![]() ![]() Brow Well, Near Dumfries, Olympus Trip 35 I can shot a roll of BW400CN and get processed for £6-7 all in. They are also a great bridge allowing people to dip their toes into B&W. The first is taste and the latter is great if (a) you have the time/space/inclination to self process or (b) are happier paying someone to do it for you (and that someone isn’t going to be your supermarket lab for a couple of quid). They can be criticised for the lack of grain in comparison to traditional B&W and the fact that they are more expensive than some traditional B&W film (and if you self process the cost can be very cheap). Contrast is good (better still with a K2 yellow filter) Olympus Trip 35 with K2 yellow filter, Carlisle 2014 Unlike the Neopan 400CN which warns of storing above 15☌ it seems more tolerant with just a minor warning to protect from heat & X-rays. The backing plastic film sometimes adds soft subtle coffee tones to lab scanned images. ![]() Kodak BW400CN is my favourite, very fine, next to no grain and can cope with a bit of over and under exposure. They do have good latitude but grain does become more evident as it does with CN when the exposure is off. The others are Ilford XP2 super and Fuji Neopan 400CN (weirdly Ilford make it for Fuji – only available in Japan & UK).Īll 3 films if correctly exposed have very fine grain due to their CN background although XP2 is a wee bit grainer IMHO. ![]() There are 3 C41 films currently on the market. Carlisle 2014, Smena 8M Birdoswald 2014 Ricoh 500RF with K2 Yellow filter This is handy if you want to try out shooting B&W as you can have your films processed cheaply and anywhere. This is a bit of an unusual B&W film in that it is meant to be developed in the same way that colour negative film (C41) at any photo lab. In that technique of course you do get the silver masking some of the colour, to give a desaturated effect.In August this Year Kodak Alaris announced the effective death of my favourite B&W film BW400CN. It hadn't occurred to me until now that bleach-bypass is very similar to this, just with a proper colour developer not a B&W one. I've heard of people doing that with bleach-bypassed negatives to revert to the original colour. I suppose I could pick a sacrificial negative strip and try it, to see what happens! Maybe I'll do that with my next roll - it should be possible to do this process, scan the negative to see the image, then retrospectively bleach and re-fix. My guess is still that if you bleached these negatives you'd end up with virtually nothing, such a weak colour image that you won't see anything. But, presumably those under-exposed areas won't have a lot of colour either since the under-exposure will apply as much to the colour as to the silver (ultimately, as I understand it, the colour couplers act in conjunction with the silver to produce dye clouds, so if there's less exposed silver, there'll be less dye as well). so I've had a think about this and I understand what you're saying now - if it's the silver masking the colour then yes, under-exposed areas will show more colour.who knows! All the shots in this article are as they came off the scanner, except for two which I converted to black and white afterwards in Photoshop. Perhaps your scanner will be completely different. I have noticed that portrait shots seem to come out with more pink on my Epson V500 scanner, for reasons I don’t entirely understand. I can never tell exactly what tint each shot will be until I scan it – each frame is different. This has the advantage of adding a unique subtle tint to each shot, normally slightly pink or brown. The scanner then knows that it has to subtract the orange mask from the result. I scan as colour negative, just as I would if the film had been developed “properly”. If you scan as B&W you’ll get some results, but they might be affected by the orange mask. Unlike B&W or slide film, colour negative film has an orange tint to the base. Once developed, you then need to scan your negs. Final rinse: A drop of Photoflo in distilled / deionised water to reduce drying spots.Rinse: either 10 minutes in running water, or use the Ilford method.Develop: 15 minutes in APH09 or Rodinal 1:50 at 20C. ![]() For 120 film, it’s 10ml of APH09 in 500ml of water. I use 6ml of APH09 and make it up to 300ml with water to process one 35mm film in my Paterson tank. For Rodinal-based developers, this is 15 minutes when using a 1:50 concentration at 20C. A good rule of thumb is to use the same development time as Kodak Tri-X in the developer of your choice. All colour negative film has the same development time, regardless of ISO, so it doesn’t matter what film you’re using. There are lots of articles here and elsewhere on basic B&W development, so I won’t repeat them here in detail, but you’ll need to know the development times for C41 film. ![]()
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