Older panchromatic films, better skies.

[Gene McCluney]

I have noticed in my personal b/w LF negative shooting, that older discontinued b/w films such as Plus-X and Fortepan 200 give better sky renditions, showing more detail and less likely to wash out than Fomapan 200 and Fomapan 100 films. (My current films), and the older films also respond more dramatically to a light red filter.

Anyone else notice this, and I wonder how the Ilford and Efke/Adox films respond to a light red filter?

[Gem Singer]

Newer films have an increased sensitivity to blue. Thus, the burned out (washed out) skies.

According to Steve Anchell, the effect is due to the addition of silver iodide in present day emulsions. More sensitive than silver chloride/bromide, and uses less silver in the manufacturing process.

Steve Simmons mentioned that he believes the effect is caused by the increased pollutants in the air.

I know that I now need to use a #15 or #21 filter in order to darken the sky, whereas I formerly used a #6 or #8 to obtain the same effect.

[Drew Wiley]

The characteristics of current films vary from product to product. Just look at the published spectral sensitivity graphs. For outdoor light, especially in the mountains, I
often prefer the more "natural" feel of orthopan films like Fuji ACROS or Adox (Efke) R25
over typical panchromatic films. These give a look to the sky reminiscent of certain
"classic" older films when used with a 25 red filter (don't use anything stronger).

[Gene McCluney]

The characteristics of current films vary from product to product. Just look at the published spectral sensitivity graphs. For outdoor light, especially in the mountains, I
often prefer the more "natural" feel of orthopan films like Fuji ACROS or Adox (Efke) R25
over typical panchromatic films. These give a look to the sky reminiscent of certain
"classic" older films when used with a 25 red filter (don't use anything stronger).

Do you give 2-stops more exposure with Adox 25 when using the 25 red filter?

[Drew Wiley]

Gene - no. Three stops compensation for 25 red, two for red-orange. This is the only
film I've found for smaller formats that has the same "feel" (tonality) as what I can get
in 8x10 with straight-line films. There's another thread going on at the moment giving
reasons for use of this film even in ULF. But the mfg spec info itself warns that this
stuff must be handled extra carefully in tray development.

[Gene McCluney]

Gene - no. Three stops compensation for 25 red, two for red-orange. This is the only
film I've found for smaller formats that has the same "feel" (tonality) as what I can get
in 8x10 with straight-line films. There's another thread going on at the moment giving
reasons for use of this film even in ULF. But the mfg spec info itself warns that this
stuff must be handled extra carefully in tray development.

Sorry, I was asking about "Light Red" not the 25.

[Drew Wiley]

Gene, 23 red perhaps? Haven't tested it, but it might be two stops. "Deep red" is 29,
which is too strong for orthochromatic films and will only add neutral density and chop
off the shadows, even with a 4EV correction. The 25 red gives maximum effect with
blue while preserving excellent shadow separation.

[Gene McCluney]

Gene, 23 red perhaps? Haven't tested it, but it might be two stops. "Deep red" is 29,
which is too strong for orthochromatic films and will only add neutral density and chop
off the shadows, even with a 4EV correction. The 25 red gives maximum effect with
blue while preserving excellent shadow separation.


Thats right, 23A