developing film

You are looking to develop your own negatives, and you know there’s a bunch of equipment you need to get started (here’s my quick overview of the process). Some measuring jugs, a thermometer, a dark-bag, chemicals and, of course, some developing tanks.

The two main brands are Paterson from England, and Jobo from Germany. Both are great. Here’s a guide for picking your first tank.

Paterson Tanks

Paterson Film Developing Tank

Paterson tanks are inversion only. This means you use enough chemicals to completely submerge the film and you rotate the tank in your hands once a minute (or as directed). This “agitation” keeps fresh chemical in contact with the film.

The entry cost of the tanks and reels is lower than Jobo, and the reels are simple enough to load with practice. Many tank sizes are available and all use interchangeable components like the reels, funnels and caps. There is also the mod-54 which can be used in the Multi-reel-3 tank to process six sheets of 4x5 film.

I have a method where I develop two Multi-reel-3 tanks at a time, offsetting the second tank by thirty seconds which gives time to pour in developer and agitate the first tank before immediately starting on the second. This develops four medium format or six 35mm rolls in about thirty minutes.

Jobo Tanks

Jobo primarily uses continuous rotation for the agitation of the chemicals. The tanks spin about their long axis, dipping the film through chemicals that cover the bottom half of the reels. Many people avoid Jobo tanks for two reasons, both of which I’ll myth-bust here.

  1. Jobo tanks are often seen attached to large and expensive rotation machines. These are useful for the temperature control of c-41 and e-6 color developing, but for occasional development of black and white film it can be over-kill. You can manually rotate the tanks on a Jobo roller-base, or make your own base by screwing some caster wheels onto a piece of plywood. Bonus: a home-made base means you can use Jobo tank extension combinations that some of Jobo’s motor-bases can’t cope with. You can also use the regular inversion method like with Paterson tanks, but this uses significantly more chemicals. Just make or buy a roller base.

    Jobo doesn’t make a compact motor-base without the water bath. Jobo, please make a compact motor-base without the water bath! I made a gizmo that fits Jobo tanks on a vintage Uniroller motor-base, but I can’t image many people having the motivation to make this themselves.

  2. Jobo tanks and reels are more expensive than Paterson. But Jobo tanks use a fraction of the chemicals so the costs even out quickly and there is much less chemical waste.

Jobo has some interesting positive aspects that I didn’t know about until I bought one.

  • The reels have a red tab that allow two rolls of 120 medium format film to be loaded on one reel (so twice the film, with half the chemicals!). Still only one 35mm roll per reel.

  • There are different base-tank sizes, but the real benefit comes from extension modules that you fit between your base and the lid. This means you can easily create the best-sized tank for the number of rolls you are developing in a batch.

  • Most people getting into developing will be well served by the 1500 system. Jobo also make a larger diameter 2500 system which uses the same inner-cores, but wider reels and the ability to use 4x5 reels.

  • The 2500 system can be used for developing darkroom prints. They have a 2800 system specifically for prints which is almost identical to the 2500 except it uses a light-trap cup rather than the inner-core used for film reels. All 2500 and 2800 parts are interchangeable.

  • The system gets more convenient when you have the money and the space for a motor processor machine.

There is one major negative though. Continuous agitation on a manual roller base requires your attention on one tank for the entire time. If you are doing multiple film stocks with different developing times, they need to be done one after the other, rather than at the same time like I described above with two Paterson tanks. For three or four rolls, Paterson developing is quicker in this regard.

Tank stats: Haw many rolls and how much chemical?

With Paterson or Jobo, avoid the smallest tanks that only do one roll of 35mm film. The next size up will do two 35mm rolls or at least one 120 medium format roll. This is significantly more useful because you can still do a single 35mm roll in them if you have to.

  • Paterson universal tank with two reels, $34. Can do two 35mm or one 120 roll. 580ml or 500ml respectively of chemicals using inversion.

  • Jobo 1520 with one reel, $68 (extra reel, $27). Can do two 35mm or two 120 rolls. 240ml of chemicals using rotation (or 485ml for inversion).

