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  1. #11
    TheToadMen's Avatar
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    Interesting discussion.
    I have still two 120 rolls of Acros 100 lying around, so I will use one to make some night shots as a nice experiment (never done that).
    What ISO do you use and how to develop it? Any recommendations?
    Bert from Holland
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    Bert from Holland
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  2. #12
    Kyle M.'s Avatar
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    I like T-Max 100 shot at ISO 50 for night work, I'm not sure what the reciprocity factor is but I've used it in my RB67 up to 15 seconds with no compensation, I've also used Ilford FP4+ at 100 up to 25 seconds with no compensation.
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  3. #13

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    A subject like this needs some experimentation on your part. Keep good notes. But in reality any fast film will do.
    A rock pile ceases to be a rock pile the moment a single man contemplates it, bearing within him the image of a cathedral.

    ~Antoine de Saint-Exupery

  4. #14

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    Lance Keimig's book on night photography (see his site TheNightSkye.com) includes a chart of film reciprocity. As an example, if indicated exposure was 8 minutes: Fuji Across would be 12 minutes; T-Max & Delta films would be 20 minutes; and Tri-X, FP4 and HP5 a whopping 1 hour 30 minutes.
    van Huyck Photo
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  5. #15

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    Quote Originally Posted by TheToadMen View Post
    Interesting discussion.
    I have still two 120 rolls of Acros 100 lying around, so I will use one to make some night shots as a nice experiment (never done that).
    What ISO do you use and how to develop it? Any recommendations?
    Bert from Holland
    I expose Acros at ISO 100, although in the darkness of the night I do not even meter, I just expose as long as practical for the type of image I´m after and I always develop in Rodinal 1+50 (10-12 min. depending on the contrast).

  6. #16
    Rudeofus's Avatar
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    I am surprised why so few people point at the obvious choice: Delta 3200. While Acros may have nice reciprocity behavior, it starts with a 10-13 fold speed disadvantage. These 2 minutes exposures beyond which Acros starts suffering from reciprocity failure would be only 8-10 seconds exposures with Delta 3200.

    Another thing: someone suggested overexposing and pulling: not good. Pulling means underdevelopment, which costs real film speed (i.e. shadow detail), and the longer exposure time for lower EI only reinforces the highlights, whereas shadow regions barely benefit (reciprocity failure again). Look at one of Michael R.'s latest threads about his low contrast developers: Xtol pulled gives much inferior film speed (not just EI, real shadow detail) even with short exposures. And his own formulas also show how to solve this problem. I have had very good success with Delta 3200 and POTA or Delagi 8, and have every reason to believe that Michael's formulas work just as well for this. If you don't want to self mix, Photo Formulary sells POTA and Delagi 8.
    Trying to be the best of whatever I am, even if what I am is no good.

  7. #17

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    Quote Originally Posted by Rudeofus View Post
    Another thing: someone suggested overexposing and pulling: not good. Pulling means underdevelopment,
    Why not? Underdevelopment and overexposure is basic sensitometry, and with a lot of the films, the ISO can range between a few stops given the right development and the right developer. It shouldn't be seen as underdevelopment if the correct type of film has been rated and exposed with this in mind. 'Expose for the shadows and develop for the highlights,' as we were taught ages ago! However, films like Acros, (I would think the tonality of Acros would be very mushy if pulled this way), TMX and possibly the Deltas would not react so well as Trix, HP5+ and FP4+. Reciprocity would also have to be considered, but it is amazing how smoother and more managable for printing the tonal range can become. However, this is if it is a scene with a high range of contrast. It's not always applicable, and certainly not recommended if it is low contrast.

  8. #18
    Rudeofus's Avatar
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    Quote Originally Posted by Mike Crawford View Post
    Why not? Underdevelopment and overexposure is basic sensitometry, and with a lot of the films, the ISO can range between a few stops given the right development and the right developer. It shouldn't be seen as underdevelopment if the correct type of film has been rated and exposed with this in mind. 'Expose for the shadows and develop for the highlights,' as we were taught ages ago! However, films like Acros, (I would think the tonality of Acros would be very mushy if pulled this way), TMX and possibly the Deltas would not react so well as Trix, HP5+ and FP4+. Reciprocity would also have to be considered, but it is amazing how smoother and more managable for printing the tonal range can become. However, this is if it is a scene with a high range of contrast. It's not always applicable, and certainly not recommended if it is low contrast.

    Take a good look at Michael's graphs of characteristic curves of his low contrast developers vs. underdeveloped Xtol: they have similar contrast, but underdeveloped Xtol loses several stops in real ISO speed. In a normal scene you could, of course, compensate this by exposing longer, but with night scenes that won't work, thanks to reciprocity failure.

    As soon as the required exposure time for a zone II exposure is above 30 seconds (or 2 minutes for Acros), longer exposure times will not necessarily create more developable Silver in the shadow regions, you only build up contrast in the highlights. The main determining factors for shadow exposure will suddenly be actual shadow brightness&aperture, and film sensitivity, and with underdevelopment you sacrifice real ISO speed. Result: exposing TMY for 1 minute and normal development will give you better shadow detail and less contrast than 4, 10 or whatever minutes exposure and N-2 development.

    The readily available developers, POTA and Delagi 8 will still lose some shadow detail but much less than underdeveloped Xtol. With Michael's developers you get full ISO speed and as a result best shadow detail of all of them, but you have to be willing to brew your own.
    Trying to be the best of whatever I am, even if what I am is no good.

  9. #19
    Axle's Avatar
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    Acros 100 hands down.
    Canadian Correspondent for the Film Photography Podcast
    A bi-monthly podcast for people who love to shoot film!

  10. #20

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    OP doesn't mention the subject. What kind of night photography are you thinking of?
    I know it is a B&W question, however, would you consider the color film? This is half an hour exposure (Provia 100F):


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