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  1. #21

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    Why do people like this film? For one thing, it drys completely flat and I mean completely flat. No curling whatsoever. This helps to get greater sharpness when enlarging. Remember the film stock is a bit thicker than still camera film so you can only get about 30 exp in a cassette. Another plus, the emulsion has an antiscratch layer which makes it a joy to work with.
    A rock pile ceases to be a rock pile the moment a single man contemplates it, bearing within him the image of a cathedral.

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  2. #22
    michaelbsc's Avatar
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    Quote Originally Posted by Gerald C Koch View Post
    Why do people like this film? For one thing, it drys completely flat and I mean completely flat. No curling whatsoever. This helps to get greater sharpness when enlarging. Remember the film stock is a bit thicker than still camera film so you can only get about 30 exp in a cassette. Another plus, the emulsion has an antiscratch layer which makes it a joy to work with.
    This sounds good. Tell me more. Someone has already commented that it's not quite got the same resolving power as Plus-X, but from what I see it's rated a full stop faster, and maybe more depending on how you shoot Plus-X. So that's not quite Tri-X, but 250 is faster than 125 every day of the week.
    Michael Batchelor
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  3. #23

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    Yes, it does indeed dry flat. As far as scratch resistance and curling? I don't find either of those characteristics a real concern with Kodak's standard issue still camera films. As long as the films don't dry too quickly, they won't curl; and the film won't be subjected to the rigors of running through a mechanized printer, so scratch resistance is not a real concern. It will still scratch if you abuse it, so don't get the idea that this stuff is indestructible.

    I've blown through about 250 ft. of Eastman Double-X as a still camera film, so I'm not talking out of my hat here. That's certainly more than enough to get a feel for what this film can and cannot do. Yes, it's faster than Plus-X, and slower than Tri-X. Yet it is far more grainy than Tri-X, which is 2/3 stop faster, and doesn't have a contrast curve suitable for printing on enlarging papers. In my estimation, it's resolving power isn't any better than Tri-X and not as good as Plus-X, though to be really fair that doesn't matter one bit. There's no way you're going to bump up against the resolving power of any of these films without the best lenses used under the strictest of controls. The mid tones are flat, and there is a very pronounced shoulder. Shadow detail, however is very good, but not necessarily better than Tri-X. All in all, it's a good deal IF you're on a tight budget and can get short ends for $.18/ft. I can tell you that short ends of that stuff are nowhere to be found these days. It was hard to come by a few years ago. Today, I haven't found anyone who has it.
    Last edited by fschifano; 08-24-2010 at 05:48 PM. Click to view previous post history.
    Frank Schifano

  4. #24
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    Double-X has a loooooooonnnnnggg scale. That is the best reason to use it. It isn't as cheap anymore since it is so hard to find short ends due to the popularity of short ends because of internet forums. If you develop it with Pyrocat, it is almost impossible to block it up. For general use though, I would suggest another film.

  5. #25
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    Double-X has a loooooooonnnnnggg scale

    ...doesn't have a contrast curve suitable for printing on enlarging papers...the mid tones are flat, and there is a very pronounced shoulder.
    So, which is it? Does anyone have an actual H&D curve for this stuff for a given development?
    f/22 and be there.

  6. #26

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    Both, the two characteristics aren't mutually exclusive. Here are the characteristic curves, RMS granularity, and MTF resolution charts for Double-X from Kodak. The developer used to generate these data points is D-96. While I don't have an actual H&D curve plotted for it, I can pretty much tell by eye how it is when you print it. Note though that I developed the stuff in D-76 1+1 for about 7 minutes at 75F. Being a more aggressive developer than Kodak's recommended D-96, it's not surprising to see that the high end would shoulder off more quickly. Yet despite that the range through the middle displays less differentiated separation than you see with Tri-X.
    Frank Schifano

  7. #27
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    I have never had a problem printing Double-X. I have put it through Pyrocat-P, 777, Rodinal (favorite) and Edwal 12. I am not one to drag out a densitometer. I only know if something works or not, and Double-X works, but like I stated above, you would be better off with something else. If money is tight, use either of the Freestyle Premium or Legacy films. I am using the Legacy now since I have had some problems with the Premium. I don't think XX is a good first film.

    If you are scanning the film then it doesn't matter what you use. You haven't given us that information yet though.

  8. #28

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    Quote Originally Posted by fschifano View Post
    Yet it is far more grainy than Tri-X, which is 2/3 stop faster, and doesn't have a contrast curve suitable for printing on enlarging papers. In my estimation, it's resolving power isn't any better than Tri-X and not as good as Plus-X,
    If you look at the Kodak's RMS granularity values for Double-X and Tri--X you will find that Double-X is actually a bit finer grained than Tri-X. Perhaps something in your processing is causing the increased granularity.

    I have shot over 1000 feet of this film and have another approx 2000 ft more in my freezer. I find that when Double-X is developed to a CI suitable for darkroom printing that the rated speed is the same as Tri-X. I use HC-110 diluted 1:49 as a developer. Sometimes I wil use Rodinal at 1:49.

  9. #29
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    I like the method of working. This is a year long project (started in May, with the unimpressive Fomapan =P) and should take the remaining two semesters of my collegiate career. This film appeals to me not only because of the samples and reviews that I have seen, but also works for the timeline I am planning. I want to view the images as objectively as possible, so that means having some gap (months, maybe..) between taking the shot and editing. So, when I run out of film the editing begins. =)

    I like Winogrand's way of shooting because, though it could seem haphazard, I find it very liberating. Not having images in my head to search for...everything is a potential photograph. Yes, 99% is failure or at lest near miss, but in that I hope to maybe see thought-process or patterns...certain compositions or motifs that I seem attracted to. That is where the two books come in. One will hopefully be by 1% of successful images and the other will be contact sheets for the whole project.

    Thank you all for your responses. The discussion has been interesting =p. I might end up buying 400ft lengths instead for manageability's sake. Still have some time to figure it out...

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