James -
I try really hard to stick to one film wherever I can, or at least one film per format. And if I can't, I label the holders. I think I'd just lose it if I had to try to distinguish emulsions within a given manufacturer's product line by feeling the code notches.
Cheers...
...ham-fingered Oren
I'm so relieved I don't use Kodak E6 sheet film - how is anyone supposed to be able to discern these in the dark?
For most purposes, you wouldn't even care, would you? They all get E-6 process; just put them all in the box and figure it out when you get the trannies back. Not to mention it's hard to envision using that whole list of wildly disparate films in one shoot, and thus having them mixed up. And if you mixed them before shooting, well, shame on you!
FWIW, to date in 4x5 I've used only two films; Classic 400, with a single V notch, and Fomapan 100, with a single half-round notch. In 9x12 cm, I have Fomapan 100 (same notch as 4x5) and old, expired Tri-X Professional, with three closely spaced V notches. If I find myself trying to keep track of ten different sheet films from a single session, I might just have to rethink what I'm doing...
If a contact print at arm's length is too small to see, you need a bigger camera. :D
Well, just to keep us on our toes -- I just opened a new box of film, and Arista .EDU (Made in Hungary) 400 film, from the same factory as Classic 400 (both Forte), has three V notches, very similar to the 9x12 cm Tri-X sheets I have. Sure hope I don't have to try to distinguish *those* in the dark, because the Fortepan 400, whatever label is on the box, requires about 50% more development than Tri-X...
If a contact print at arm's length is too small to see, you need a bigger camera. :D
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