Assuming you have this kit and you want to do more film in a single batch, you’ll need a separate Paterson tank or an Jobo extension module.

Lets go crazy and develop more rolls.

  • Paterson Multi-reel 5, $45 (two more reels, $24). Can do five 35mm or three 120 rolls. 1500ml of chemical using inversion.

  • Another Jobo module 1530, $45 (another two reels, $54). Can do eight 35mm or ten 120 rolls. 900 ml chemical using rotation.

This Jobo 1520+1530+1530 is a monster that could burn out the smaller Jobo machines. On a manual base its fine. But think about it: ten medium format rolls in the same time, and using less developer volume than two rolls in a Paterson tank! Make sure 900ml of your developer can cope with ten rolls without exhausting itself. Ilfosol-3 and HC-110 dilution B seem to be fine with it.

Example Costs

It is clear that Paterson is cheaper to get you up and running, and that Jobo can save a massive amount of time and chemicals. A rough cost estimate for black and white chemicals are $3.50 for 1000ml of developer (one-shot), stop (reused for 20 rolls) and fixer (reused for 10 rolls).

Two rolls of 35 film:

  • Paterson Universal = $34, chemicals = $1.85

  • Jobo 1520 + reel = $95, chemicals = $0.90

Two rolls of 120 film:

  • Paterson Multitank-3 + reels = $62, chemicals = $1.75

  • Jobo 1520 = $68, chemicals = $0.90

Four rolls of 120 film:

  • Paterson Multitank-3 x2 + reels = $124, chemicals = $7

  • Jobo 1520+1530 + reels (four rolls in a six-roll tank) = $140, chemicals = $2

In only a few batches, the cost Jobo saves from chemicals covers the difference in equipment cost.

Bottom line

I used Paterson tanks for years developing hundreds of rolls and would recommend them in a heartbeat to anyone getting started, knowing they will only occasionally develop one or two rolls. Also, the mod-54 is a great and cost effective way to develop large format 4x5 sheets.

If you see yourself developing more rolls, or more often, then the Jobo tanks are a better long-term investment.




A camera-horder’s guide to picking a camera for a trip

Shooting film opens up a world of beautiful and affordable cameras from the past - but once you’ve started a small collection (or a huge one) the moment we dread is when we need to pick a camera setup for a personal trip.

The thought process always starts simple but highlights the compromises we make in every aspect of photography: portable 35mm or epic medium format? Compact slow lenses or carry big heavy fast ones? Will I only carry black and white film or try to mix in a colour roll? If I leave the tripod at home, then I’ll regret it, right? Should I bring a digital camera as backup, or will my phone do the job?

Turns out, I’ve chosen a different set up for almost every vacation, and each time it works out just fine. I’ve hauled around a Hasselblad 500 with an 80mm lens on one trip to Yorkshire, a Leica M2 with a compact 35mm f3.5 around Rome, and I’ve spent a weekend in New York with a Stereo Realist and came home with great shots.

Here are some tips to make the most with what you have:

  1. One lens can imitate three. You can crop into a frame to effectively increase your focal length. You can stitch images together to create a wider shot. A normal lens can be very versatile for this purpose, as well as often being quite compact.

  2. Carrying two cameras can make you feel overwhelmed, and you could lose shots and enjoyment as a result. If you are travelling with family, they will love you more if you have only one camera and one lens.

  3. Leave any ‘just in case’ items at home. Unless you are intentionally out to get some night shots, a tripod will just weigh you down. The light meter can stay at home, too, because you can get a light meter app for you phone that will do the job (or just use sunny 16). Extension tubes and tele-converters never seem to be worth their volume in my bag either. Some exceptions could include red or polarizing filters that can help reduce shutter speed in bright sun, as well as provide some creative possibilities.

  4. No camera is too crazy or too limiting. There is a lot to be said for being creative with something unusual like a Box Brownie or a stereo camera. The problem-solving required to use a restrictive or quirky camera will pay dividends when you get back home to your digital rig.

