Post your B&W Film shots

Jonathan Mac · 01-11-2012, 03:17 PM

With my recent acquisition of an MX (and today I added an MZ-30), I've ordered some Ilford B&W film. So I'll be watching this thread from now on

.

MattC · 01-12-2012, 02:48 AM

Originally posted by stevebrot

My experience is that it depends on the light. Acros has a fairly high sensitivity to blue light and is a little weak on the red end. On a recent roll, those frames taken in strong, full-spectrum light have great snap and tonality (nice combination). Those taken in the deep shade on the same day are a little dull looking. This is not unusual (duh), but I think it is particularly true for Acros.

A yellow filter as a routine might be a good idea.

Steve

A really good observation Steve - thanks for that!

Bogie · 01-12-2012, 06:02 AM

Pentax 645 Fuji Acros 100, developed with HC-110; print scanned

Sinister · 01-12-2012, 06:27 AM

Shelter von Ineound auf Flickr

Olympus XA
Rollei Retro 100
Rodinal 1+100 stand development 1h
Lith Printed on Adox MCC 20x30 cm
Moersch SE5 1+1+20

Bythorn · 01-12-2012, 11:53 AM

This is the first BW photo I ever took with my (at that time) brand new Honeywell Pentax Spotmatic Camera. This was taken in the fall, 1970.

womble · 01-12-2012, 02:17 PM - **1 Like**

The former Discoteca Fun Club, Isaccea, Romania.
Pentax LX, K17mm fisheye, Rollei Retro 80S film.

K.

tuco · 01-14-2012, 01:55 PM

Originally posted by womble

The former Discoteca Fun Club, Isaccea, Romania.
Pentax LX, K17mm fisheye, Rollei Retro 80S film.

K.

Well chosen subject for a fisheye lens

tuco · 01-14-2012, 03:04 PM

An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative.

The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too.

The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems.

Does anybody else have any experience with that they could share?

Selenium Intensification - removes pyro stain on the negative too.

500C/M, 50mm, Green Filter, 400TMY, PMK, Pentax Spotmeter

No Intensification

500C/M, 50mm, 400TMY, PMK, Pentax Spotmeter

What it looks like in color

X100

John Poirier · 01-14-2012, 08:52 PM

Originally posted by tuco

An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative.

The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too.

The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems.

Does anybody else have any experience with that they could share?

In Photoshop use of curves combined with the highlight/shadow function provides a lot of control. I agree with you that this largely nullifies differences between films in terms of tonal rendiltion.

When I started doing digital imaging in the ealry 1990s I was in the middle of a 15-year run of using a densitometer and plotting film response curves on a weekly basis, so it didn't take long for me to realize that very interesting things could be done with curves in Photoshop.

A key discovery was the use of S-shaped curves similar to film response curves with a distinct toe, straight line, and shoulder. This allows you to produce well-separated mid tones while retaining shadow and highlight detail. Use of the shadow/highlight function after application of an S curve fine-tunes things.

John

stevebrot · 01-15-2012, 12:29 AM

Originally posted by John Poirier

A key discovery was the use of S-shaped curves similar to film response curves with a distinct toe, straight line, and shoulder. This allows you to produce well-separated mid tones while retaining shadow and highlight detail. Use of the shadow/highlight function after application of an S curve fine-tunes things.

Indeed...My standard workflow in Lightroom for RAW dSLR images also includes a modified S-curve with additional steps as needed to adjust shadow detail and provide a little head-room for "scintillation" in the highlights. Scans seem to be less resistant to artifact than RAW from the K10D and are more difficult to work with, but I have found that with proper scanning technique I can work both ends to accomplish the same thing.

Steve

Macario · 01-15-2012, 03:19 AM

Originally posted by tuco

An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative.

The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too.

The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems.

Does anybody else have any experience with that they could share?

Selenium Intensification - removes pyro stain on the negative too.

500C/M, 50mm, Green Filter, 400TMY, PMK, Pentax Spotmeter

No Intensification

500C/M, 50mm, 400TMY, PMK, Pentax Spotmeter

What it looks like in color

X100

The color one looks bad, the B&w one looks fantastic

stevebrot · 01-15-2012, 10:02 AM

Originally posted by Macario

The color one looks bad, the B&w one looks fantastic

...yeah, selenium is sort of hard on color negs

Steve

aurele · 01-15-2012, 10:50 AM - **1 Like**

i've posted this on another thread, but i loved them, so here are my B&W shots

SuperA / Kiron 28/2 @16 or 11. / Tmax 100 6yrs expired, dev. in Kodak Xtol process.

SuperA / DAL 18-55 AL @f8 or 11 / Tmax 100 6yrs expired, dev. in Kodak Xtol process.

Kaufeetime · 01-18-2012, 06:23 PM - **1 Like**

Top of an old printing press.

Bogie · 01-19-2012, 04:13 AM

Originally posted by Kaufeetime

Top of an old printing press.

outstanding shot!

01-12-2012, 06:02 AM	#303
Bogie Senior Member Join Date: Jan 2011 Location: Texas Photos: Gallery Posts: 228	Pentax 645 Fuji Acros 100, developed with HC-110; print scanned Attached Images

01-12-2012, 11:53 AM	#305
Bythorn Junior Member Join Date: Apr 2011 Location: Parker, Colorado Photos: Gallery Posts: 28	Horse This is the first BW photo I ever took with my (at that time) brand new Honeywell Pentax Spotmatic Camera. This was taken in the fall, 1970. Attached Images

01-14-2012, 03:04 PM	#308
tuco Pentaxian Join Date: Jul 2009 Location: Pugetopolis Posts: 11,025	An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative. The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too. The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems. Does anybody else have any experience with that they could share? Selenium Intensification - removes pyro stain on the negative too. 500C/M, 50mm, Green Filter, 400TMY, PMK, Pentax Spotmeter No Intensification 500C/M, 50mm, 400TMY, PMK, Pentax Spotmeter What it looks like in color X100 Last edited by tuco; 01-14-2012 at 04:48 PM.

