![]() My favourite aspect of scanning Ilford XP2 is how flat this film dries. So just make sure that you extract maximum colour depth whenever you digitize your XP2. But of course, if you use your mobile device to scan film, gradient banding will be the last of your worries. I’ve noticed this artifact when scanning images with expansive sky elements with my iPhone. If you’ve been scanning at 8-bit per channel, you may end up with visible gradient banding. The original image (Figure 1) has a wide range of tones which the emulsion compresses to about half of PrimeFilm XAs’ available D-max range (4).īecause of the base fog and XP2’s low max density, the information is compressed rather tightly, which means that you’ll need to equalize your histogram fairly aggressively. Histogram of a scanned Ilford XP2 negative scanned at 16-bit per channel. It creates consistent results that make understanding and comparing the emulsion’s colour/contrast attributes possible. ✪ Note: I use this method to scan all film for my reviews. However, I would try to ensure that whatever you use to digitize your Ilford film can capture 16-bit depth per channel (48-bit for RGB). The relatively low D-max of 2 gives XP2 a unique position of being an easy-to-scan emulsion on cheaper machines that aren’t good at discerning extra-dark regions. Note that this is a somewhat safe estimate, leaving about an extra stop of latitude on either side.Īll of this places XP2 in its flexibility near CineStill 800T but with a much punchier shadow falloff. The resulting 2.85 delta lux-seconds converts to about 9.5 stops of dynamic range. Looking at the graph above, the line slopes gently towards a maximum density of D2 with a best useful range somewhere between 1.15lx and 4lx. The film characteristic curve demonstrates as much. Its ability to preserve highlights while crushing the blacks makes XP2 a remarkably high-contrast film while managing to retain a lot of information in virtually all light conditions. Ilford XP2 film characteristic curve, found on Not only was he able to create fantastic renderings shooting XP2 at its box speed, with perhaps the best results with Kodak HC-110 with 1+49 dilution at 10 min/20℃, but he also managed to get it to behave really nicely at EI 50, all the way up to (pushed) EI 3200! On Ilford Photo’s blog, Chris Moss describes a variety of methods and techniques to do just that and the results he managed to achieve. This, of course, also applies to Ilford XP2. For the most part, you could process colour film using traditionally monochrome techniques. While dunking black and white film into C-41 chems will render it blank, the reverse isn’t necessarily true. Processing Ilford XP2 in D-76/black and white chemistry. You could also try turning your regular colour film into black and white digitally or during print. The links above will take you to eBay, where you may find a few expired rolls. Unfortunately, they have been discontinued. Designated as “chromogenic,” Fujifilm’s Neopan 400CN and Kodak’s BW400CN and T400CN used to be a part of the family. Although I still find that cleaning up film by hand using Photoshop creates much better results.Īre there any black and white films out there like Ilford XP2? Well, yes. This can not be done with black and white film. Like other colour negatives, this film has no silver particles when developed, which means that the IR channel will separate most things that aren’t part of the image. Those who use Digital ICE for removing dust and scratches from film using an infrared channel on their dedicated film scanner like PrimeFilm XAs would also like to work with XP2. Ilford XP2, on the other hand, will have little variation regardless of who develops it for you. Different developers and processing techniques can yield visibly dissimilar results - the grain structure, sharpness, exposure, and contrast can all change depending on how you process your monochromes. This is not the case with black and white film. All C-41 film can be dropped into the same tank, which is a time saver for the labs and even for the photographers who develop film at home.īeing a standard, you can also rely on C-41 to give consistent results every time. Unlike the black and white processes, there is no variation in time, temperature, and other aspects that may vary greatly between different emulsions. Like colour emulsions, XP2 uses dyes that remain to render images when the silver particles are washed off.Ĭ-41 is a standardized film process. This film is developed specifically for minilabs that can only process C-41. Ilford XP2, however, is made differently. ![]()
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