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  1. #1

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    secrets of dynamic range

    This subject has probably been done already quite a bit, but I just thought I'd ask: Do you have any special film / developer combo for achieving great dynamic range?

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    andrew.roos's Avatar
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    I get about 10 stops in the straight line section of the HD curve with Delta 100 in ID-11.

    That's not really a special combo for DR - just my regular film and developer. I would probably try DD-X if I needed to eke out a bit more DR but haven't tried this yet.

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    Last edited by andrew.roos; 03-16-2014 at 12:17 AM. Click to view previous post history.
    "There are no rules for good photographs, there are only good photographs" (Ansel Adams)

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    AgX
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    Terminology:

    The dynamic range of a film is the density range the film can yield at maximum or does yield in a certan image.

    The exposure range is the luminance range the film can relate into different densities.

  4. #4
    c6h6o3's Avatar
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    Quote Originally Posted by brianentz View Post
    This subject has probably been done already quite a bit, but I just thought I'd ask: Do you have any special film / developer combo for achieving great dynamic range?
    What do mean by "great"? Do you mean a lot of range, as in a long scale?
    Jim

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    ic-racer's Avatar
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    Quote Originally Posted by brianentz View Post
    This subject has probably been done already quite a bit, but I just thought I'd ask: Do you have any special film / developer combo for achieving great dynamic range?
    My personal film tests indicate most USA and UK manufactured films have a dynamic range that exceeds the range of values on the film plane of any of my cameras (not taking into account specular reflections and light sources in a scene).

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    There are no secrets, in fact there was a long thread with recipes and test curves quite recently. Note, that you also have great dynamic range with normal development, but the results will be difficult to print optically.
    Trying to be the best of whatever I am, even if what I am is no good.

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    Pan-x

    Panatomic-X and the real Rodinol.

  8. #8
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    Actually with negatives, the practical limiting factor of dynamic range is the paper you choose print on, not the film or developer.

    Negative film itself normally covers a much wider range than the paper can print.

    White is limited by the "base color" of the paper. Black is limited by just how black the silver in the paper can get. Typically a high-gloss RC paper has the largest difference between black and white.

    Bright lighting where the print will hang may allow you to print a bit darker, get a bit more range.
    Mark Barendt, Beaverton, OR

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

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    andrew.roos's Avatar
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    Quote Originally Posted by markbarendt View Post
    Actually with negatives, the practical limiting factor of dynamic range is the paper you choose print on, not the film or developer.

    Negative film itself normally covers a much wider range than the paper can print.
    However since one can adjust the tonal range of the print by dodging, burning and selecting the appropriate paper contrast grade and negative development time, one may still require that the film have a significantly wider exposure range than the 6 stops or so of the print.



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  10. #10
    markbarendt's Avatar
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    Quote Originally Posted by andrew.roos View Post
    However since one can adjust the tonal range of the print by dodging, burning and selecting the appropriate paper contrast grade and negative development time, one may still require that the film have a significantly wider exposure range than the 6 stops or so of the print.
    No disagreement here. I think we are both talking about the same idea. Most film/developer combos already cover more range than the paper and, as you indicate, we can get at that detail in various ways.

    What I am trying to get the OP to see is that it can't be simplified to just a film/developer question, the paper is an integral part of what has to be considered, as is camera exposure, what contrast rate might be preferred in the print......

    The OP is going to need to figure out how to define what he wants better to get a reasonable answer. Snappier? More range of the scene on the paper? ....
    Mark Barendt, Beaverton, OR

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

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