More than 4 years ago, Mike Raso gave me a short roll of what was then the Svema Blue-Sensitive Film at ISO 1.5. It sat around in the open in a translucent container, in and out of camera bags, and one day in late July, I finally decided to use it while shooting along the French Broad River near Asheville, NC. I knew that the slow film would enable me to get some nice long exposures of the swift current.With exposures running from 4 to 8 seconds, I hoped that they would have a real smooth appearance to them. Also of note, the film is Blue-sensitive (Orthochromatic) and doesn't see red, so the tonality of the image would be quite different than what you would get with a full-spectrum panchromatic film, such as Ilford Pan-F.
Sometimes I find that my results didn't meet my expectations, and instead of saying "ugh," I take a different tact and see what I can do with the negative. The film was developed in POTA developer at 24°C for 13 minutes. Turns out that this roll of Blue-Sensitive film is a victim of light-piping, as the PET film base transmits light like an optical fiber. With no anti-halation layer, and a clear plastic storage canister, it only compounded the problem, as the film was fogged. I didn't expect much from the scans. However, I realized that with the fog, imperfections, and long-exposure (ca. ISO 2), they looked like something from a wet-plate collodion negative.
I'll try this stuff again, as I like the look of the film, but next time I'll get some fresh from the FPP! The newer version of the FPP Blue-Sensitive is at ISO 6, which will still give me the look that I am after.
Compare the last image with this one, taken with my iPhone XR, to get an idea of how the Orthochromatic film captures the tones.