I’m hoping this guide will give you a point of departure. Pick a film and a developer that works for your budget and workflow, and start experimenting.īut, we all need a place to start. And any experienced film photographer would tell you that that’s exactly what you should do. The good news here is that, within reason, you can use combinations of films, developer, scanning, and post processing techniques to get you results you’re very pleased with, if you experiment long enough.
For instance, the way any of these films look, both grain, contrast, sharpness, tonality, etc can all be drastically affected by your choice of developer, your development technique, and your scanning technique. And in my comparison there are just an untenable number of compounding variables which can skew the results.
With any blind test or study like this there are these things called compounding variables. This is as scientific a study as I can possibly make given limited time, experience, knowledge, and resources. With that in mind, I’ll do the best I can and appreciate patience from those who are more experienced. O r at least not in a back to back comparison like I am doing. There are probably people more qualified to do this, but no one has. So here are some timestamps to help you navigate the portions you may find most interesting.Īs I get into this, you should know that I’m a film enthusiast but not an expert. Due to the nature and scope of what we’re tackling here, this isn’t going to be a super short video. While this guide is probably going to be most helpful for beginning film photographers, I’m hopeful that more experienced film shooters will also find this guide valuable and interesting. market in mid 2018, with the goal to help those of you who are new to film photography figure out a film which might be right fit for you. In this guide I will be comparing every 100 (ish) speed, black and white film which is actively being produced and readily available to the U.S. With that in mind, it’s time for a brand new guide to these emulsions. Some have disappeared while others have been either resurrected or created.
Fast emulsion film iso#
The higher the ISO number the faster the film becomes and therefore the grainier the film becomes.In the past couple of years, film emulsions have been experiencing a bit of a revamp. Typical film speed ratings are ISO 50, ISO 100, ISO 125 and ISO 400, however there are higher ISO films available and some in between. To make it easy on the photographer the film speed is represented as an ISO number (formerly known as an ASA number). This alone is probably the most important aspect in selecting a black and white film to use. So what does this mean for black and white photography? As stated, the salt grain of black and white film decides the proper speed of a particular film as well as the graininess of the final print. These grains translate to a final print faster films have larger salt grains and result in a grainier print than slower film. Smaller salt grains, conversely, require more light to create an image and is therefore a slower film. Larger salt grains require less light to create an image and is therefore a faster film as it can be exposed quicker. These grains of salt are the key to understanding fast or slow film. The emulsion layer contains grains of silver salt that, once exposed by light, react with a developer and break down into pure silver. Black and white film is made up of three layers: a light-sensitive emulsion layer, a plastic strip to support the emulsion, and an anti-halation layer designed to capture light that has come through the emulsion and plastic and prevent it from bouncing back. One key to black and white photography is understanding film. Licensed under CC BY-SA 2.0 Black and White Film Overview
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