Really? I'm highly surprised by this because firstly, silver is a not very useful antihalation material and secondly it's unnecessary expensive for the purpose.I have seen E6/C-41 film stock with a silver based anti-halation layer
Silver can build up very high densities, ask anyone in the B&W forum. Also, if you think silver is expensive, check out prices for photographically compatible dyes, compared to those even gold is a bargain basement compound.silver is a not very useful antihalation material and secondly it's unnecessary expensive for the purpose.
https://www.photrio.com/forum/threads/carey-lea-silver.41473/ Here it is discussed that colloidal silver can indeed be used as a yellow filter and as AH backing. However, since that is colloidal silver, it should not develop and contribute to fog. Due to its light color, neither would it contribute much to fog. In addition, it is not clear to what extent the use of silver as an AH compound is/was usual.IDK about antihalation filter using silver, but IIRC all colour films have a silver based (Cary Lea) filter. You get a strange looking yellow film if you dip it in fixer.
Silver itself is a very small part of the cost of film.
Colloidal silver does not create much density at all (yes, I know silver can create much density; it kind of comes with the casual habit of making salted paper prints from silver negatives). In an antihalation layer, density is also not the primary goal; it's the reduction of internal reflections that is more important. Density can be useful to prevent light from bouncing against the pressure plate in the camera, but it does not necessarily contribute to reduction of light piping. As to the costs - you seem to know more than I do; if you can inform me on the relative costs of dyes and colloidal silver, I'd certainly be interested from a viewpoint of general curiosity.Silver can build up very high densities, ask anyone in the B&W forum. Also, if you think silver is expensive, check out prices for photographically compatible dyes, compared to those even gold is a bargain basement compound.
Certainly. Still, I have developed several rolls of C41 film s B&W and while the negatives were far from ideal, they yielded presentable prints. There's no reason why the basic principle wouldn't work in OP's case. He'll get an image. Will it be ideal? Obviously not. But he's probably not after perfection.In this context, "fog" isn't something that is created by development
It would also affect the image-forming silver, most likely. Compare to Kachel's SLIMT technique.There might be a way to remove it by using a bleach before development, but I don't know how well it will work and it will certainly complicate things.
You can address fog by changing FD composition, but it would probably take a test or two to fine tune the amounts of extra bromide and iodide, and to also fine tune FD time to get contrast correct and to determine required increase in exposure. It may be worthwhile, if someone has lots of time, many rolls to test with, and it willing to accept the resulting speed loss.In this context, "fog" isn't something that is created by development, but something that was already there.
Oh, yes, you can reduce fog by adjusting FD. I was replying to this sentence by koraks, which I didn't clearly quote:You can address fog by changing FD composition, but it would probably take a test or two to fine tune the amounts of extra bromide and iodide, and to also fine tune FD time to get contrast correct and to determine required increase in exposure. It may be worthwhile, if someone has lots of time, many rolls to test with, and it willing to accept the resulting speed loss.
Unless I had a case of brainfart, koraks refers to density increase due to the Cary Lea silver layer as fog. Well, technically speaking this might not be the correct term (increased minimum density due to silver layer is perhaps better), but that's what I understood.... Long story short, it's not clear to me how colloidal silver would contribute to fog and to what extent it has been used in this application.
I've got a bunch of 1999 Fujichrome 120 ...wonder if anybody here has successfully processed it as B+W? What's it look like when printed?
I'll try with Rodinal 1+100 60min stand because that's what I do. Any experience or suggestion? Ridiculous?
@jtk : I stated clearly how to test whether it's possible. Do a fixer clip test to see what kind of base density you will get. If that works for you, you can go from there.
Of course it will work; any E6 emulsion is silver-based so you will get an image. The only issue is that it is unknown if you will end up with added overall density and if so, how much. I'd just try a roll and see how it goes.I'm impressed by the technical spin-offs here, HOWEVER I do hope someone has read the OT and has tried processing E6 as B&W. I'm guessing that if it can't be done by stand-processed Rodinal, it can't be done.
The lack of reactions would indicate to me, that silver layers are a common thing in E6 products, and that developing E6 in B&W developer won't work (i.e. will give very dense results). I don't know whether your particular E6 stock material works, but gave you a trivial procedure to find out.Thanks, but that doesn't answer my question.
I guessed that since Photrio has some film enthusiasts, and since many play with very-outdated-film, someone might have direct experience.
Fair enough. Best try with colour processes to get something usable.Yes of course. It'll also bleach the image. So not a very good idea.
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