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  1. #31
    brian steinberger's Avatar
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    So true Mark. I mostly print at 7x7". At this size I much prefer the grain on Tri-x to FP4. BUT, I also print 10x10" and hope to print 15x15" soon. For this reason I try to shoot FP4 as much as possible. And I'm also thinking down the road if I ever move to or have to move to scanning FP4 will give better results than Tri-x. But I still shoot alot of Tri-x simply because it's fast. It's all in what you need to get the results you want.

  2. #32
    markbarendt's Avatar
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    Quote Originally Posted by adam211 View Post
    When I shoot B&W from time to time in 6x6, I'll use Tri-X.
    All the same considerations apply but 6x6 changes the equation a bunch from 35mm.
    Mark Barendt, Beaverton, OR

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

  3. #33
    cliveh's Avatar
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    My vote, for what it’s worth is consistency. I know people on this site like to experiment with different developer formulations, but I don’t. For many years now, with 35mm, I have used FP4 and develop in D76 at 1:1. Not my mix of D76, but the one made by Kodak. I don’t use a light meter for 35mm and I honestly can’t remember when I last developed a film that I was not happy with.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  4. #34
    markbarendt's Avatar
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    Quote Originally Posted by brian steinberger View Post
    It's all in what you need to get the results you want.
    Yep, purposful design normally starts with the end in mind, in our case a print, or vision of a print, then we work backwards to the scene.

    I think even Ansel promoted that idea.
    Mark Barendt, Beaverton, OR

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

  5. #35

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    Great, i just wish or hope to get an enlarger sooner or later.

    I remember last year that i attended a workshop about darkroom, the most parts of it was with printing, the developing part was nothing just any developing, but i remember once during it that i printed 2 frames, both came out fine but one of them....AMAZING, i can see and feel the sharpness, and i shocked to know that the film was TMAX 400, i remember i did developed it with TMAX developer at home, not with Ilfosol 3 that is available in that workshop, but that print came out amazing perfect as i want after several adjustments steps.

  6. #36
    Christopher Walrath's Avatar
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    Oh, YAY! My two centavos.

    Hey, the best way to get an unbiased (read: not spun by a film manufacturer) comparison is to, well, just do it. TriX is hard to beat. And there will be as many opinions on the subject as there are photographers who have them. The most important thing here, though, is that you will be profitting from the end findings. What better motivation than to have those findings come from you. Besides, it's an awesomely fun way to burn a lot of film in the name of research.

    My personal opinion on this matter. In the words of Sam Snead "It's like what they say about the homliest girl at the dance. You gotta dance wit' who ya brung."

    Boils down to, unless it is for research sake or if TriX ain't workin for ya, why change? It's a great film.
    Thank you.
    CWalrath
    APUG BLIND PRINT EXCHANGE
    DE Darkroom

    "Wubba, wubba, wubba. Bing, bang, bong. Yuck, yuck, yuck and a fiddle-dee-dee." - The Yeti

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