![]() There is absolutely no way you can do that when you’re working with a lab. That is to say, you can easily shoot your film, process it, and scan it within the same day. When you process your film yourself, you can finish the processing usually within an hour of starting, and after a couple of hours of it drying, you can get to scanning. If you’re into mailing your film off to a lab, you’re limited by the postal service and go into the back of the queue when the film arrives. Most local labs that process C-41 won’t do black and white, and even if they do, it can take a while for them to get around to it or for them to collect enough film with similar processing requirements. Though I’ve not yet used it myself, I’ve heard a lot of good things about it and know several photographers who swear by it.Īn additional benefit that I don’t usually hear from others but means a lot to me is how quickly you get your results. Next up on my list of developers to try is HC-110, which is similar to Rodinal in that it has a long shelf life and can process a ton of film. I’ve found that I really enjoy using Rodinal, which, more than most other developers, can be diluted to such a degree that you would be genuinely shocked just how far you can stretch it. ![]() ![]() There are different developers, and all have their costs, but no matter what, it’s less expensive than mailing it out. I do appreciate having more control over the final product however, I must say that what I find the most attractive is the ability to do it on the cheap. This question generally has one of two answers: it allows for a substantial amount more control over how your photograph looks and it is much cheaper than paying someone else to develop your film for you. Lastly, and this is a big driver for many people, black and white film is considerably cheaper than color negative or slide film. ![]() In fact, because it lacks color, you can really push the boundaries of what you can and cannot do. Black and white film, as you can imagine, does not have any such issues. Similarly, color film can get quite saturated and may experience strange color shifts when it’s underexposed. That may not be as big of a deal where you live, but where I live in the Midwest, it is cloudy for several months out of the year, so black and white became my go-to until the sunny weather arrives. In addition, while the majority of C-41 and E-6 films are daylight balanced, black and white is not at all white-balanced, so you don’t have to worry about whether it’s sunny, cloudy, or anything else. Other film stocks you can pick up today, like Fujifilm Neopan Acros II and T Max P3200, are new within the last couple of years, but are based on previously discontinued film stocks, and they still have a beautiful vibe to them. Both of these examples have gone through updates to the emulsions, but at their core, they are still quite similar to their previous iterations. Similarly, the current Ilford HP5+ evolved out of its original emulsion, which made its debut in 1935. For example, Kodak Tri-X has been around since 1954. In addition, the black and white film feels transportive compared with color film stocks. The best part of all of it? Everyone has their own tastes and preferences, which really gives more opportunity for diversity. Similarly, everyone else has films that they like and those they don’t care for. Whether you prefer Ilford HP5+, Delta 100, Kodak Tri-X, T Max 100, or any other black and white film, there are so many more to choose from compared with color film stocks, and each of them has their own personality, so much so that you’ll likely find that there are stocks you like and prefer and those you don’t much care for. For those that shoot black and white, they know that it can be addictive. Yes, yes, I know: there are plenty of people who seem to exclusively shoot C-41 (color). There comes a point for every photographer who tries film when they eventually shoot black and white.
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