What Black and White film would you like to see revived?

AFAIK, there's no difference in the pressure plate. Theoretically one COULD make the springs a bit stiffer for 220, and there are cameras without interchangeable backs designed to take either type of film where one moves the pressure plate to make the change. I've also owned cameras that did NOT require any change to the pressure plate(the Bronical S2A and C come to mind).

I've been told that kits were available to convert A24 backs to A12 and vice-versa, and I think that they just changed the counter gearing.

Furthermore, before Hasselblad released the "A" type backs in 1970, Hasselblad only made one model back. The "pre-A" backs have a "peephole" in the back, and require you to advance the film until you see a 1 in the peephole then start the film counter. I've seen published instructions for using 220 film in these backs that involves putting a rubber plug in the peephole, winding a prescribed number of turns before starting the counter, and then resetting the counter when it gets to 12.

I THINK that the start distance from the arrows is the same in both types of film. I've only ever used Kodak(although I have some Fuji in the freezer) and 220 does have two sets of start arrows. The first set are usually hashed or otherwise lightly colored and say "for special cameras" or something to that effect, while the other arrows look just like the ones on 120 film.

 

Pantomic-X and Plus-X, in 35mm, 120 and 220.

As others, I have a couple Hasselbad 220 backs that I would love to use.

 

But otherwise, if you have a 220 counter and 120 film, stop after the appropriate number of shots.

Probably not good for weddings, where you might be too busy to notice, but for more ordinary use it shouldn't
be so bad. I will also guess that weddings were the big market for 220.

 

Polaroid Type 55 BW in 4X5.

 

Another vote for Polaroid 55 in 4x5, although it probably can't be made profitably, since the resurrected New55 ceased being produced last year.

 

I didn't follow New55 all that closely. It seems to me that it should be easier than bringing back a color Polaroid process.

I wonder, though, would there be demand for a negative only system that would work with Polaroid 4x5 cameras?
(Not that I plan to start working on it, but just wonder.)

I have never shot 4x5 sheet film, so maybe I don't really know why and when people use it.

I did once use a Polaroid 4x5 pack as part of an X-ray experiment. I don't know if there is still demand for that.

It does seem to me, though, that a negative only, conventionally processed, film that would fit in such
film holders could be useful and easy to make.

I also remember type 105, the film pack version.

 

I subscribed to the Kickstarter for New 55, but between the price per sheet ($15) and the not so convenient handling compared with the original Polaroid product, I'm not surprised that it failed in the marketplace. The problem with bringing a product like this back is that a lot of the technology isn't readily available and has to be reinvented, and the demand isn't there to scale it up and make it affordable. When I used Polaroid a lot for proofing 4x5 transparency shoots, Type 54 or 55 was about $3/sheet. That was a lot more affordable than the remake, especially since when I used this for proofing I was mostly billing clients for it.

 

Hands down, Panatomic-X in 120 and 35mm.

 

I am very happy with Tmax films in 35,120 and 4x5. If they went away I would move to Ilford Delta films. I do not miss any discontinued films.

 

I’m fine with what’s available nowadays, however, the only film I really, really miss is Verichrome Pan. It’s the only film that looked absolutely and consistently beautiful as I was unwinding it off the reel right after processing. I’m getting close to opening my last frozen brick of it now.

I wonder how the Fomapan/Arista films compare to VP?

 

I wish I could by a roll of 35mm Kodak Tri-x TXP. Just because.

 

As I understand it, VP has two different emulsion layers to give better exposure latitude than most black and white films.
Especially as it was popular for simpler cameras, used under a variety of lighting conditions.

I did always wonder why no VP in 35mm, especially as 35mm cameras became more popular with less experienced photographers.

But I most miss VP in the film sizes where it was the only, or only one left, of film types, such as VP127 and VP122,
and even VP110 and VP126.

 

In Kodak literature, (I don't have the exact reference in front of me at the moment), Plus-X, which was available in 35mm, was promoted to be similar to VP, thus Kodak never felt the need to make VP in 35mm. Ironically, they did make it in the 828 size, which by all format purposes was the same as or very close to 35mm.

In my view, there wasn't a lot in common anyway between PX and VP; to me, PX was harsher and contrastier* as opposed to VP's creamy tonal transitions.

*Not to say I don't like PX, because I do.

 

VP126 is also 35mm wide, and I am suspect that they sold a lot more of that than VP828.

Well, I started later than the years when 828 might have been popular, but I don't think it did as well as 126.

It would be 120 that had both VP and PX, I suppose VP for simpler cameras, and PX for better ones.

 

Yes of course, 126 was 35mm wide also, it slipped my mind.

In the 120 size, Plus-X (PXP, actually the same emulsion as PX in 135) had a retouching surface on the emulsion side, therefore lending itself more toward professional use.

 

Agfa APX 25 and Agfa APX 100

 

Kodak 2475 recording film. Fantastic for street photos when pushed a couple stops to enhance the already coarse grain. I still have a few rolls in the freezer...but I am sure after 30 years base fog is nasty.

 

I'd like to see these return: from Kodak- Super XX in sheet film, Plus-X, Panatomic-X, and Verichrome Pan. From Agfa I'd like to see APX 25.

 

One other thing I forgot to mention... I’d love to see any B&W film, I don’t care which, current or otherwise, offered in 220. My supply of TXP is completely exhausted and my PXP is starting to dwindle.

 

Also would like to see HIE (infrared) return and Tech Pan.
And while we're wishing maybe bring back some of the black & white Ansco films.