  5. Lastly, don’t worry about the equipment you didn’t bring. Play to your setup’s strengths. For example, I’ve often carried an Olympus Pen FT for its compactness - the images can turn out grainy because of the small negative size, but doubling the number of shots on the roll meant less fear of wasting film for an experimental shot.

And if you totally made the wrong decision for the trip, there’s usually a camera store with used film equipment in a nearby city. One more for the collection, right?

Lifestyle photography - Piano Yoga

Here are a few fun shots we added to the end of a central Houston portrait session. We managed to combine Julia's yoga poses with the piano - the cat wandering into the center of the shot was a welcomed element for the composition!

I broke out the large format 4x5 camera to get a few film shots with a more classic look and the ability to angle the plane of focus. 

Camera Kit: Large format 4x5

Large format seems like an extinct branch of photography to the uninitiated, but the format never went away. Actually, it is finding a new wave of appreciation among film photographers. There are a few reasons for the resurgence - there is no digital equivalent sensor size, nor is there a digital camera body capable of tilts, shifts, swings, rises and falls (with the exception of some specialty lenses). Used equipment is found online in abundance, and some entrepreneurs are even making new cameras such as the Intrepid Camera Company, Stenopeika and others. 

Intrepid 4x5 large format camera kit

The jump to large format

As for major changes in your photography workflow, the jump from digital to film is the biggest. You need to find a lab or learn to develop film yourself and then either scan the negative  or darkroom print your images. Most people will start with either 35mm cameras (because they are the most similar to consumer digital cameras) or medium format systems such as the Hasselblad 500 (because the cameras work in the same way as 35mm ones). 

The jump from small to large format film is a little easier. With large format, a few things change. Firstly you no longer need to get emotionally attached to a single manufacturer. You can pair anyone's lenses with anyone's bodies and choose any film holders for the negative size you have chosen. For bodies, you can choose between studio monorail systems which are the cheapest way to get going down the rabbit hole, or fold-able field cameras that have more restricted movements, but can fit in a backpack.

There are also a few extra pieces of kit your smaller camera systems may not have needed - lens boards, sheet film holders, a focus loupe and a dark cloth. Tripods and cable releases are no longer optional - you are going to need them to get even basic shots.

What is it good for?

  • Taking one photograph really well. This process is the antithesis of 'spray and pray'. A lot of time is spent picking and tinkering with the composition. It takes so long to set the camera up that you don't want to waste that time on a mediocre image.

  • Tilts and shifts by design. And rises and falls, too. The cameras are made to move the lens around for perspective control and plane of focus manipulation. 

  • MASSIVE negatives. They dwarf the grain even in 400 speed film.

What's the compromise?

  • Large format is not small. No way are these cameras going to fit in your pocket. Or small bag. Not even a medium bag. With a monorail camera, even a large bag is often insufficient. The compact Intrepid camera, on the other hand, easily fits in a backpack with a couple of lenses.

  • Forget about a quick snapshot. By the time the camera is set up, focused, shutter cocked and film holder inserted, a good deal of time will have passed. If you have a human subject, you have to keep their attention during setup and focusing or else there will be some long silences.

  • Lots of lens research required. You need to figure out which lenses cover your negative, and if you want extra coverage to accommodate small or large movements on the camera. Fast lenses allow for easier focusing via a bright image, but slower lenses are siginificantly smaller and lighter.  You also need to make sure your body can cope with ultra-wide angles (75mm or less) or very long lenses (300mm or more) or if it needs special bellows or lens boards to cope with them. A great list of lens stats to get you going can be found  at www.largeformatphotography.info.

What's in my camera bag?

  • Cameras: Intrepid 4x5 folding field camera

  • Lenses: Schnider 65mm f5.6, Schnider 90mm f5.6, Calumet 150mm f5.6, Rodenstock 210mm f5.6, Rodenstock 300mm f9

  • Accessories: Lens board for each lens, film holders (9), focusing cloth, cable release