One disadvantage of scanning B&W film is that the ICE dust/scratch removal procedure won't work.
One disadvantage of scanning B&W film is that the ICE dust/scratch removal procedure won't work.
"I think that if shooting for publishing I might go with the color route for sales and convert for the b&w stuff if you wanted to shoot just one film. Otherwise a couple of holders of the other would not be a big deal. Fine art b&W would be a different route. Depends I guess on your intended uses. Great thing is you have choices." Wayne
IME I did this professionally for many years shooting both chromes, color and b&w negs of the same shot for different purposes. If you go this route, try to pick color and b&w films that have the same ASA to avoid errors in the field. You can work much faster if you do and in changing light this can be important.
__________________
Thanks,
Kirk
at age 73:
"The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep"
One thing I've noted doing a series of juried art shows last year... those interested in purchasing B&W prints always ask how a print is produced... whether it's shot on B&W film or whether it's a conversion from color images. Those interested in purchasing B&W prints want prints shot on B&W film, and the interest level drops considerably if they know it's a conversion. The same is true of some art judges... they often ask about how a print was produced, and about how a print was printed.
It may not mean much as time goes by... and it means little if one is only interested in shooting for one's own pleasure... but... if one is interested in sales I believe making conversion black and whites instead of shooting black and white film greatly reduces interest and prices of B&W prints.
I have never ever been asked whether it is a conversion or not from collectors or museums.One thing I've noted doing a series of juried art shows last year... those interested in purchasing B&W prints always ask how a print is produced... whether it's shot on B&W film or whether it's a conversion from color images. Those interested in purchasing B&W prints want prints shot on B&W film, and the interest level drops considerably if they know it's a conversion.
Thanks,
Kirk
at age 73:
"The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep"
Why not use quickloads, then you can easily keep a few sheets of each type with you.
That's interesting to note, because last year, out of 7 juried art shows (Northern Florida), we were asked about the black & whites at 4 shows by judges. Up until last year, I did some color conversions (especially since I've always shot color transparencies more frequently than B&W film). After assuming this may be an important issue in other venues as well, I've taken up shooting way more black and white films.Originally Posted by Kirk Gittings
May be worthwhile to understand the process of post processing color to B&W. I'll probably shoot B&W. I have, however, been studying the John Beardsworth books on digital Black and White Photography. It seems to me that if more photographers take advantage of the post processing methods of converting color to BW, we may see BW film diminish in availability.
I'm not overly concerned that may happen, but I want to know how to make the transition if it does.
My experience is that potential buyers of my prints have little or no interest in knowing whether the print was made from an original B&W negative or from a color negative or transparency. I am sometimes asked if the print was made directly from an in-camera negative by contact printing or with an enlarged negative. And if I have several prints on display people will often be interested in looking closely at the prints to compare prints made by contact printing from LF and ULF negatives or with digitally enlarged negatives.
Given that there are so many other more important considerations in evaluating a print I am quite surprised that any knowledgeable person would attach importance to whether the original negative was B&W or color.
There are clearly some advantages to shooting color film and B&W film when the ultimate goal is a monochrome print. Color film allows for much greater control in post-scan processing while B&W film is usually sharper, has finer grain (when comparing films of same ASA), and higher dynamic range. Why that would have any importance to a potential buyer is beyond my level of understanding as print maker.
Sandy King
Just tell them what you think they want hear. No one can tell the difference anymore.
Sigh...
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