Didier Lamy

*My* M6...

I have found that Tmax400 (Xtol1:1 21°C) gives poor results at the edge of clouds (~granular aspect). Tmax 100 is much better to this point. Anyway why 400 iso with bright landscapes?

Suggested reading for the occasion: Group f.64 by Mary Street Alinder, Bloomsbury2014; "Edward Weston, Ansel Adams, Imogen Cunningham and the community of artists who revolutionized American photography"

Maybe a more recent OS would help. My former MSW7 64x PC managed my 5000ED with minimal and easy manipulation, and when I plugged it on my new MSW10, it started immediately to work beautifully. ( Nikon scan 4.03)

just plain paper, 100% cotton. My defaut fine art paper with B&W landscapes.

Hahnemühle Photo Rag Ultra Smooth 305 gsm, 100% Cotton, "white ", actually a light color of straw.

I own both and use them on a F3, the 35mm for mountain hiking and the 40mm for street photography (makes the F3HP look like a Leica M...). Very happy with both, the 40 is quite sharp. 40mm is also a good multipurpose choice.

Practically, and taken from Photonet's forum ~10 years ago (MM Nistico / Dressler): 3 drops of Photo-Flo in 300ml of deionized water as a final wash. Excellent results.

Interesting comments, to which I cannot follow up due to my poor command of english. One shortcoming of this exhibition is the absence of asian painting. This is disappointing. They seem to have focused on the evolution in time of this form of ascetism, at the expense of its univerality.

the National Gallery, London 30 October 2017 – 18 February 2018 They have an excellent catalogue which puts in perspective the choice of many (like me) of B&W photography: "Painting ‘without colour’ has long held a fascination for artists and in this striking and original book, the authors explore how and why artists throughout the centuries have chosen to paint in black, white and shades of grey. Sometimes painters used trompe l’oeil monochromatic effects to imitate other media, such as sculpture, printmaking or photography; others have consciously limited their palette as a means of re-focusing the viewer’s attention, while modern and contemporary artists such as Cy Twombly and Gerhard Richter have often found inspiration in pushing black and white to its limits, and in new directions. The authors trace the history of this art form, from the symbolism of sacred images in medieval church ritual to the abstract canvases of the modern era."

I prepare the concentrated stock with demineralized water, car battery-grade*. The dissolution of powders is much faster**. Never had any coloration at ~6 months, no apparent loss of chemical properties. I use tap water for the final diluted mix. No squeezable bottles, * about 3E/5 liters in France ** make it even faster with a "lab stirrer": Stir Plates, Magnetic Stirrers, Magnetic Stir Plates: Amazon.com

ok, so no eternity for films.

Thank you for the answer. So keeping films in a fridge and inside their pack, and surrounded by lead should preserve them for... decades? I have ~10 Tmax400 at ~4°C and as many Tmax100 that will expire this month, If I put them in an old "Film-Safe"Hama bag, will time stop for them?

What causes the degradation of the quality of films beyond their expiry date? radiations, gelatin degradation?...

I have done the same thing, and so far they are not back. They seem to be happier where they are now..