01-18-2012, 06:23 PM - 1 Like	#314
Kaufeetime Senior Member Join Date: Sep 2009 Location: Kansas City,Mo. Photos: Albums Posts: 206	Top of an old printing press. Attached Images

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01-11-2012, 03:17 PM	#301
Jonathan Mac Pentaxian Join Date: Apr 2009 Location: Madrid, Spain Posts: 10,894	With my recent acquisition of an MX (and today I added an MZ-30), I've ordered some Ilford B&W film. So I'll be watching this thread from now on .

01-12-2012, 02:48 AM	#302
MattC Senior Member Join Date: Mar 2009 Location: Adelaide, Australia Posts: 268	Originally posted by stevebrot My experience is that it depends on the light. Acros has a fairly high sensitivity to blue light and is a little weak on the red end. On a recent roll, those frames taken in strong, full-spectrum light have great snap and tonality (nice combination). Those taken in the deep shade on the same day are a little dull looking. This is not unusual (duh), but I think it is particularly true for Acros. A yellow filter as a routine might be a good idea. Steve A really good observation Steve - thanks for that!

01-12-2012, 06:27 AM	#304
Sinister Veteran Member Join Date: Feb 2011 Location: Berlin Posts: 1,045	Shelter von Ineound auf Flickr Olympus XA Rollei Retro 100 Rodinal 1+100 stand development 1h Lith Printed on Adox MCC 20x30 cm Moersch SE5 1+1+20

01-12-2012, 02:17 PM - 1 Like	#306
womble Pentaxian Join Date: Apr 2010 Location: Hertfordshire Photos: Gallery Posts: 4,324	The former Discoteca Fun Club, Isaccea, Romania. Pentax LX, K17mm fisheye, Rollei Retro 80S film. K.

01-14-2012, 01:55 PM	#307
tuco Pentaxian Join Date: Jul 2009 Location: Pugetopolis Posts: 11,025	Originally posted by womble The former Discoteca Fun Club, Isaccea, Romania. Pentax LX, K17mm fisheye, Rollei Retro 80S film. K. Well chosen subject for a fisheye lens

01-14-2012, 08:52 PM	#309
John Poirier Veteran Member Join Date: Dec 2006 Location: Gabriola Island Posts: 619	Originally posted by tuco An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative. The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too. The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems. Does anybody else have any experience with that they could share? In Photoshop use of curves combined with the highlight/shadow function provides a lot of control. I agree with you that this largely nullifies differences between films in terms of tonal rendiltion. When I started doing digital imaging in the ealry 1990s I was in the middle of a 15-year run of using a densitometer and plotting film response curves on a weekly basis, so it didn't take long for me to realize that very interesting things could be done with curves in Photoshop. A key discovery was the use of S-shaped curves similar to film response curves with a distinct toe, straight line, and shoulder. This allows you to produce well-separated mid tones while retaining shadow and highlight detail. Use of the shadow/highlight function after application of an S curve fine-tunes things. John

01-15-2012, 12:29 AM	#310
stevebrot Otis Memorial Pentaxian Join Date: Mar 2007 Location: Vancouver (USA) Photos: Gallery \| Albums Posts: 42,007	Originally posted by John Poirier A key discovery was the use of S-shaped curves similar to film response curves with a distinct toe, straight line, and shoulder. This allows you to produce well-separated mid tones while retaining shadow and highlight detail. Use of the shadow/highlight function after application of an S curve fine-tunes things. Indeed...My standard workflow in Lightroom for RAW dSLR images also includes a modified S-curve with additional steps as needed to adjust shadow detail and provide a little head-room for "scintillation" in the highlights. Scans seem to be less resistant to artifact than RAW from the K10D and are more difficult to work with, but I have found that with proper scanning technique I can work both ends to accomplish the same thing. Steve

01-15-2012, 03:19 AM	#311
Macario Pentaxian Join Date: Feb 2011 Location: Hoek van Holland Photos: Gallery \| Albums Posts: 1,393	Originally posted by tuco An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative. The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too. The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems. Does anybody else have any experience with that they could share? Selenium Intensification - removes pyro stain on the negative too. 500C/M, 50mm, Green Filter, 400TMY, PMK, Pentax Spotmeter No Intensification 500C/M, 50mm, 400TMY, PMK, Pentax Spotmeter What it looks like in color X100 The color one looks bad, the B&w one looks fantastic

01-15-2012, 10:02 AM	#312
stevebrot Otis Memorial Pentaxian Join Date: Mar 2007 Location: Vancouver (USA) Photos: Gallery \| Albums Posts: 42,007	Originally posted by Macario The color one looks bad, the B&w one looks fantastic ...yeah, selenium is sort of hard on color negs Steve

01-15-2012, 10:50 AM - 1 Like	#313
aurele Veteran Member Join Date: Jan 2011 Location: Paris, France Photos: Albums Posts: 3,217	i've posted this on another thread, but i loved them, so here are my B&W shots SuperA / Kiron 28/2 @16 or 11. / Tmax 100 6yrs expired, dev. in Kodak Xtol process. SuperA / DAL 18-55 AL @f8 or 11 / Tmax 100 6yrs expired, dev. in Kodak Xtol process.

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01-19-2012, 04:13 AM	#315
Bogie Senior Member Join Date: Jan 2011 Location: Texas Photos: Gallery Posts: 228	Originally posted by Kaufeetime Top of an old printing press. outstanding shot!