> I've only been shooting 4x5 for the last two years, but I use > predominantly Polaroid type 55 for the negative. Cost is comparable > to tmax readyloads and since I no longer have a darkroom the type 55 > was better suited to my needs. I think the negatives are beautiful, > very fine grained, and similar to the old Panatomic X. They scan It is Panatomic X and Polaroid had to sue Kodak over it. The T55 is similar to ready loads in other ways. You don't need to use the chemical developer to process the negative. The neg can be separated from the pod and print by pulling the outside sleeve off. Break along the perferations and load in a Jobo drum or tray process. I made a custom ground glass following the instructions in PhotoTechniques and penciled in the approx. border area for the T55. I started off scanning the negs wet mounted on the Epson 1600 and then moved to drum scanning them w/a Pro version of the DPL software. The drum scan does justice to the film. Ansel Adams wrote a book on polaroid films that contained extensive info on T55. I found a used copy years ago and is worth reading if you can locate a copy. > easily on my Epson 3200 flat bed using Vuescan and since I don't > print larger than 16x20, resolution (80 mb 16 bit gray files) is more > than adequate. I just hope type 55 doesn't disappear from the market > too soon (like the Kodak B&W films have). It doesn't store well so I > can't easily hoard a supply for the future. > > Carl > > > On Aug 29, 2005, at 1:40 PM, Paul Roark wrote: > > > I used Type 55 for a while, and have seriously considered using it > > again. > > Some factors that have stopped me, so far, include that 55 has > > become rather > > expensive on a per-shot basis (but cheaper than a darkroom or 22 mp > > large > > sensor), it is not that easy to get a perfectly even "pull" when > > developing > > the film, and the film does not lay very flat in those holders. > > Dave G. Artist in residence at <http://frame38.com>
Message
Re: [Digital BW] Type 55 film (was LF Workshops?)
2005-08-31 by David Gabbé
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