Black & White film
Mar 14, 2016 10:17:46 #
Mar 14, 2016 10:18:20 #
GoofyNewfie wrote:
It IS a different look, for sure.
I used it a lot for jobs, pretty fine grain.
Been a really long time since I used it.
The fact that it can be easily processed is why I suggested it.
I used it a lot for jobs, pretty fine grain.
Been a really long time since I used it.
The fact that it can be easily processed is why I suggested it.
This is the one I use:
http://www.ilfordphoto.com/products/product.asp?n=8
Mar 14, 2016 10:23:15 #
One of the big advantages of using b&w film is that you will be in total control but only if you do your own development and printing.
Shooting b&w requires careful testing to determine the actual ISO speed that will best suit the development of the film. Development times also need to be assessed properly because development will control the highlights. All this testing will require some time if indeed you want to be accurate regarding your work.
In the hands of a lab you will never know if quality will be at its best because it is obvious they do not have the time to check film and development with your camera. You could be satisfied or not but the control offered by knowing the right ISO to expose the film and the right development to control highlights and having the negatives that will offer your prints the best quality require precision testing.
The Zone System is a great tool in the hands of experienced b&w film users and Ansel Adams used it all the time.
You can buy film and send it for development and printing but do not expect quality...if indeed you can see what a great quality it is with a b&w print.
Shooting b&w requires careful testing to determine the actual ISO speed that will best suit the development of the film. Development times also need to be assessed properly because development will control the highlights. All this testing will require some time if indeed you want to be accurate regarding your work.
In the hands of a lab you will never know if quality will be at its best because it is obvious they do not have the time to check film and development with your camera. You could be satisfied or not but the control offered by knowing the right ISO to expose the film and the right development to control highlights and having the negatives that will offer your prints the best quality require precision testing.
The Zone System is a great tool in the hands of experienced b&w film users and Ansel Adams used it all the time.
You can buy film and send it for development and printing but do not expect quality...if indeed you can see what a great quality it is with a b&w print.
Mar 14, 2016 10:42:33 #
burkphoto wrote:
With a decent scanner and the right knowledge and technique, you can scan B&W negs and make better prints on a high end inkjet than was ever possible with silver halide processes. That's been true for over a decade!
It's certainly not true in my experience. I have a decent scanner and a good inkjet (Epson with three blacks) and the prints aren't up to the standards of my old darkroom prints. And it's even truer with negs that aren't well exposed.
Mar 14, 2016 10:53:03 #
burkphoto wrote:
With a decent scanner and the right knowledge and technique, you can scan B&W negs and make better prints on a high end inkjet than was ever possible with silver halide processes. That's been true for over a decade!
You can have the film developed and get the negatives scanned for not much money.
Mar 14, 2016 10:58:37 #
eshep
Loc: Belen NM
It's been a while since I did darkroom work. I'm not up on the latest technology. I do have a photo quality printer. Maybe I'll try my hand again in BW. Thanks.
Mar 14, 2016 10:59:29 #
eshep wrote:
B&W is a lot of work to get the good results y... (show quote)
Darkroom work is slow, but I always found it restful and satisfying.
Mar 14, 2016 11:01:34 #
aellman wrote:
I always found winding the film onto the Nikkor developing reel to be life's great physical challenge. BTW, Ilford films are excellent. >>>AL
I feel your pain - can't tell you how many negatives I ruined by badly threading Nikkor reels and having 2 consecutive layers touch. Finally gave up and moved to Jobo self-threading reels. Not nearly as cool, but no more trashed film :)
Mar 14, 2016 11:04:33 #
Mar 14, 2016 11:09:22 #
TriX wrote:
I feel your pain - can't tell you how many negatives I ruined by badly threading Nikkor reels and having 2 consecutive layers touch. Finally gave up and moved to Jobo self-threading reels. Not nearly as cool, but no more trashed film :)
I finally got the hang of it by practicing with some junk film in daylight. Showed me what I was doing wrong and how to do it right. It does require a good bit of manual dexterity.
Mar 14, 2016 11:10:29 #
Mar 14, 2016 11:46:24 #
JohnSwanda wrote:
It's certainly not true in my experience. I have a decent scanner and a good inkjet (Epson with three blacks) and the prints aren't up to the standards of my old darkroom prints. And it's even truer with negs that aren't well exposed.
Do you scan in 16-bit per channel mode, and manually set the tonal range to capture everything from film base to dMax?
Can your scanner handle 4.0 or better dMax?
Admittedly, there is an art to scanning, which I learned in a lab with nine Kodak Bremson HR500+ scanners, DP2 software, and the guidance of Kodak's finest digital color specialists. All the best stuff in 2003...
Mar 14, 2016 12:15:22 #
Blasthoff wrote:
If your looking to use your film camera and simply... (show quote)
Then you should know that good prints from colored film is not designed for the automated process, if you want to get the best out of your negs, you really have to work it!
Mar 14, 2016 12:30:40 #
aellman wrote:
Darkroom work is slow, but I always found it restful and satisfying.
The darkroom is a world unto itself. I love it there.
--Bob
Mar 14, 2016 12:33:08 #
rmalarz wrote:
The darkroom is a world unto itself. I love it there.
--Bob
--Bob
I miss it....
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