Ten thousand ounce silver bar

[Serpo]

National Geographic Issue No 3 September 1981 (Silver Story topic)


Silver magic converts film into a painter’s easel when light plays tricks on the marvellous metal. The portrait begins with minute chemical brushstrokes as light falls on sensitive crystals of silver salts (top, right).
Developer changes the salts to pure silver clumps (middle) that are seen scattered, at lower magnification (bottom), through the layer of gelatine that coats the film. These particles preserve the light and dark of reality but in reverse, so the white of the girl’s eye yields silver so dense that it appears black (below) in the negative. To reverse the image, light is beamed through the negative onto light sensitive paper, producing a positive print. Inmost color film, the silver is replaced by dyes
http://silverporkchops.web44.net/Silver%20explodes%20in%20price.jpg
Photo above:-Business with a silver heart, the Eastman Kodak Company of Rochester, New York, consume some 50 million ounces of the metal a year in producing much of the nation’s film. Cast from Kodak’s giant smelter, 10,000 ounce bars (above right) each contain enough silver for a million rolls of high speed black and white film. A full 40% of the silver used is recovered from scrap film and developing solution, some of which is bought from thousands of film processors around the country.


http://silverporkchops.web44.net/page11.html

[woodman]

That bar would definitely cause a boating accident.

[palani]

Look .. they are wearing silver suits too!!!

[mick silver]

you would have to dig a real big hole for that bar

[Large Sarge]

kodak consumes 50 million ounces of silver a year

silver eagle sales for 2011 46 million ounces.

:)

[gunDriller]

10,000 ounce bars (above right) each contain enough silver for a million rolls of high speed black and white film.


if 10,000 ounces is enough for a million rolls - that's .01 ounces per roll = .311 grams.

so - how much silver is in a roll of color film ? according to Jewpedia, there's 3 layers of silver halide emulsion (versus just one for Black & white ?) that might be about .93 grams - $1.23 worth of silver at $41.38 an ounce.

anybody know how to recover the silver ? could it be as simple as burning the film (creating a big smelly mess ... but anyway) ?


http://en.wikipedia.org/wiki/35_mm_film

"The emulsion is attached to the film base with a transparent adhesive called the subbing layer. Below the base is an undercoat called the antihalation backing, which usually contains absorber dyes or a thin layer of silver or carbon (called rem-jet on color negative stocks). Without this coating, bright points of light would penetrate the emulsion, reflect off the inner surface of the base, and reexpose the emulsion, creating a halo around these bright areas. The antihalation backing can also serve to reduce static buildup, which was a significant problem with old black-and-white films. The film, which runs through the camera at 18 inches (460 mm) per second, could build up enough static electricity to cause a spark bright enough to expose the film; antihalation backing solved this problem. Color films have three layers [note] of silver halide emulsions to separately record the red, green, and blue information (except for the Kodachrome process - see below). For every silver halide grain there is a matching color coupler grain. The top layer contains blue-sensitive emulsion, followed by a yellow filter to cancel out blue light; after this comes a green sensitive layer followed by a red sensitive layer.

Just as in black-and-white, the first step in color development converts exposed silver halide grains into metallic silver – except that an equal amount of color dye will be formed as well. The color couplers in the blue-sensitive layer will form yellow dye during processing, the green layer will form magenta dye and the red layer will form cyan dye. A bleach step will convert the metallic silver back into silver halide, which is then removed along with the unexposed silver halide in the fixer and wash steps, leaving only color dyes.[19]"

[beefsteak]

Gunny,
True, ashing is one method. The more common method is an acid dip then rinse, bath type operation. Cuts down on incineration fumes which are quite strong and unpleasant acrid smell of the reduction of the acetate media and its associated chemicals. Would advise a pretty good scrubber being added to the circuit if one understands this, as processing the fume filter media would yield values, as well.

