to me acros is the tmax 100 that kodak never made....the japanese nailed this one down and it is truly a great film...very flexible
Has anyone developed either of these films in something like Barry Thornton's 2-Bath, D23 or Stoekler 2-bath?
I recently developed some 4x5 Acros in Barry Thornton's 2- bath for, exposed at 64EI, and 5 minutes in both A&B and it's gorgeous. No grain of course, and a very smooth and rich tonality. It's a very nice combination.
Originally Posted by Harry Lime
I have just done sensitometry tests on all the films discussed in this thread and several others, developed in Thornton's 2-bath (for those who do not know it, this is a Stoeckler variant evolved by Barry Thornton for "modern" films, i.e. thin emulsion).
I'd be glad to write about all these films in Thornton's 2-bath and compare them, but for the moment I only have the H&D curves, and the raw data behind them.
I confirm Acros exposed at EI 64 and developped 5 min in both A and B @ 24°C/75°F, but for a low contrast subject, i.e. 5 stops.
For a 7 stops subject, I'd expose just below 64, and develop 2'45s in both A and B @ 24°C. (A continuous agitation, B no agitation)
Sorry I don't have data @ 20°C/68°F...
Originally Posted by Marc .
The scene I photographed was indeed low contrast. I haven't had the opportunity to try it with a higher contrast scene, but will try your suggestion.
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I tried Thorntons two bath with Acros and was not happy.I found I had to increase the amount of carbonate in the second bath to get enough contrast for normal subjects, and then it was too much for contrastier scenes; not ideal for roll films.
I am getting better control with the pmk.
Bottom line though, is that it is a great film.
Acros in Pyrocat/similar is superb. Not much staining, super sharp and wonderful tonality. I tested Exactol lux against HC110 on the same scene with Acros and the tonal separation was far better in the low to mid values, the grain was finer and the apparent sharpness MILES better with the Exactol lux. Pyrocat should be the same. If you look in my gallery, Spanish Olive was shot using this combo (5x4) and the original is a 23" print which is grainless and super crisp.
I am not really keen to use staining devs out here, so I will experiment with FX-39. V fine grain and I agree, a modern look which does not suit everything. Still, I prefer it by far to TMAX100 and even tho the negs look similar to the eye, my TMax readyloads print with little life (drab...dunno how to describe) whereas Acros quickloads print much closer to what I am looking for. I still prefer trad films in look tho. I've become less happy with FP4+ on smaller formats and so I am experimenting with Foma 200 instead.
Originally Posted by weasel
Carbonate ? You mean Sodium metaborate ?
I found one can have good Acros negatives with Thornton's 2-bath for subjects from normal to low contrasts (8 to 4 stops), just by varying time in baths A and B (2x 2mn to 2x 7mn) with corresponding EI 50 to 80.
Lowering the metaborate amount to 7gr in bath B allows shooting high contrast scenes (10 stops, 2x 2mn 30s ).
Anyway, one cannot obtain comparable negatives on the same roll shooting both contrasty and 'normal' scenes.
Do you manage to do that with PMK on roll film ?
I have used Ilford 125, TMax 100, and Acros 100. All of those are great film. I have to go with Acros 100, but not but much.
I use both films in small and medium format. In the studio I just use FP4 for portrait and nudes. For architecture or landscape I use Acros. Both films are souped in XTOL 1:1,
Originally Posted by John Roberts