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Tri-X 400: best shooting speed?
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Tri-X 400: best shooting speed?
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#3
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Tri-X 400: best shooting speed?
DD writes:
As the title implies... Somewhere between 200 and 4000; depending on your goals and requirements. -- David Dyer-Bennet, , http://www.dd-b.net/dd-b/ RKBA: http://noguns-nomoney.com/ http://www.dd-b.net/carry/ Pics: http://dd-b.lighthunters.net/ http://www.dd-b.net/dd-b/SnapshotAlbum/ Dragaera/Steven Brust: http://dragaera.info/ |
#4
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Tri-X 400: best shooting speed?
400 - I believe it says so right on the box
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Tri-X 400: best shooting speed?
On Mon, 28 Nov 2005 13:47:05 +0200, DD wrote:
As the title implies... I always shoot Tri-X at 320.. -- Colyn Goodson http://www.colyngoodson.com |
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Tri-X 400: best shooting speed?
Dominic Richens wrote: 400 - I believe it says so right on the box That's the ISO, not to be confused with 'best shooting speed'. |
#7
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Tri-X 400: best shooting speed?
"DD" purportedly wrote:
As the title implies... It depends on the developer and the effect you are looking for. A good place to start is the "Massive Dev Chart", which gives possibilities ranging from 50 to 3200. http://www.digitaltruth.com/devchart.html The commercial labs I use offer a choice of TMax Developer and Ilfotec DD-X. -- Michael Benveniste -- Spam and UCE professionally evaluated for $419. Use this email address only to submit mail for evaluation. |
#8
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Tri-X 400: best shooting speed?
I've gotten fantastic results at EI 200, EI 1600 and nearly all steps
in between. A good lab, or a good working knowledge of your own processing technique is the key; TX400 is fairly elastic when it comes to pushing or pulling. Michael |
#9
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Tri-X 400: best shooting speed?
I generally shoot it at ISO 320 and develop normally. This is for scenes
with normal contrast. Best is to experiment with your camera/meter and judge by the results. Doug "DD" wrote in message ... As the title implies... -- DD www.dallasdahms.com Central Scrutinizer |
#10
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Tri-X 400: best shooting speed?
DD wrote: As the title implies... -- DD www.dallasdahms.com Central Scrutinizer The older b/w film people will remember the mantra for exposing b/w film: 'expose for the shadows and develop for the highlights'. This was based on the premise that development affected the highlights, i.e. the blacker parts of the negative, more than the shadows, or less dense parts of the negative. If your exposure was sufficient to record the shadows satisfactorily, then optimal highlight density was dependent on your enlarger, and your printing style. The enlarger could be either condenser-illuminated, or diffuse-illuminated, and the two types yielded quite different tonal values in the print, particularly in the shadow tones separation, due to the 'Callier' effect (something for you to look up). I suggest that you choose a suitable subject of the type you want to photograph, e.g. a landscape, and take a series of exposures from about 160 or 200 ISO up to 800 or so, and then process the film. Look for shadow detail and density first, and note the speed that gave you the best result - not too dense, but good tonal separation. Next, look at the highlights in that frame, or the print from that frame, and decide if the tonality is ok or not. If the print is too harsh, reduce ( or get your lab to reduce) the development time by 10%, or if the image is flat, increase by 10%, and go round again. The commonest mistake less experienced photogs made was to underexpose and try to correct in development, specially if the shot was at the rated film speed. It wasn't unknown for film makers to rate their films at a somewhat higher speed to gain a competitive edge, and if the camera shutter was a but fast, or the lens lost a bit of light, the result was underexposure, and the usual response was to increase development time when the proper response would have been to lower the effective ISO. This relationship between exposure and development time is the key to getting outstanding tonality from b/w film, and it's not fixed, as the indicated speed and development (and modern color film processing) would have you believe. The camera (internal reflections in the body), shutter accuracy, aperture accuracy, lens flare and transmission percentage (some older lenses can have significant transmission losses), meter calibration and method of use, and subject type all have a bearing on the exposure/development combination. Ansell Adam's Zone System is built on these premises. Of course with roll film you can't individually treat each negative, but you can try to take the same sort of shots, not mix landscapes and portraits, for instance, on the same film, and if you have established optimal development times for different subject types and process accordingly, the results will be fabulous. Of course, this approach won't make a lot of sense to younger photogs who have grown up with machine processing of color films, but it was the way it was done in the past. Aaahh, the old days ... but I wouldn't swap my digital camera and computer for those days now. Colin D. |
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