Praise of BW400CN in Summertime

[StS]

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The last classic black-and-white film I developed was at 24°C, the result was disappointing, although Kodak still states development times in their data sheet at this temperature.

 

I live in the sixth floor, my place gets sun from the east and from the west. These days, my bathroom is between 28° and 29°C (around 84F). This means, I'm completely relying on BW400 now, which is being developed in well controlled C41 baths.

 

Strange thing, I live in northern Europe, this is supposed to happen somewhere else. I want my money back.

 

Stefan

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[bill]

I love 400CN at any time. It is the only diet that my M2, III and II enjoy. It has a unique look that is best shown off in it's rendition of metallic surfaces, thus:

 

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Regards,

 

Bill

[StS]

Image #2 also shows very well one of the other areas of expertise of this film, the distinct exposure latitude. I suspect the film can handle almost anything, maybe apart from the sun being taken directly against outerspace background...

 

Stefan

[wblynch]

I wonder if used C-41 home processing chemicals will still work well for bw400cn after they no longer give satisfactory results on color?

 

I have some chemistry that is now returning color shifts. I think I'll try it this weekend on some C-41 B/W - just to see.

[MX5Bob]

Bill,

 

Good stuff! I'm really surprised at the contrast and tonal range.

[rlcosta]

Very pretty!

Could I ask what scanner you used?

Rob

[bocaburger]

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The last classic black-and-white film I developed was at 24°C, the result was disappointing, although Kodak still states development times in their data sheet at this temperature.

 

I live in the sixth floor, my place gets sun from the east and from the west. These days, my bathroom is between 28° and 29°C (around 84F). This means, I'm completely relying on BW400 now, which is being developed in well controlled C41 baths.

 

Strange thing, I live in northern Europe, this is supposed to happen somewhere else. I want my money back.

 

Stefan

 

Fill a plastic dishpan (or your sink if it has a flat bottom) halfway with water, put in a few ice cubes if necessary (if your cold water supply is too warm) to bring the temp down to what you need, then keep the chemical bottles and your developing tank in it (except while agitating). It's what we all did here in the US back before central A/C.

 

I liked the chromogenic film, but then it hit me at some point that since I was scanning, I could use any color C41 film and convert it in Photoshop, the same way I do with digital files now, plus if I decided the shot looked better in color, I had the option.

[bill]

Very pretty!

Could I ask what scanner you used?

Rob

 

Thank you - it was a Plustek 7200.

 

I liked the chromogenic film, but then it hit me at some point that since I was scanning, I could use any color C41 film and convert it in Photoshop, the same way I do with digital files now, plus if I decided the shot looked better in color, I had the option.

 

I have to disagree here. Not with the fact, but with the "feeling". If I load b&w, I see b&w. If I load colour, I see colour. In other words, knowing what film I have in the body influences the sort of shots I look out for, both consciously and subconsciously. I have tried it otherwise, but it doesn't work for me. Intentional b&w works better than after-the-fact b&w, if you see what I mean.

 

Regards,

 

Bill

[StS]

Fill a plastic dishpan (or your sink if it has a flat bottom) halfway with water, put in a few ice cubes if necessary (if your cold water supply is too warm) to bring the temp down to what you need, then keep the chemical bottles and your developing tank in it (except while agitating). It's what we all did here in the US back before central A/C.

Thank you for the tip.

I liked the chromogenic film, but then it hit me at some point that since I was scanning, I could use any color C41 film and convert it in Photoshop, the same way I do with digital files now, plus if I decided the shot looked better in color, I had the option.

I'm not sure, if I understand it correctly, BW400 is using the three layers, which are normally used for the colour information to have actually three black and white films with three different sensitivities. One wouldn't get the exposure latitude of BW400 with a colour film.

 

Stefan

[bocaburger]

 

 

I have to disagree here. Not with the fact, but with the "feeling". If I load b&w, I see b&w. If I load colour, I see colour. In other words, knowing what film I have in the body influences the sort of shots I look out for, both consciously and subconsciously. I have tried it otherwise, but it doesn't work for me. Intentional b&w works better than after-the-fact b&w, if you see what I mean.

 

Regards,

 

Bill

 

I do see what you mean. I agree, photography is a "mind game" like golf. The people who insist "a camera is just a tool" don't get it (or aren't affected by it). I've a different mindset depending on whether I'm shooting an M4, Nikon F, Rolleiflex, etc. so I can clearly understand your point. In fact when I set out to shoot b&w a digital, I like to have a b&w image on the LCD even though I'm also capturing a raw file that will be in color. I only shot b&w on color C-41 toward the end, trying to use up whatever I had left in the freezer. All the decent labs around me closed, so whatever I shoot now in film is Tri-X or equivalent that I'm comfortable developing myself.

[Michael Geschlecht]

Hello Everybody,

 

In the field of Art Restoration/Conservation the issues discussed above are often quite important.

 

When you look at a painting it is often possible to tell if a painting is an original from life, from memory, an allegorical or fantastic visualization, a copy, a forgery (not necessarily the same as a copy). Many are similar works of art done by different people at the same time and place. Many are a mix of the above with more of other not mentioned. Also, from a print, from a photograph, as well as if the phorograph/ print used was color, black & white, toned, or something else.

 

That is because of what people above have said. The scene is often visualized in terms of a certain medium as the work is created.

 

There are certain things that are often common to a medium:

 

Things done from life are alive and have a degree of motion. Even a bowl of fruit without a fruit fly.

 

Copies are a moment in time of something alive. Often lacking details.

 

Forgeries are copies meant to deceive. Therefore some aspects are copied differently.

 

Photographically this has included thought processes in color as opposed to black and white as well as the reverse, taking into account these processes have changed over time as the medium of photography has changed.

 

Not everything I have said is as easy as it might appear from my description and some does not follow these analytical perspectives at all.

 

But, a goodly portion is often reasonably ballpark.

 

You might want to think about that the next time you look at a painting in a friend's home or in a museum, as well as when you look at the next photograph.

 

Best Regards,

 

Michael