I agree with this letter and encourage everyone to read it and to share it.
I do have one concern, trickle down economics never really works. We need to ensure individual artists are supported during this time and not focus exclusively on large institutions which is almost always the case. However, my concern is measured and I agree that without immediate support for the Arts you will see a cascading effect of financial and cultural ruin in the US and beyond. As I always say: support your local artist or you won’t have one.
I was very happy to be asked a few months ago to look at this new E6 process from CineStill and give them my thoughts. After testing for Kodak the new E100 in 120last year this was indeed an exciting development. (See what I did there? Somewhere right now my wife is rolling her eyes.)
So what’s unique about this E6 kit? Here are the descriptions from their website:
D9 “DynamicChrome” Warm-Tone Dynamic 1st Developer.
Renders approximately 9+ stops of usable dynamic-range*! Conventional E-6 processing renders approximately 6 stops of usable dynamic-range*. Extended exposure latitude while maintaining vibrant color-contrast and rich warm-tones with preserved highlight and shadow detail (optimized for scanning) for a more cinematic look. High-dynamic-range for warm-tone slides in daylight, shade or with electronic flash.
D6 “DaylightChrome” Neutral-Tone 5500K 1st Developer.
Renders approximately 6+ stops of usable dynamic-range*, with brighter whites and moderately enhanced color saturation, just like conventional E-6 processing. Daylight-balanced 5500K for neutral-tone slides in daylight or with electronic flash.
T6 “TungstenChrome” Cool-Tone 3200K 1st Developer.
Renders approximately 6+ stops of usable dynamic-range* with brighter whites, and moderately enhanced color saturation. Tungsten-balanced 3200K for artificial light or cool-tone E100T slides. Also, works great for push processing in limited light!
I found mixing the chemicals to be easy and processing in my JOBO was a piece of cake. I already run my own C41 in house as well as a myriad of B&W developers.
My biggest advice to anyone who wants to process their own E6: the developer temperature is critical. Keep the developer within 1 degree F or less for best color, contrast and density.
In conclusion…. I think CineStill’s new offering is a unique and valued addition to the E-6 processing community. It doesn’t seem so long ago that Ektachrome was discontinued- temporarily as it turned out. But today that tide has turned, and I continue to be excited by the strong and vibrant resurgence of film and film processing options.
So here are my latest results experimenting with CineStill film in Caffenol (instant coffee)… I am very happy with this combination! I have found the usable EI for this film-developer combination to range from 100-3200, all with one processing time, but the very best is around EI 640. This test image was made with my 1956 Leica M3 with a 1960 Leica 135mm Leitz Wetzlar Elmar at F5.6.
I’ve been continuously tweaking my Caffenol developer and developing technique over the past few years… I find it to be a very solid go-to developer for virtually any black and white film.
Art should not be free. In days past you had to pay a price to view Art- most Art was for the church- and they demanded your very soul 😉 Modern visual artists give everything away for likes online, which is crazy. Movies are not free, concerts are not free, books are not free, plays are not free. When artists endlessly post our images online it devalues you as an artist and gives you a false sense of success. So here’s my thought for the day: Promotion is one thing but limitless sharing of your work is just bad business.
Testing 8 different films, all 120 in a stand development 1:500 in 510 Pyro Developer… film was exposed at +3, +2, +1, Box Speed, -1 and -2 to see developer / film latitude combination… have seen some pretty amazing results with this developer…. more later…. (Films Tested: Rollei RPX 400, Bergger Pancro 400, Ilford HP5+, Ilford Delta 3200, Ilford Pan F+, Ilford FP4+, Fomapan 100 and Kodak 400TX ).
Many thanks to my friend Dan for introducing me to this developer and to Jay DeFehr on getting this up and running and for being such a helpful source of knowledge.
So…. I did a film test recently that begs the question: is Fuji Neopan 400CN really just rebranded Ilford XP2 Super? This is my opinion, but it sure looks like it to me! Both films are best at EI 200 and have a very usable range from EI 50-640.
Look at the histogram- they are virtually identical! So very close, shot only a few minutes apart, any difference is attributable to the changing light outside. Hey- I still like XP2 Super… and it’s nice to know that when in the UK or Japan the 400CN is a go-to option as well.