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> Unintentional rescue remedy for under-exposed FP4+ |
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#11
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Lostlabours,
Thank you for replying and explaining; it makes sense now I think... :-) 1:2 does sound like a good compromise between sharpness and grain; I can see why you'd like to reduce grain and increase sharpness. I might try 1:2 next time I use FP4 in 35mm. Cheers, :-) kevs
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#12
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#13
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Initially but I switched to Rodinal, and for commercial work replenished Xtol, but the differeances between the films were the same.
Ian |
#14
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Interesting. I am asking as TMX is "my" basic material and I am quite happy with EI 100 for it. I never use on it D76 or any other developer with too much sodium sulfite as in my opinion it is ripping out holes in the grain structure of that film and for that matter in Delta 100 to. However my experience is limited to 35mm only. I use rather Beutler for one bath system or Tmax Dev. and lately Polymax T for two bath system. APX100 in Xtol will be, I think, hard to beat by any film/dev combo (I don't use Xtol and now is no point to try), but TMX ib Tmax Dev. looks pretty smooth and creamy with very good shadows and good highlights.
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#15
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Quote:
If you don't want shadow detail then 100 EI mught be fine but my own experience and John Sexton & Kodak's recommendation was to use it at 50. Tmax 100 gives exceptionally fime grain in Rodinal and Xtol, as does APX100. Ian |
#16
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Quote:
In any case the whole idea behind tabular grain is to not to use fine grain developers, it is totally unnecessary, TMX is fine grain by itself. In high content of sodium sulfite the lose of speed is assured. With films like APX it is less visible with more silver on the film so in the same fine grain developer TMX is bound to show bigger lose. All I am saying is for you to try something like Beautler developer on TMX, recommendation of Mr. Thornton. |
#17
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all discussions on film speed are meaningless without knowing the resulting contrast index ( effectively similar to stops range from black to white).
typically manufacturers and ISO standard use approx 8 stops range whereas zone system uses 10 stop range if you stick to the book. By moving to a 10 stop range from an 8 stop range you will always lose about 50% of film speed (i.e 1 stop of speed) with the same developer which makes sense if you think of it as adding 1 stop below metered value and 1 stop above. So when sexton says use film at 50 instead of 100 what are his reasons? Is it because his standard dev is tailored to standard zone system of 10 stop range. And is your dev truly tailored to a 10 stop range or is it closer to ISO speed? Without actually quoting your final Contrast Index (or gamma) we will never really know and discussions (arguments) become a black art of trying to interpret what people are really doing. Also enlarger type, condensor or diffusion will make a difference over required contrast index and in turn that effects the resulting EI of your film. So differences will nearly always be found between two peoples interpretation of what the optimum EI will be. Its pointless arguing over it without all the data to hand. Its simply just poking around in the dark. Last edited by Argentum; 19th December 2012 at 05:43 PM. |
#18
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Catually you need to do your own tests, which is what I've always done. I want a full tonal range there's no arguement in that
Ian |
#19
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want a bet? What does full tonal range mean?
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#20
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The full tonal range that you are going to find outdoors on a bright sunny day is naturally going to have a bigger range of brightness levels than can be achieved on a piece of printing paper. But I think what Ian means is that he wants an approximation, or a representation of this range in his prints, with differences in shadow values, and highlight values, clearly differentiated.
Alan |
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