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Shot a roll of Tri-X frame by frame at 200, 400, 800, 1600, and 3200


rpavich

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I was mulling over the question of shooting Tri-X at different speeds and was wondering if during a roll, what would happen if I found myself needing to shoot at high ISO and then much lower ISO.

 

So, I took these shots in my office at work. I developed them in Diafine at the normal 3 minute time.

My scanner automatically compensated for any major deviation in lightness or darkness.

 

No...they are not great and yes, I have some surge marks but it does answer the question for me; " what if I have to go indoors to shoot a few shots at 1600 when I've already shot most of my roll of Tri-X at 400??"

I just thought it was interesting information. I'm NOT a pro, I'm NOT claiming some special insight...just putting this here for information.

22759215297_80c2840317_k.jpg

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Hmmmmm RP, you seem to show that it is OK to vary the speed willy-nilly.

Is that what you glean from this as well?

Looks good.

Gary

Well, what I took away from it is that it's not a disaster to shoot a few frames at a much different ISO than box.

 

If, during the day I have to overexpose to get a shallow DOF / large aperture then I won't stress on it. Or if I have to come inside and finish a roll in indoor light, I won't stress on that either.

 

 

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Hmmmmm RP, you seem to show that it is OK to vary the speed willy-nilly.

Is that what you glean from this as well?

Looks good.

 

 

The lesson (which seems to have been overlooked) is that Diafine is the deciding factor, not that film can willy-nilly be under exposed. Other types of film will not respond as well, and other developers can do a similar job, so it isn't a general rule that can be applied, and it shouldn't be applied at all if you want to adjust the contrast of the negative in anything like a controllable way. You get what you are served up with Diafine.

 

Steve

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The lesson (which seems to have been overlooked) is that Diafine is the deciding factor, not that film can willy-nilly be under exposed. Other types of film will not respond as well, and other developers can do a similar job, so it isn't a general rule that can be applied, and it shouldn't be applied at all if you want to adjust the contrast of the negative in anything like a controllable way. You get what you are served up with Diafine.

 

Steve

Good point; that's why I used Diafine in the first place.

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Bless you if they satisfy your quality standards.  Ti x in Diafine gets proper shadow detail around 1000/1250.      I would leave 3 blank frames and cut the film in the dark and push, pull as required.    I have a measuring stick marked with frame numbers.

 

Surge marks are from inadequate agitation or trying to pour developer through the top when it dribbles over the outer wraps in uneven manner.  The first 30 sec are critical.  Pros drop the loaded film in the prefilled tank of developer.  Pour out is far less critical.

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Bless you if they satisfy your quality standards.

I think that I'd call them "good enough in a pinch" instead of satisfying.

 

Ti x in Diafine gets proper shadow detail around 1000/1250.      I would leave 3 blank frames and cut the film in the dark and push, pull as required.    I have a measuring stick marked with frame numbers.

I'll have to investigate that approach. Thanks.

 

Surge marks are from inadequate agitation or trying to pour developer through the top when it dribbles over the outer wraps in uneven manner.  The first 30 sec are critical.  Pros drop the loaded film in the prefilled tank of developer.  Pour out is far less critical.

That scares me a bit since I do "dark tent" film loading. I would knock it over and spill everything bigtime.

 

When I have an actual dark place to load that would be a good approach for me.

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Surge marks, apart from bad agitation generally, can be avoided if instead of trying for a film processing record at 3 minutes you dilute more and extend the development, which evens out the hit the film takes from strong chemicals arriving on the scene at top speed. I have used fast developers successfully in newspaper darkrooms, but that has been in deep tanks where the film isn't subjected to the same surge induced by a normal tank. Another lesson in that you don't get a free lunch in film processing.

 

 

Steve

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Surge marks, apart from bad agitation generally, can be avoided if instead of trying for a film processing record at 3 minutes you dilute more and extend the development, which evens out the hit the film takes from strong chemicals arriving on the scene at top speed. I have used fast developers successfully in newspaper darkrooms, but that has been in deep tanks where the film isn't subjected to the same surge induced by a normal tank. Another lesson in that you don't get a free lunch in film processing.

 

 

Steve

Thanks for the good info Steve.

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That's fine with me...complete, incomplete. I learned what I wanted to know.

 

It simply puzzles me when someone who wants to shoot film then uses digital post-processing to make up for shortcomings. Once into the digital domain, film makes no difference.

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