Quote Originally Posted by markbarendt View Post
I think it important to remember a few things.

1-that the real speed of the film doesn't move near as much with a change of development as the typical EI change that gets applied. Shadow detail is lost.

2-that as the film curve gets steeper tone changes get more abrupt. Mid-tone transitions get grittier.

3-that printable whites are closer to the toe too. Detail is lost in the highlights too.

Pushing has become a technique of last resort for me because night street scenes are actually high contrast affairs.

If you apply classic Adams/zone system logic it is likely a pull is going to be indicated rather than a push.

rich815's shot above is a good example. The detail in the street lights didn't print and the detail in the coat is really limited. That's not a critisism, it's simply a choice based on the result wanted.
I'd agree, yes. However the online JPEG version and the printed or full res scan version show quite a bit more detail, at least in the coat and some shadow areas. Lights are burned out to pure white but was not looking for much detail there. It's all choices. I was able to hand-hold that because I used Tri-X at 1600 in Diafine. With the luxury of a tripod I can use Acros at 100 (great reciprocity characteristics on that film BTW), expose differently and get MUCH better detail. Like so:


Portero Hill, China Basin ContaxRX 35PCDistagon Acros @100 Diafine 5min 20C 08-2006 26 by rich8155 (Richard Sintchak), on Flickr

That was take at 11pm at night.

But for when a tripod is not possible or convenient or the subjects are moving then faster shutter speed and the trade-offs of accomodating such come into play. Pretty much Mark's point, just adding to it.... :-)