Making the switch

[Shootar401]

For the past 3 years I've shot only E6 films, developing and scanning them in to output via inkjet or sent out. Now that I have a darkroom I'm going to be making to switch to Color Neg so I can do my own printing. I'll still shoot E6 (Velvia 50 & E100VS) for certain subjects along side Neg, but even still, I'm sitting on more E6 film than I know I will ever shoot in my life. Currently I have about 400 4x5 sheets of E6 and 16 Propacks of 120 just sitting around, Not including the stash I'm keeping.

Do you think it's worth holding onto or trading for some Portra/Ektar, etc.. Or has everyone pretty much made the switch to color neg?

[vinny]

I haven't switched from E6 but I do shoot a bit of color neg. I own a drum scanner, and prefer the look of chromes. I can't deal with most color neg scans since I'm horrible with photoshop and color correcting. I've never really liked the look of color neg and the only thing good about it is the dynamic range. Feel free to mail me your E6 film though.

[Leigh]

I've been shooting chromes (and b&w) for over 50 years, and very pleased with the results.

I can't remember ever shooting color negative film, although I might have.

Clients and editors don't like looking at color negs, or proofs thereof.
They much prefer looking at chromes on a light table.

- Leigh

[jbenedict]

Freeze it and sell it at some later date. Rumors do fly around a lot but the latest Fuji rumor is that 4x5 Velvia is gone. (See another thread here) I am still rather shocked but not surprised that all Ektachrome is gone. Who knows? Some day you might be able to get $10/sh for the 4x5... Or shoot some of it sometime in the future. It only takes an hour or so to thaw out so you can use it.

Changing over to C-41 seems like a good idea. The price difference and selection of materials between used to be heavily weighted towards B&W. While the selection of all materials is quite small with color negative, the price is frequently less than B&W. And, chemical-wise, color chemicals are now very competitive (or less) than B&W chemicals. I know you are thinking of changing from E6 to C-41 and won't care about B&W prices but, if you have a jones to make prints in a darkroom, financially, it makes sense to do C-41 and RA-4 rather than B&W.

Does anyone know if there are tricks for C-41 and RA-4 to change the quality of results? Different additives for different effects? With B&W, The Home Chemist can have a field day with different substances and, both theoretically and in reality, it is possible to do B&W without help from the Great Yellow Father or anyone else...

[Tin Can]

I also say just keep it, the few hundred you get for it will soon be forgotten. I also have a good amount and tried selling it, but offers were just too low to bother. I'll use mine when I get bored with B&W...

[jbenedict]

Clients and editors don't like looking at color negs, or proofs thereof.
They much prefer looking at chromes on a light table.

These days, don't clients and editors look at things on monitors? You probably are right but, when I looked at the medium format digital equipment with the idea of getting something a few generations back for myself, I saw that one of the big advantages of the digital was the immediate feedback. The image can come up on the monitor in seconds and the client/editor can evaluate immediately and approve/disapprove/make suggestions.

Besides, the guy has a jones for giving making prints in the darkroom a whack.

[vinny]

I've been shooting chromes (and b&w) for over 50 years, and very pleased with the results.

I can't remember ever shooting color negative film, although I might have.

Clients and editors don't like looking at color negs, or proofs thereof.
They much prefer looking at chromes on a light table.

- Leigh

Are there still clients that know what a light table is or how to turn one one?

[Peter Gomena]

I'd try some side-by-side shots and see which you like.

Consider also that all your E-6 film is paid for. 4x5 color negative film is $4/sheet these days, which is a bargain only if you consider there is but one remaining manufacturer of LF color sheet film. I happen to like the look of Portra 160, and I like it's dynamic range - plenty of shadow detail in landscapes. On the other hand, I have little choice.

I actually shoot very little color - probably 95% of what I photograph is in black-and-white. If I had a good digital camera, I might abandon film color entirely, but that's another topic.

[Shootar401]

Good points, I'll keep my stash for now. It's all frozen in a chest freezer so it's safe for the foreseeable future. C41 is still cheap for the 2-4 sheets I shoot of it per session. I'd say I shoot one color sheet for every 20 B/W sheets.

I only wish someone would make a Ilfochrome replacement. I missed the boat on that party :(

[Renato Tonelli]

I would say: keep most of it and sell it later on if it becomes evident that you will not be using it. If you sell it now, you might regret it.

The disappearance of Ilfochrome (and Polaroid for image transfers)has take the sail out of my desire to shoot transparencies, at least for now. I expect to be shooting a fair amount transparencies this Summer to print onto my remaining stock of of Ilfochrome. I still have way too much Astia in both 120 and 4x5 and Provia in 5x7 to last for a few years. I prefer it to shooting negatives for the simple reason that when printing I try to match the transparency.