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> Matching your film to you developer - Pictorial Planet videou |
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#11
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I just guessed the half stops. I could have used the compensating dial on my Olympus OM2-n, this allows 2 stops either way in 1/3 steps.
Half stops kept things a lot simpler. If you definitely want 1/3 steps of aperture and your camera will only do 1/2 steps, you could always buy 1/3 and 2/3 neutral density filters and use the camera purely in manual. It would get a bit complicated thinking about which full stop and filter to use for the sequence required. But the expense involved would not justify the purchase of the filters in my opinion. Cheers.
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It will all be over by Christmas. |
#12
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Thanks Nat It would look as if most standard developers such as ID11/D76/Ilfosol/ Xtol etc will give you box speed with Ilford/Kodak films so maybe the test proves its worth when dealing with "non standard" developers such as D23, Perceptol which you might suspect of being slower or films such as Foma and the ORWO/ Rollei range where the makers' specs are less reliable
It might even be that some such as DDX or Microphen might even give you more than box speed for shadows so speed testing with those might give slightly different results I have a 11x9 inch grey card of a similar vintage to your s and close up with a 50mm lense such as John Finch's distance from board to camera it might prove big enough On the other hand, as Marty says, a wall of biscuit-coloured bricks might be equally as good and has the advantage in the zone 9 neg exposure in that the just perceptible detail might be more easily distinguishable in bricks Mike |
#13
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You don't need a grey card. You may use each even lit surface, if it does not have too much color in it. Wood is good, stucco too, even drawing board is a good idea.
Because you measure the surface, all deviations from the grey card are compensated. |
#14
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Thanks Uwe. It looks as if my North facing biscuit coloured brick wall may be fine
Mike |
#15
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Quote:
Possibly the simplest is to use a towel draped over the back of a chair - out of focus again to avoid the slight texture. Or you might have a large cardboard box lying around (I seem to have been on the receiving end of dozens over the last year or so!) - a blank side would make a good target. |
#16
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Agreed Bob.
Having a texture in the frame can be just an extra degree of confusion. Whenever I've tried to test film speed I've opted for a plain target, fairly close but lens at infinity. Removes any possible bellows extension factor, and gives a blurry-smooth negative which is perfectly even-toned. |
#17
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Thanks both. A plain cardboard box or plain pale biscuit-coloured piece of smooth MDF it is and lens at infinity it is then.
Here's one more thought and comments will be appreciated. I might give HP5+ a go with Microphen, This is a new developer to me. Given its alleged speed increasing quality I was wondering if it is worth testing HP5+ at box speed and say EI 500 to see if at the latter speed it still meets the zone 1 criterion test. What I had thought of was two sets of negs on the same film. One at film base plus fog then John Finch's sequence at box speed followed by a second "hand" shot to distinguish the two sets of negs and then the same sequence all over again but this time using the metered reading and 4 stops reduction etc at EI 500? Is my logic correct? Finally has anyone tried the HP5+ speed test at 500 with Microphen and if so what was the result ? Thanks Mike |
#18
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> but this time using the metered reading and 4 stops reduction etc at EI 500?
It is not necessary to have two sequence, because they are overlapping in large areas. Simply expand your series at the edges for one or two stops. Half stops can be interpolated. If you make two series at one film you may use the second for an other developing time. This is much more important. |
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