Most of the silver silver harvesters are seeking is in the fixing [developer] solution, however. [Same for X-Ray film harvesters.]

Perhaps you can research the composition of "fixing solutions" to get a lead on determining percentages, volume, time, chems needed if you're interested.

I will add this, however.

Do you remember the "Seattle FilmWorks" rolls of camera film that we used to be able to purchase, but could ONLY be processed by the Seattle Film Company back in the 80s? They were highly visible in their distinctive mostly red label film cans, as opposed to the familiar Yellow Kodak type can label.

They contain the MOST silver if one wants to truly harvest silver from used film prior to processing. Wiki has the following info about SFW:

Seattle FilmWorks From Wikipedia, the free encyclopedia


Seattle FilmWorks, Inc. was a mail order (http://en.wikipedia.org/wiki/Mail_order) film (http://en.wikipedia.org/wiki/Film) processor. Seattle FilmWorks sold 35mm motion picture film (http://en.wikipedia.org/wiki/35_mm_film) that uses the special ECN-2 (http://en.wikipedia.org/wiki/ECN-2) developing starting in 1978. Seattle FilmWorks began in 1976 as American Passage Marketing by Gilbert Scherer.

In the 1980s, Seattle FilmWorks started aggressive marketing by offering two rolls of Seattle FilmWorks film for $2.00. They advertised in newspaper, magazines, and package inserts[1] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-0).
The motion picture (http://en.wikipedia.org/wiki/Motion_picture) film was put in film canisters (http://en.wikipedia.org/w/index.php?title=Film_canisters&action=edit&redlink=1) for still photography (http://en.wikipedia.org/wiki/Still_photography) use.

Another characteristic of the Seattle FilmWorks model was the return of a new roll of film with each order, that could, in all practicality, only be processed by them. ECN-2 (http://en.wikipedia.org/wiki/ECN-2) / ECN-II is still used in the movie industry for 35mm (http://en.wikipedia.org/wiki/35mm_film), 16mm (http://en.wikipedia.org/wiki/16mm_film), and 8mm film (http://en.wikipedia.org/wiki/8mm_film). RGB Lab (http://en.wikipedia.org/w/index.php?title=RGB_Lab&action=edit&redlink=1) in Hollywood, California (http://en.wikipedia.org/wiki/Hollywood,_California) also packaged and developed motion picture film in still cassettes under the same business model, until they went out of business in 2005.

Dale Labs offered this service under a similar business model until August 2009, and also offered its own packaged film at one time. Before the point that Dale discontinued the processing, A&I Lab in NYC attempted to resurrect its own ECN-2 processing (http://en.wikipedia.org/w/index.php?title=ECN-2_processing&action=edit&redlink=1), but discontinued it soon after[2] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-1).

As of Jan., 2011, Double Exposure Ltd., Laboratory (http://en.wikipedia.org/wiki/Double_Exposure_Ltd.,_Laboratory) offers full service mail order (http://en.wikipedia.org/wiki/Mail_order) processing (including slides (http://en.wikipedia.org/wiki/Slides) from negatives (http://en.wikipedia.org/wiki/Negatives), photographic prints, and scans) for Seattle FilmWorks ( SFW-XL ) customers with old film, as well as current users of re-spooled ECN-2 (http://en.wikipedia.org/wiki/ECN-2) / ECN-II film[3] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-2)[4] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-3). They also continue the Seattle FilmWorks model of "free film[5] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-4)."

"Seattle FilmWorks" film cannot be successfully developed at a standard one-hour photo lab. This is due primarily to the presence of rem-jet (http://en.wikipedia.org/w/index.php?title=Rem-jet_backing&action=edit&redlink=1) anti-halation (http://en.wikipedia.org/w/index.php?title=Anti-halation&action=edit&redlink=1) backing on this film, but also color developer differences between ECN-2 (http://en.wikipedia.org/wiki/ECN-2) and C-41 (http://en.wikipedia.org/wiki/C-41). Rem-jet (http://en.wikipedia.org/w/index.php?title=Rem-jet_backing&action=edit&redlink=1) is a black carbon fiber backing that must be physically scrubbed or water-stream removed from the acetate (http://en.wikipedia.org/wiki/Acetate) film base (http://en.wikipedia.org/wiki/Film_base) during the pre-bath phase just prior to immersion of film in the developer in process ECN-2 (http://en.wikipedia.org/wiki/ECN-2) / ECN-II[6] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-5).

