Which of these do image models handle well?

Push processing, redscale and expired film land reliably, because each one has a strong single signature. Solarisation and film soup need the physical detail spelled out, or the model returns a plain inversion or a coloured overlay instead.

Can I put a process and a film stock in one prompt?

Yes, and that is the normal way to use these. Name the stock first and the process second: Tri-X 400 pushed two stops, or Gold 200 loaded backwards for redscale. Each prompt here is a clause, so it drops on to any entry from the film pages.

Why does my process come back looking like a filter?

Because the prompt named the result and not the cause. Every process here has a physical mechanism, and naming the mechanism is what stops a model reaching for a colour overlay. Say the film went in backwards, or that the light hit the print during development.

Darkroom and process

The changes made to the film itself, and the wording for each one.

A stock decides what the film can record. The process decides what survives. Everything on this page is a change made to the film itself, in the tank or before it ever went into the camera, and each one leaves a mark that no filter reproduces: grain that clumps, contrast that steepens, colour that walks off in one direction and stays there. Two more processes belong on this shelf and live elsewhere. Bleach bypass is published at /techniques/cinema/colour-grading/bleach-bypass/ and cross processing at /techniques/cinema/colour-grading/cross-process/, because both reached the cinema catalogue first, as grades.

In the tank

Three changes made while the film or the print sits in the developer. The picture is already recorded, and the process decides how much of it survives.

Push processing

Rated above box speed and developed longer: hard contrast, coarse grain, shadows that stay shut.

Pull processing

Rated below box speed and developed less: low contrast, fine grain, highlights that hold and shadows that open.

Solarisation

A partial reversal: part of the tone range flips, and a thin light line traces every edge.

Before the tank

Three changes made to the film before it is developed, and in two cases before it is even shot. A roll loaded the wrong way round, decay, and damage done on purpose.

Redscale

Colour negative loaded backwards, so the light passes through the orange base and everything returns red.

Expired film

Film past its date: slower, foggier, colour shifted, with blotches and streaks the stock never had when new.

Film soup

Film soaked in liquid before or after shooting: streaks, bubbles, melted colour and edges that crystallise.

Shoot one of them

Copy a prompt into an image model and pay for that one run. No subscription.

Open an image model

Other look groups

Colour film stocksThe colour stocks, and what each does to skin, to sky and to green.12 colour stocks Black and white film stocksThe stocks, and what each one does to grain, to skin and to the sky.8 black and white stocks Slide and instant filmThe positive stocks, their narrow latitude, and the wording for each.8 slide and instant stocks Camera and formatThe ways to size a frame, and the wording that gets each one.8 cameras and formats Historical processesThe processes from before the film roll, and the wording for each.10 historical processes Photographic genresEach genre written as the lens, the light and the distance that make it.16 photographic genres Product and commercialThe shots a product needs, and the light, shadow and edge each takes.10 product shots

Cinematic techniquesShooting a video rather than a still? The same reference, for the camera in motion.

Both are in the cinema catalogue, under colour grading: bleach bypass at /techniques/cinema/colour-grading/bleach-bypass/ and cross processing at /techniques/cinema/colour-grading/cross-process/. Each one is a darkroom process as well as a grade, but both reached the cinema catalogue first, as grades, so that is where they stay.