Welcome to NikonForums.com
Register now to gain access to all of our features. Once registered and logged in, you will be able to create topics, post replies to existing threads, give reputation to your fellow members, get your own private messenger, post status updates, manage your profile and so much more. If you already have an account, login here - otherwise create an account for free today!
Mori FilmLab uses Xtol, which isn't ideal if you are after that 60-s look. It gives a bit harder contrast and finer grain than Ilfosol, D-76 or Rodinal.
I will have to get some rolls of Berlin Kino and try it in Fomadon R09 or Adonal. I think that would be as close as possible to the Adox 320 in Rodinal my mother used 50-60 years ago for her horse portraits. She used a Triotar 8.5 cm f/4 on a Contax rangefinder, usually @f/5.6 according to her old notes. I wonder what lens I can find in F-, M42 or K-mount that comes closest to a pre-war Zeiss triplet? It would be a fun project to try to continue her series of about 20 equine portraits today.
The Meyer Optik Görlitz trioplans 100m or 50mm come to mind. These are described as having 3 elements.
There's also a 35mm trioplan but that one has 5 elements
The originals would be better but I don't know if these can still be found in reasonable condition
Film development and printing is yet another black hole that can suck in all your time and money if you let it.
Aside from some E4 slide film, I used to only do black and white development and printing. And, even way back then... with prices for film and chemicals much lower (Tri-X under a dollar US for a 36 exposure roll, and even cheaper in bulk), I spent at least as much time and money as I do now for digital post processing.
But the experience was more than worth the effort and expense. I'm far from the first person to say this, but there's something magical about watching a photo that you exposed and processed from start to finish appear on paper in a tray of developer. It seems to connect you to the process of photography in a way that digital simply can not reproduce.
If you do decide to dabble in a wet darkroom may wish to rethink your photographic methodology. Since you're already deeply into B&W, you've probably already read Ansel Adams' holy trinity. If not, they're well worth the sometimes considerable effort to digest.
Oh, and I also really like #4, even though I probably would have applied the equivalent of a yellow photographic filter to it in order to make those clouds pop a bit more.
Yes, I understand about the 'black hole' aspect, Ron.
That's why I'm not committed yet. Furthermore, my intention has been to use but a few rolls per year. So, I doubt that worth the investment in study, material and time.