The rem-jet can cause problems in a machine not designed for rem-jet removal (such as a C-41 mini-lab machine). If improperly or incompletely removed it will leave white chunks on prints (which can also be observed in earlier color movie photography). C-41 (http://en.wikipedia.org/wiki/C-41) uses an anti-halation dye that is incorporated into the film emulsion itself, and dissolves out during development without the need for any special treatment. ECN-2 (http://en.wikipedia.org/wiki/ECN-2) is now the only current film process using rem-jet, with the discontinuation of K-14 (http://en.wikipedia.org/wiki/K-14) (Kodachrome (http://en.wikipedia.org/wiki/Kodachrome)) film (http://en.wikipedia.org/wiki/Film) and processing in early 2011.

The ECN-2 (http://en.wikipedia.org/wiki/ECN-2) ( SFW-XL (http://en.wikipedia.org/wiki/SFW-XL) ) film process also differs from process C-41 (http://en.wikipedia.org/wiki/C-41) because it was engineered for a different color developing agent (CD agent, for short) than C-41 process film, and a different developer time and temperature.

ECN-2 (http://en.wikipedia.org/wiki/ECN-2) process specifies 180 seconds (3:00) @ 106+/-0.2°F (~41.1+/-.1°C) in a developer composed of silver halide reducer (developer)

CD-3.C-41 process specifies 195 seconds (3:15) at 100°F(+/-1/4°)/(~37.8 +/-0.15°C) in a developer with primary silver halide reducing (developing) agent CD-4.

C-41 (http://en.wikipedia.org/wiki/C-41) developer produces improper density, has different CD agents, and might produce COLOR CROSSOVER when used to process ECN-2 (http://en.wikipedia.org/wiki/ECN-2) ( SFW-XL (http://en.wikipedia.org/wiki/SFW-XL) ) film, resulting in color casts in either the highlights or shadows of the film[7] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-6).

ECN-2 (http://en.wikipedia.org/wiki/ECN-2) ( SFW-XL (http://en.wikipedia.org/wiki/SFW-XL) ) is the only process that these films were designed for.

Seattle FilmWorks and RGB Lab film are now closed.

A few labs can still develop these films in the United States (as of 26 Jan. 2011). Double Exposure Ltd., Laboratory (http://en.wikipedia.org/wiki/Double_Exposure_Ltd.,_Laboratory) in Cleveland, Ohio can process, print, make positive "slides," and scan all ECN-2 (SFW-XL) films currently made, and previously developed [1]. Unlike Seattle FilmWorks, [they] offer slides from regular C-41 color negative films, as well[8] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-7)."

Other labs, such as A&I, attempted unsuccessfully to offer this service, but ran into trouble because of outdated film stock, slow turnaround times, and high prices. After only a few years, they discontinued this processing option, returning to just E-6, B&W, and C-41 processing.

There is another lab, The Camera Shop, in St. Cloud, Minnesota that offers the processing of negative processing (again as of 26 Jan. 2011), but it appears they do not offer the option of slides, or new ECN-2 (http://en.wikipedia.org/wiki/ECN-2) stocks for sale [2].

Swan Labs, on the Western Seaboard of the United States, appears to offer negative processing of these films as well. Motion picture processing labs all use chemistry compatible with this film, as ECN-2 film is used primarily for the production of dramatic television shows, music videos, commercials, and motion pictures.

