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The images below are shot on an R6, Summicron 35mmR, and Delta400. Because this thread is about film only, I would like to point out what you see below. When I started my revived B&W journey, I wanted to default on as few stocks as possible, hoping for predictable and repeatable results. After testing all the usual suspects, I figured that Delta 400 has the potential to be my go-to B&W stock for general use. But occasionally, ISO 400 isn't fast enough. Having one stop more would be nice. All the images below are shot on Delta 400 pushed one stop in Xtol 1:1. What did I get? I got more headroom in low(ish) light situations, a steeper gamma, a tad more grain, and a bit less resolution. I kept Delta 400's preference for bright skin tones (which can be advantageous or not) but lost a stop or so DR, a slight loss, as Delta 400 has plenty of DR when developed at ISO 400. Exposed at 800 in murky light, blacks can quickly become inky, but something has to give. Exposing at ISO 320-400 will deliver sharp, well-balanced negatives that show a more traditional gamma curve than Delta 400's regular gamma; think of Double-X (5222). One may ask, why not use HP5? Delta 400 is sharper to my eyes, more crystalline - if this makes sense.

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Delta 400, shot at ISO 640 and pushed to ISO 800 in Xtol 1:1. Click to enlarge.

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Edited by hansvons
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Delta 400 shot at ISO 400 and pushed to ISO 800 in Xtol 1:1. Click to enlarge.

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Edited by hansvons
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M Torito
MP APO-Summicron-M 50 ADOX Color Implosion

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vor 20 Stunden schrieb Aram Langhans:

This is a wonderful shot though I wish the trees on the left were gone to simplify the composition.  I love the tones.  Perfect for square composition. 

Thank you, Aram. I couldn't agree more. I think i had a black out in that moment: the mist was lifting, I was keen to make as much as possible of the beautiful light, my wife was waiting with the breakfast, and  I  simply lost sight of the disturbing branches from the left in the weird SWC eye level finder. Allow me to mod our friends @Wayne exclamation: Ever wanted to shoot yourself for not recognizing the elephant in the frame ?

K. 

PS:  I don't remember that issue being discussed in the LUF: would you support photoshopping the picture to save it ?  I thought about it, but then....nah..

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Since we're in that area, just scanned:

"After the rain" 

Dachsberg ( =badgers mountain, name of the village) , view from the balcony, looking south.                                                                 Click for the details 

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Leica II (D);  Nikkor Q.C 1:3,5  f=13,5cm; Acros II; HC110

Edited by Kl@usW.
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5 hours ago, Kl@usW. said:

Thank you, Aram. I couldn't agree more. I think i had a black out in that moment: the mist was lifting, I was keen to make as much as possible of the beautiful light, my wife was waiting with the breakfast, and  I  simply lost sight of the disturbing branches from the left in the weird SWC eye level finder. Allow me to mod our friends @Wayne exclamation: Ever wanted to shoot yourself for not recognizing the elephant in the frame ?

K. 

PS:  I don't remember that issue being discussed in the LUF: would you support photoshopping the picture to save it ?  I thought about it, but then....nah..

Lighten up and embrace the margins. It's the prelude to indeterminacy, what's outside the frame. Look at what Diebenkorn did with the Ocean Park series. Tacita Dean's trees, too.

Edited by Ernest
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m3, Thambar 90 (ltm), rollei retro 400 (sfx39ii), scanned negative

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Frame Or
MP APO-Summicron-M 50 ADOX Mission
Perspective on Richard Serra

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12 hours ago, Kl@usW. said:

 I don't remember that issue being discussed in the LUF: would you support photoshopping the picture to save it ?  I thought about it, but then....nah..

There are two schools of thought on this:  always print the entire negative (including edges to show that it is entire); crop to suit the intention.  As an apprentice in the 1970s I was taught to use the square frame of the 120 as the basis for a 10x8 that could be portrait or landscape under the enlarger.  Later I embraced the whole negative approach using an enlarger with adjustable masks to show the edges.  Now I have trained my eye to see in 3x4 on the assumption that I will crop (particularly useful with the approximate frame-lines in the Leica M) and add the frame at PP stage.

I don't think there is a rule for this, other than prepare a final image that matches your intention when taking the shot.  Cropping distracting elements around the edges is fine but so is determining to show exactly what the camera saw.  It's a choice.

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Hedgerows

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Leica M3 and Elmar-C 90 (yellow filter) on Ilford XP2 (cropped from 3:2 to 3:4)

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Wasted feelings

 

 

M6, 50mm Summitar f/2 LTM, Ilford PanF 50, Rodinal 1:25

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