Frances reminded me that it was not Carl who told me this, but another senior Kodak man who remains nameless because of the following quote: "I was responsible for discontinuing Super-XX but I have always kept quiet about this because I was afraid of death threats."
Originally Posted by Roger Hicks
I think Royal Pan (400) was the sheet film and Royal-X Pan (1000 or thereabouts) was the rollfilm. I had some long outdated Royal Pan, and it was pretty grainy stuff, though of course age could have made it worse.
I have some of the last run of Ektapan in 8x10". It's great for Hollywood style portraits.
I've used some Super-XX and have some 8x10" in the freezer, waiting for a special occasion, I suppose.
Royal-X Pan was used primarily by freelance and other news photographers who regularly worked in extremely low light situations.
The film speed and curve of Ektapan was meant to match that of Eltachrome 100 for use as a proofing film for commercial photogrpahers. As far as I am concerned this has been the biggest loss other than Super XX. I considered it so far superior to Plus-X for my work that once I got used to it, I never exposed another sheet of Plus-X.
Enough has been said about Super XX. It was the favorite of dye transfer printers because its long straight curve provided excellent separation negatives.
[FONT=Comic Sans MS]Films NOT Dead - Just getting fixed![/FONT]
Super xx (at least the stuff I have) has larger/more grain than txp or tx, and a wide tonal range. I was going to use it for portraiture with a minus blue or minus red filter, but Have decided to use TXP for that instead. I may use the SXX for architecture instead. It is really nice film, but as I learn more about B&W I find it less amazing and more interesting. The film I have went out of date in '93. Without checking my notes, I recall that it produces an excellent neg at iso < 50 in ABC pyro, iso ~64 for microdol-x and as fast as iso 100 in D76. I may try varying dilutions of HC110 before committing to the use of the film. I'd like for the film to indicate to me a use. To be brutally honest, much of what I've seen it used for is really boring stuff. As it stands this old film is about as slow or slower than PXP, has more grain and from my testing is not as the malleable as others suggest. It may be the age of the film, but it doesn't appear to have much base fog, it may be the developers I'm using (I'll try others), but from what I've read most people never got more than ~ISO 100 out of the film. Don't get me wrong it is lovely film, but not magical.
I still have about about 6 rolls in the freezer that I am going to shoot this spring - hopefully with a little "anti-fog" I will get a useable negative.
Originally Posted by Photo Engineer
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I thought they just improved the emulsion and added an X for tri-x
Garry D. Lewis , jul 10, 2005; 04:12 p.m.
Just thought I'd through in some "historical data". }:^)> I ran across an old book from 1955. Amoung the articles is one on "the New Tri-X film" by David McLane. The times for Promicrol were--
ASA 200= 9' @ 68 degrees.
ASA 320= 12' @ 68 degree.
ASA 600= 15 1/2' @ 68 degrees.
Of course these are for what is now "our" old Tri-X. }:^)>
P.S. it also says that the limited test rolls, sent out for evaluation, were labeled as "improved type XX".
No flames, please, just an honest question:
Everyone who pines for Super-XX speaks of its long, straight, curve, but that's also what TMax has, at least if I read the curves correctly. Yet it seems that TMX/TMY are viewed with far less affection. I've read the forums, but where is the major change, beyond being slower to gain density in development, between the two? Do you really miss it, or do you sit back in your chair, sigh, and think of the days of Super-XX, Bell-Bottoms , and Hippie-chicks?
"While you're out there smashing the state, don't forget to keep a smile on your lips and a song in your heart!"
The spectral sensitivity of TMX and TMY is very different from films like Tri-X and FP4+, and all four of them are different from Super-XX. Landscape shooters would say that skies would "light up" with Super-XX in a way that didn't happen with other films.