At 07:45 PM 2/10/2003 -0500, you wrote:
Scala 200X has a wider than normal latitude compared to the rest of the
E-6 and K-14 world (all of which is in color too), even though it's still
noticeably narrower than general purpose B/W negative films, especicially
ones like Tri-X. It also renders very smooth mid-tones with excellent
gradation and is finer grained than the ISO 200 E-6's . . . it's very
nearly as fine grained as Kodak's ISO 100 E-6's.
Ilfochrome has AZO metal-based dyes embedded in the paper, not in the
processing chemistry. Combine that with the super-ultra-high gloss finish
(makes normal glossy look like matte finish) and you get a print that has
a subtle silvery sheen, especially in the mid-tones, that sets it apart
from traditional B/W. Properly mounted under glass, you cannot see the
print's surface texture from any angle of light and viewing, only the
image on it. In addition, Ilfochrome "black" is a very deep black that
makes the highest possible density in other print materials look very dark
charcoal gray by comparison . . . significantly "blacker" than the deepest
black mat materials I've been able to find.
It's what I discovered about the distinctive combination of the two -- an
Ilfo printed from Scala -- that has me using it occasionally for
portraits. As always, it's what the photographer's vision is for the
image that determines whether or not this is desirable.
Now from the sublime to the ridiculous, possibly. While you were
(apparently) off list, we had a couple interesting threads about making BW
transparencies from regular negative film. The one that intrigued me most
was copying the BW negative onto BW film with a slide copier to get a
positive. Ever tried or contemplated something like this? Tri-X on
Ilfochrome? I wonder what this would be like.
Joel W.
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