It has a nice buttery look to it that I find charming. ![]() C-41 black and white is really fun stuff. Most of them will need to be scanned and digitally corrected. Unless you're like me and develop them for ten minutes in eighty degree developer. Occasionally you get really lucky and get some awesome looking shots. They will be flat and pretty darned dense. If you do develop C-41 in B&W they will not be in color. (And a great way to prove my fixer still works!) Hey! I have film I'll never 'pay' to develop.Let's shoot the cat!' It's a novelty thing really. So, for me, it's more a situation that 'Hey! I have chemicals going to the bad. Mostly because my local lab gives me free film that's generic fuji every time I bring in some Kodak Gold, and because I have to order my B&W film online. I cross process C-41 in B&W chems all the time. If I remember correctly, developer, is developer, is developer. As someone has mentioned here before the blix process in C-41 would erase a B&W image. You may have seen C-41 developed in B&W chemicals, in which case this is totally doable. Most often cross processing and the rescue technique yields a substandard result, however, one person's boo-boo can be another person's treasure. As an example, color films processed in black & white solutions can be re-bleached and re-developed. Human error in the darkroom sometimes resulted in cross processing. Most cross developing techniques have their origins in rescue procedures. Now the colored dye image blossoms to reveal the color image.īecause black & white films and color films have common origins, it is possible to cross develop to achieve some artistic goal. Once bleached and fixed, all traces of the metallic silver image are removed. The bleach solution attacks metallic silver and converts it to a compound soluble in ordinary fixer. However, the fix is not a solvent for metallic silver. An ordinary fix solution will remove unexposed and thus undeveloped silver salts. The sliver image veils the color image, therefore, it must be removed. The colored dye image is translucent whereas the silver image is opaque. Thus a black & white image and a colored dye image are simultaneously formed. As the metallic silver emerges, it becomes a catalyst that allows the incomplete dye to unite with the missing dye ingredient. The color developer acts much the same as a black & white developer except the color developer, as it reduces the silver salts, also supplies the missing dye ingredients. Additionally, imbedded in the emulsion, are incomplete dyes. Unexposed silver salts remain and after a time will reduce if the film is allowed to remain in the developer for an extended time.Ĭolor films such as C-41 and E-6 are also constructed by coating light sensitive layers on film base. It is the metallic silver that forms the image the released halogen is dissolved by the waters of the developer. Metallic silver, which remains imbedded in the emulsion, and a halogen. In this case reduction splits the silver salt crystal into its two component parts. The developer reduces the exposed salts and, for a time, ignores the unexposed. The developer is a reducing agent that is able to distinguish exposed vs. When exposed, a chemical change takes place making the silver salts suitable for reduction. ![]() This layer called an emulsion consists of salts of silver imbedded in a gelatin binder. ![]() ![]() Realizing of course that any "fuss" with film, nowadays, equates to one guy rooting for the Red Sox at Yankee Stadium.Īs you know, black & white film is constructed by coating a light sensitive layer on film base. You may, or may not, see what all the fuss is about. I have tried printing the Kodak variety on color paper in my darkroom and it's hard as heck to get a print with a neutral tint. The Kodak variety has the typical orange mask you see on color negatives, and the Ilford stuff - well, better printers than me get good results with it. On the negative side, trying to actually print it is a real pain. Somehow you find out about the C-41 film and viola! You are now hip, retro, and cool.Īlternatively, you might just like the way the film looks and prints. You try a roll of Tri-X but the local minilab says they can't process it. You have no darkroom access, skill, nor knowledge. So let's say you're an arsty-fartsy 20-something who wants to look cool, so you want to shoot black and white FILM because digital is passe and color is no longer hip. Normal minilabs can not develop non-C41 black and white film. As everyone has said, the advantage is that you can take it to a minilab and get B&W prints from it. Yes, you are limited to two films, Kodak BW400CN or Ilford XP2. So is it purley to do BW without using dedicated black and white developer? Doesn't this limit you in the selection of BW films?
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