The choice depends on whether you're going to print color in your dark room, or if you're going to scan the negatives and use Photoshop. I find I like to shoot about equal numbers of b/w and color rolls in a year, but printing b/w in the dark room is much easier and faster than color. Really, being able to use a safelight is just much more convenient than doing everything in absolute darkness by feel (as I have to do with color). As a result of this, I usually just send my color rolls out for commercial developing, and then I scan the negatives and do Photoshop. At that point, I'm not so far away from just using a totally digital color workflow like I use for my iPhone. B/W is a dark room morning well spent.
Also, it's hard to get a realistic color transformation filter to turn color into b/w in a way that looks panchromatic like real b/w film.
1917 No. 1A Autographic Kodak Junior
1940 Kodak 35 Rangefinder
1955 Leica M3
1969 Canon New Canonet QL17-L
1976 Konica Autoreflex T3n
1977 Canon 110ED 20
1979 Minox 35 GL
1979 Olympus XA
1980 Pentax Auto 110
1987 Polaroid Spectra
1996 Canon EOS Elan IIe
Last edited by skucera : 06-13-2019 at 20:31.
Reason: forgot a key phrase... OK, key sentences....