Jack Honeycutt Posted January 29, 2005 Share Posted January 29, 2005 Folks.... My girlfriend found a reel of 16MM B&W that was shot and developed in the late 1940's, or maybe 1950. Her family shot it. When I projected it I was stunned. I have never seen B&W so lovely. The blacks were *solid* black, and the whites were white. It was razor sharp, and shot under ideal conditions- outside, on a sunny day. I have not shot a lot of B&W, but what I have shot is not even close to this old film. I have shot Kodak's B&W stocks as well as Fomapan. Can I use some filters to bring out the B&W? I have heard about a yellow, or "Straw" filter for B&W, but I don't know what it does. Am I doing something wrong, or is it that B&W film stock from the 1940's just looked better? Thanks in advance. Jack Portland Oregon Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted January 30, 2005 Premium Member Share Posted January 30, 2005 It was probably b&w reversal, which is much more contrasty than b&w neg, making the image look sharper with deep blacks, hot whites, finer-grain. Yellow filters cancel bluer wavelengths -- since outdoors, skylight in the shade is cooler than direct sunlight, yellow filters tend to increase contrast by making shadows darker. They will also make blue objects, including the sky, darker. Orange and red filters are even more dramatic. But they will also make faces paler (having red in them), and red lips can go too pale if you overdo the red filtering in close-ups. Link to comment Share on other sites More sharing options...
Guest Sean McVeigh Posted January 30, 2005 Share Posted January 30, 2005 Speaking as a photographer here... I believe 'back in the day' there were far higher concentrations of silver in emulsions (I'm sure John will correct me on that). Probably completely unrelated, but interesting nonetheless. I have a friend with stacks (talking several feet) of old B&W paper in his basement that he keeps thinking of reclaiming the silver from... I wonder how much is actually in there. As David says, experiment with filtration when shooting B&W.. B&W affords much more freedom to do so than when working in colour. Try out yellows, oranges, reds, and polarizers. In fact, try out whatever your heart desires... it all registers in shades of grey! Pick up a book from the library about B&W still photography. I still find fine B&W prints to be among some of the most beautiful images out there. Anyways, isn't it amazing to see footage from decades ago look so good? Kinda makes you wonder what your latest MiniDV flick on DVD-R will look like in 60 years doesn't it. Oh.. probably won't look like anything by then ;) Link to comment Share on other sites More sharing options...
Dirk DeJonghe Posted January 30, 2005 Share Posted January 30, 2005 May I recommend you read 'The Negative' by Ansel Adams, a classic textbook on B&W exposure, processing and printing (if you include 'The Print'). The 5222/5231 stocks have hardly changed in 50 years so there is no reason you can't get the same results. First, get the processing and exposure right. I am now working with Kodak Chalon to establish the reason for several customers having underexposed B&W negatives even if our development is at the proper gamma. Most likely the given exposure ratings are too optimistic, will know more in a couple weeks. If you do the speed point test as described by Adams everything will fall in place nicely. Second, not many labs still do proper B&W with sensitometric tests for each production, controlling gamma to the final print. Third, learn to "see" in B&W for lighting and composition. I would say that of the B&W short films we do, they seem to win more festival awards than the 'others'. Link to comment Share on other sites More sharing options...
Jack Honeycutt Posted February 1, 2005 Author Share Posted February 1, 2005 Gentelman... Thank you for all the information on shooting B&W. I have just gone to Amazon and ordered Ansel Adam's book, Negative. Dirk, thanks for the referral. I don't know what Speed point test is, but I am going to find out. And I guess I will buy some yellow, orange and red filters as well as a polarizing filter. I hope it is not a issue with less silver content in our modern film stocks. I hope Kodak John will chime in and give us his take on old Vs new B&W. . That old B&W was so good. I would like to be able to have results like that. Do I need to tell the folks that develop my B&W anything special? I usually use Forde. Thanks again. jack Link to comment Share on other sites More sharing options...
Sam Wells Posted February 1, 2005 Share Posted February 1, 2005 Do I need to tell the folks that develop my B&W anything special? I usually use Forde. <{POST_SNAPBACK}> They do nice work. If you are shooting negative and want to process to a higher or lower gamma than normal for effect, for instance, I would certainly talk to Rich first. *Nothing* helps B&W more than having a nice hot white or highlight somewhere in the frame. IMHO. -Sam Link to comment Share on other sites More sharing options...
Premium Member Chris Keth Posted February 2, 2005 Premium Member Share Posted February 2, 2005 Yup, a white reference and a black reference will put all the grey tones in between in their proper reference and make the print look much richer. Link to comment Share on other sites More sharing options...
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