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We are not that far down the road to hell with regard to AI and it appears than an increasing number of people are through with AI, photographers in particular. I love my M10 Monochrom and Q2 - and the stunning prints (other people's words, not self aggrandizement) that they can produce. As for AI imaging, my interest level is significantly lower than my interest in having an intimate physical relationship with a farm animal. This essay has me thinking that it's past time to dust off my M4-P, film developing kit and the ziploc bag full of Tri-X in my gear cabinet.
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- film photography
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Leica M7 + 35mm Summarit f2.5. Kodak Tri-X commercially processed. LRCC. Portsmouth, England 2017 Gerry
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- Leica M7
- 35mm Summarit f2.5
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I have pushed Tri-X to ISO 1600 with good results but I never though it was possible to go to 6400 without a serious loss of image quality. Kodak Tri-X is truly a dynamic and capable emulsion; it's all in the processing...
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Leica M7, 50mm Zeiss Sonnar f1.5 and Kodak Tri-X @400iso. Processed through commercial lab and then using LRCC. Gerry
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- Leica M7
- black and white
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Taken in the Soho area of London in 1999 and just discovered whilst trawling through my negatives. It would have been Leica M6 and is Tri-X. Gerry
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Another from my first visit to Italy in March 1999. This was taken in Montepulciano (Tuscany/Toscana) using a Leica M6 with Tri-X film but I have no other details recorded. Looking at the image I would assume 50mm Summicron f2. Gerry
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I shot this in Beijing in 1998 using a Leica M6 and 50mm Summicron f2 lens. The film was Tri-X. I have just got around to scanning it as part of my efforts to digitise many years of film images. I guess these streets have disappeared now since the rebuilding for the Olympics. I have just started shooting film again with a M7!
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Hallo, nun habe ich zum ersten Mal einen Negativfilm entwickelt. Tri-X 400@400 entwickelt in Fomadon R09 1:25. Ich habe mich nach dem folgenden Rezept genau gerichtet. DIe Probe kann ich größtenteils als gelungen bezeichnen, obwohl mir wohl wenigstens ein Fehler unterlaufen ist. Mein Negativ ist an sich schwarz von der Farbe (alle meinen bisher in Fotolabs entwickleten Tri-X hatten rosa/lilla-Färbung), eingescannte Bilder dagegen sind rosa/lilla-gefärbt. Ich habe im Internet folgede Erklärung gefunden: Wenn das Negativ farbstichig wird, meist in pink, violett, blau oder rötlich, ist das die Folge einer nicht ausreichenden Konzentration des Entwicklers (bei manchen Filmsorten des Fixierers). Dann wird entweder die Lichthofschutzschicht nicht ausreichend entfernt, oder es verbleiben die zur Sensibilisierung eingesetzten Farbstoffe auf dem Film. Es verwundert mich aber einigermaßen, da ich mich bemüht habe, die Proportion vom Entwickler zu dem Wasser ganz genau zu messen. Mein Entwicklungstank hat das Volumen 450 ml. Ich hab also 18 ml Fomadon R09 in 432 ml Wasser (destiliert) gelöst. Kipptythen wurden eingehalten: 1 Minute ununterbrochenes Kippen, dann 1 Kippbewegung alle 30 sek. Was konnte hier noch schief gelaufen sein, dass die Bilder nicht schwarz-weiß sind? Das Rezept darf doch nicht an sich falsch sein, ich hab gleiches auch in anderen Quellen gefunden. Habt ihr welche Erfahrungen mit solchen Misseffekten? LG – Lukas -
"Faces #005" Bigger > https://msvphoto.wordpress.com/2016/05/20/faces-005 Christopher Wonder, Magician and Illusionist. Milano, Italy, 2010 © Massimo S. Volonté Fotografo M6ttl, 35'cron IV, Scan from film Kodak Tri-X 400
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From UK Film Lab http://ukfilmlab.com/2016/04/03/black-white-film-exposure-test-comparisons-kodak-tri-x-400/ Pete
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- Tri-X
- Exposure latitude
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M3, 50mm summilux(pre-asph) tri-x Thank you for looking! ~f
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- 50mm Summilux (pre-asph) E43
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Watching a parade, Brussels 1977 scan from 8" x 10" photo - M4
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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. -
Darn it...how disappointing. I shot a whole roll of Tri-x and when I went to develop it, I couldn't get it on the reel to save my life. I have the plastic self threading reels from Paterson and normally I leave the leader out of the roll so that I can start it outside of the changing bag but I got over confident and didn't do that....well, I couldn't get the film on the reel. It finally got so bad I tried a metal reel and that was a bust also. I got so frustrated that I just opened the changing bag and threw the whole thing in the trash. To make matters worse, I had another roll of Kentmere 400 that I shot in my new Zorki 4 and I DID leave the leader out and was successful in getting it on the reel...but there was a camera malfunction and the whole roll was transparent! Not a good day for film. Never again am I going to be a hero and allow the tail to go all of the way into the cassette. I can't imagine why no company has made an updated version of the Jobo 2400; the tank that you put the film cassette in, close it up, and it does all of the work in loading the reel for you.
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Hi, I have started to get funny looking grain on my B&W shots that I've developed with HC-110. This has been the way the last two rolls have looked. I'm suspecting that my fixer is old but that's just a random guess. I'm using Dilution B and this was stock box speed Tri-X. Has anyone seen this? They sort of look like rice grains.
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I'm a noob but I realize how much film costs already. I priced a 100' roll of Illford HP5 at B&H; it's $55.00 If I get 20 rolls out of that that comes out to $2.75 a roll...not bad at all. Even with buying the film cassettes and bulk loader it's cheaper than buying Tri-X. Do you more experienced folks see any flaw in my plan?
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Road and lake near Reykjavik M7 w/35mm Summicron on Tri-X Cafe Paris, Reykjavik
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M7 with 35mm Summicron on Tri-X 400 dev HC 110B Epson V500 scanner
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https://msvphoto.wordpress.com/2015/06/24/city-sickness-289/ M6ttl, 35'cron, Kodak tri-x
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Scan-150527-0034 by Pete, on Flickr 28mm Summicron, Tri-X, D76 1:1, 10mins@20C, Plustek 8100, Vuescan The Riggs, St John's In The Vale, Nr Keswick/Threlkeld, Cumbria, England Pete
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- Lake District
- 28mm Summicron
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A couple of photographs I missed when first browsing through my rolls. All taken on Kodak Tri-X film, some with my Leica M6 & 35 Summicron IV some with the mju-ii. You can see more on my flickr: https://www.flickr.com/photos/derphilipppp/
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- Street Photography
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Yesterday I was making a photographic walking with some friend in downtown Torino, when from a park suddenly hundreds of birds started to fly. It was to fast to make a perfect focus, but over all I like the result, given the location and the background it seems a photo taken several decades ago. I wasn't sure that this has to be in the street photography. M7, Summicron-M 35/2 ASPH, Tri-X 400, Semi stand development in Rodinal 1+100 cheers Massimo
