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Japanese B&W films (3)
Fuji Neopan push-processed
When Fuji Neopan films are compared with other maker's emulsions they will be found to have high usable emulsion speed. For example, Neopan 1600 is near enough a true 1600 and reveals printable shadow detail when exposed at that rating... whereas Kodak T-Max 3200 is regarded as being neared to 1600 (and some say 800) than its nominal speed. In fact quoted high speeds are often not true speeds but the maximum "pushable" speed (a useful marketing exercise)... whereas their true lower ratings are the speeds at which maximum quality is available, that is, there is printable shadow detail in the negative. Of course it follows that a speed rating above that figure results in an increase in contrast and a loss of quality.
Considering than many photographers (myself included) lower the speed rating of most black-and-white films by one stop, i.e. ISO 400 films are rated at EI 200 in order to record more shadow detail, it becomes apparent that the use of slower, fine-grain emulsions in the ISO 125/100 range are more difficult to use spontaneously because their usable speed drops to EI 64/50. The gain in visual quality - finer grain and better tonal range and sharpness - is offset by the practical working disadvantages of shallower depth-of-field, slower shutter speed, smaller flash working distance and possibly the use of a tripod, unless the lighting conditions are good enough to counteract these problems. These arguments and the high quality available nowadays from fast films is why professionals using film rarely use anything else.
Amateur photographers, though, have different requirements. They do not have to work with difficult subjects, under adverse lighting conditions, and against tight time deadlines... they can choose to, but are able to retake their photographs several times if at first they didn't succeed. On the other hand amateur photographers are able to explore personal creative photography and to experiment with films; and I have been in a position, as a photo magazine publisher/editor, to see much of it in Fuji sponsored black-and-white print competitions. The subjects and treatments were as varied as would be seen anywhere and the qualities of the two Neopan films were explored to the full.
From my own experiences I can say that the negatives were very easy to work with. Nearly every print I have made from Neopan negatives is "straight" with hardly any burning-in or dodging manipulations necessary and nearly every negative prints easily on a normal grade 2 or 3 paper. This is what most photographers want from a film and Fuji appears to have provided it with their Neopan double act. Whilst Neopan 400 Professional is available in 35mm 24 and 36 exposures lengths and in 120 rolls the Neopan 1600 emulsion is only available in the 135 size (both being additionally available as bulk 33 meter rolls for darkroom loading). As I said before there are other Fuji black-and-white emulsions available in Japan and some European countries... they do have an excellent reputation from those who have tried them but whether they will be marketed properly and adopted by discerning photographers in this digital age is another matter.
The above image of kitchen utensils was shot with a Nikon F2 and 105mm Bellows Nikkor using Neopan 1600 rated at EI 6400 push-processed in Kodak Xtol at 1+1. You cannot see it on the screen scan but the grain is exceptionally fine for the pushed speed rating.
Color Film Update from Fuji : Fujifilm Professional have announced the re-launch of Fujichrome Velvia 50 (certainly into the UK market) from spring of 2007. Production of Velvia 50 was halted at the beginning of 2005 when vital raw materials used in the production of the emulsion became unavailable. However, the characteristics of the new emulsion will mirror that of the previous product... good news from a major film company prepared to continue development and marketing of "legacy" products in the digital age.
...part 1 and part 2...
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