Sure. I do understand the pessimism though. Mucking about making two generations of pos/neg intermediates is something many people won't want to bother with to make a print.
In the video they show strips of Phoenix (I) negatives.
I hadn't noticed it was phoenix, I can see that maybe working a shade better, but I have seen others try with regular orange masked films too.In the video they show strips of Phoenix (I) negatives. That's a bit of an oddball because there's no orange mask to contend with, and contrast is far higher than on any normal CN film.
I'm not sure what film that is, but I don't think it's Phoenix as that film was introduced in 2023 and the video is 4 years old. There's also a comment on that video from Ilford Photo in response to another poster's comment that reads:
Obviously we'd prefer it if everyone only shot our black and white films and stayed away from colour
That's probably not something Ilford would have said after the introduction of their own color negative film
...some of the time. "Try anything once", people sometimes say. Without taking it literally, I'd say 'sure'. But I think many people consider it more fun to just head into the darkroom with a set of negatives that work for the print process they have in mind.mucking about is fun, and it opens-the-eyes too the original-postmaker that anything is possible, and it's all fun.
Well, whatever it is, it's not a regular CN film:
View attachment 412789
...some of the time. "Try anything once", people sometimes say. Without taking it literally, I'd say 'sure'. But I think many people consider it more fun to just head into the darkroom with a set of negatives that work for the print process they have in mind.
You're probably right; the edge markings remind me of Fuji:I think the colour grading on that thumbnail is deceptive.
No, Don.
I too have developed AND printed an old C41 film in b/w chemicals. The negatives were a bit thin but I was able to print them on RC MG paper at grade 5. The exposures weren't too long at all when printed as 7" x 5" prints.Exactly what @AZD says. Long exposure times, high contrast grade; results are hit & miss. If the print must be a darkroom print, then it can work this way. But for a technically better print, scan the color negative and then output in whatever way desired.
As for Don's advice, I would say it's down to the individual. Lots of older papers are being bought up by lith printers, like myself, and we find the majority of it to be fine to print lith on, although older papers have a tendency to have fog, so it's a chance one takes if it's going to be used for its original purpose. But, there is a LOT of panalure paper on eBay, at quite low prices. It's the p+p that hurts the most. But, if I did it again, I'd definitely look at purchasing a pack with fingers crossed.And if you get it in your head to search out some Panalure, don't bother. None of it will be any good.
Koraks' advice is likely the best and easiest way to go.
That's a different scenario though. When developing C41 negatives in B&W developer, you can end up with very pronounced grain and a lot of additional density due to the silver-based yellow filter that won't be bleached out in this approach. These negatives can be even harder to print in terms of overall density, but you don't have to deal with the issue of the somewhat unpredictable spectral response of a color negative on multigrade paper. I've also done this; i.e. develop Fuji 200 CN film in something like Rodinal or so and then optically enlarged. Worked OK-ish; very long exposure times and a bit grainy, but the prints came out fine.I too have developed AND printed an old C41 film in b/w chemicals.
must be possible.Is it possible to print Portra 160 on llford Multigrade ?
Lots of older papers are being bought up by lith printers, like myself, and we find the majority of it to be fine to print lith on, although older papers have a tendency to have fog, so it's a chance one takes if it's going to be used for its original purpose.
Oooooh, it's sooo hard to use two sheets of film, when one can simply waste several boxes of paper and countless hours trying to do it the futile way instead! Is all of what was once basic going to down the drain in this era which demands "instant everything"? For some of us, darkroom work, and even darkroom challenges are fun and interesting. And this kind of challenge isn't particularly difficult. It was routine knowledge at one time. And it offers a great deal of control, including, crucially, over contrast, which trying to print color neg film directly onto non-Pan black and white paper does not.
And it doesn't cost $300 a box
moost. unfortunately we are 2026 and world from our most glorious yuth is gone .What kind of so-called teaching darkroom doesn't have a little sheet film on hand, at least to explain what it is.
bh hp5+ is 250$USD, + tax + shipping maybe more than 300$. 4x5 less useful. transglobal inflation make world expensive
moost. unfortunately we are 2026 and world from our most glorious yuth is gone .
Well, I'm shooting 8x10 color film that I paid $60 a 10-sheet box for a little more than a decade ago. Now that same film is around $350 a box. I'd call that serious inflation. Around the same time, I was paying $55 a box for 8X10 TMax; now a 10 sheet box of 4x5 TMax costs more than that. Glad I have a stash of all the above in my freezer.
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