Archived posting to the Leica Users Group, 1997/09/17
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]adisoon@pl.jaring.my writes: > Is there anyone who can help me? I have tried using T-max 400 under low > light conditions, rated at 800 and developed in T-max or HC-110. The > negatives I get have very course grain and also high contrast. I would like > to have more tones in my prints. With regards only to Tmax 400, is there > any way I can do this? H'mm. If your definition of `very course grain' is similar to mine, this sounds improbable, and I'd be looking for a chemical or temperature oddity, or posting to rec.photo.darkroom-process-weenies for help; but as to the film choice... It's been awhile since I did much with T-Max, but I suspect I'm not alone in largely ignoring the 400 flavor. T-Max 100 makes lovely negatives when exposed at EI 50, and T-Max 3200 seems the ticket when slipping about in the dim WITH A LEICA (back on topic?); in fact, I seem to recall that T-Max 3200's intrinsic speed is about 800, at which it produces negatives with decent shadow detail and graininess which looked to me not too different from good ol' Tri-X. Does `about like Tri-X developed normally in D-76 1:1' constitute `very course grain' in your book? [if my responding to the whole list with this is particularly offensive, please send me private email and I'll cleave more closely to the charter in future; but the question of film, and the way choices of film stock, EI, development, printing, and of course optics interact to create a ``look'' has always been of interest to me. For example, does anyone have clues about habitual film/EI/development choices of, say, HCB or in particular Salgado? New thread? Covered before I joined?] - -Jeff