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Showing results for tags 'black and white film'.
Found 8 results
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I took this charming image candidly at my favourite café. It is not my normal practice to talk to my subjects, but if there are children involved I normally introduce myself and explain what I have done and ask for permission to use the image. I don't recall ever having been refused, although it is slightly more awkward shooting film as opposed to digital because you cannot show the parent the image. This young mother was quite happy with what I had done. Leica M7 + 35mm Summarit-M f2.5 using Kodak T-Max 400 and only available light. 1/125 @ f2.8
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I haven't posted for a while for various personal reasons, but this came back from the lab today. Hope you like it Leica M7 + 35mm Summarit-M f2.5 - Kodak TMY Gerry
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Here's some truly outstanding news for B&W film lovers - Fujifilm NEOPAN 100 ACROS II shipping November 22nd in 35mm and 120 formats https://emulsive.org/articles/fujifilm-neopan-100-acros-ii-shipping-november-22nd-in-35mm-and-120-formats -
This from a film received back from the lab this week. Leica M7 with 50mm Zeiss Sonnar f1.5 and taken on Kodak Tri-X at 320iso. Lab processed and then processed using Lightroom Classic.
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From my 'Paris' portfolio. Taken on an M6 using Kodak T400CN film commercially processed. I am sorry but all lens details have been lost, but probably a 50mm Summicron f2. Gerry
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I am in the middle of scanning some old Fuji Neopan 1600 negatives, and that was a film I really liked but sadly is no longer available. Has anybody any experience of working with fast colour films from Fuji or Kodak (800 or 1600 iso) and then scanning them as black and white? Thanks! Gerry
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Hello! I'm trying to lock in a scanning workflow for B/W 35mm and I've had such a love/hate relationship with my Coolscan 5000 and Vuescan. The detail extracted is second to none, but I'm seeing EVERY flaw as well. There are hairline surface scratches that explode on the screen from these scans that are nowhere to be found on a mirrorless camera scan or a darkroom print. Is this just inherent to the scanning physics? Is it scanning the surface and therefore every film base scratch is seen? Again, if you backlight the negative, all of these tiny scratches are invisible. Hence why they don't show up in camera scans or darkroom prints. Any ideas?
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Here's "the book" on Ferrania's P30 Alpha B&W film: I still need to order a batch of P30 and give this film a try; from the P30 based images I have seen posted online, it looks like an outstanding film. I like the author's comment on film photography as a process: "Film photography is a process from pre-visualization to hanging that final print."
