Thanks, but I doubt I'll want to spend that much on film that cost me about thirty-five cents a sheet. 🙂 And, since none of it will be 'art', I'll probably just try C41 on it and make a judgment after seeing a few.
Alias "stabilizer", to lock the coupled pigment into the gelatin. That used to be the last step before the final rinse in C-41 and E-6. In modern versions of the process it is combined with the final rinse/wetting agent, and they use lower concentrations or other, less volatile aldehydes.
It might be a danger for lab workers, as long time exposure may provoke a allergy/sensitivity. But the concentrations are weak, and issues rare. When people talk about formalin issues with a film process, it usually is the preceding C-22/E-4, which had a prehardener as the first bath that indeed was a mixture of concentrated formalin and something that smelled and acted like the riot control tear gas used by the German police in the seventies/eighties (IIRC now banned for its health hazards). That stuff was bad enough to make people sick within minutes of exposure.
It was the professional film of the day. Not nearly as sharp as todays film and had grain and low contrast.
Vericolor 3 had more contrast.
I used 3 extensively because I liked the contrast and low color saturation. Kodak was making high color saturation for the amateur market and they looked terrible.
The really really nice film was Ektar 25. The only thing that I can compare that to is my Nikon D800 at 36 MP. It did not last long in the market being slow I guess.
If it has been frozen, it will be ok if you can get it developed properly. If someone puts it through a tank of seasoned C41 there is some chance it may actually ruin his developer.
His next customer will be very upset.
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