Seattle FilmWorks offered the option of photo digitizing at the time the film was developed. This service was very convenient, but the digital pictures were in one of two proprietary file formats (http://en.wikipedia.org/wiki/File_format). Seattle Film Works software (http://en.wikipedia.org/wiki/Software) ran on MS-DOS and Windows. Seattle Film Works used a *.sfw format if the pictures are returned on floppy disk, and *.pwp format if downloaded on the Internet (http://en.wikipedia.org/wiki/Internet).

Double Exposure Lab can offer any common format with scans from [ECN-2] ( SFW-XL ) film, JPEG, TIFF, cineon, or even the old .sfw formats if desired [2].

Photoworks, the name that Seattle FilmWorks adopted to distance itself from negative customer perception, discontinued all film processing, even the ubiquitous C-41 process found in practically every grocery store and pharmacy, in the year 2010. This followed its purchase by American Greetings[9] (http://en.wikipedia.org/wiki/Seattle_FilmWorks#cite_note-8).
Another discussion is here:



...We recommend that customers with old rolls of Seattle FilmWorks film to be developed contact Dale Laboratories at http://www.dalelabs.com/ . Their contact information is:

2960 Simms Street
Hollywood, Florida 33020-1579
Toll Free (800) 327-1776 • FAX (954) 922-3008
dalelabs@aol.com

I don't see "Process SFW-XL" or Seattle FilmWorks so you might want to contact them and ask if they still do it. Much of this is ECN-II film.

However, as of 2006, one poster said
"Dale Labs in Hollywood, Fla still develop ECN-2 in 35 mm cassettes. It is $4 for dev only."

And a second said:

"send to Dale. They're a top-notch professional lab. They can do prints onto ECP (movie print film) from you ECN-II negs that should look great.

What this film was is tails/leftover from shooting movies. Dale was another lab that distributed this "free film" if you have it developed by them. I had some at one time - It was good film, and you got back both film negatives and film positives. However, having to send it off was a pain even in the good old days.

In addition, one forum poster says:
"The Camera Shop of St. Cloud Minnesota (http://www.thecamerashop.com/) (http://www.thecamerashop.com/%29) will process ECN-II for $14 a roll, lead time two weeks." Their numbers are 800-793-0112 and 320-251-2622.

So there are two possibilities, one in Florida and one in Minnesota.

Another poster said in 2006 "drop your film off at a local store that sends out to Fuji. When i worked at Eckerd Drugs, the Fuji outlab had "ECNII aka SFWXL" as a two day "non guarantee" service. Essentially they won't buy your prints back if they suck...but your film is developed for around $5."
Source(s):

http://www.photoworks.com/util/knowledge… (http://www.photoworks.com/util/knowledgeBaseTemplate.jsp?helpFile=FilmDeveloping. html&subject=Film%20Developing)
http://www.dalelabs.com/
http://photo.net/bboard/q-and-a-fetch-ms… (http://photo.net/bboard/q-and-a-fetch-msg?msg_id=00DaDn)

beefsteak

[Dogman]

Back in the heyday of film they use a shit load of silver, now with most photography going digital.

Film will be around still for a while but not in the volume used in the past.

Remember you could walk into a drug store and there would be big racks and shelfs full of different kinds of film? Look now and it seems only 1/10 of what it used too be.

[mightymanx]

I have not seen a film camera in years.

No silver to harvest from digital film.

[Dogman]

I have not seen a film camera in years.

No silver to harvest from digital film.I have some very good SLR cameras that there is a ton of money invested over the years. And I still use them but less and less as time goes on. The best I can hope but can not justify is to buy a digital that I can use my old very good and expensive lenses.

People are still using old school cameras but I feel in not too many years they will fade away, except for the die hards. Digital is just too easy and instant , plus computer ready.

Film is still out there tand easy to get, but not the wide choices you used to have, say in a drug store. what used to be a isle is now a small rack displaying film.