Discussion in 'Classic Manual Cameras' started by Mike Gammill, Aug 2, 2018.
My limited experience with Kentmere 400:
Pentax ZX-7 with Sigma 28-80. Processed in HC110 dilution H
Mike Gammill said:
Thanks for the suggestions, Mike. Ideally, I'd like Pan F 50 with an ISO rating of 400! Under most situations I like as little grain as possible, especially with negatives to be scanned rather than printed. I find excessive grain in large mid-tone areas unpleasant, especially in areas of sky and clouds where grain can disturb the delicate transitions of tone. Scanning tends to accentuate this effect and I tend to get more "muddy" effects with the higher speed films. I get away with it in the larger formats as the degree of magnification is not as great, I guess, and I tend to overexpose and under-develop slightly with 120 film. Really, I use the higher speed films only because the medium format cameras are more difficult to hand-hold at lower shutter speeds, and I don't find the higher speed films so much of a necessity with 35mm as the cameras are more forgiving in this respect.
Hello again. For those interested, I dug into my recent Hawaii files & did some 500x500 pixel crops of full size 35mm negs, unprocessed. The reduced pixel count for the forum does not loose all the details, so you might be able to make your own comparison of the UFX 100 or 400 vrs the Kentmere400 material. Sorry, could not find any Kentmere100 strips. Aloha from the Mainland, Bill
It seems the only thing a kid can do in the street anymore is walk with his head down, nose into a cell phone....
You guys are drawing me into the black and white film......
Moving On said :
I'm not sure I want to shoulder any of the blame for that... It's certainly a roller coaster ride, in many respects. One never gets it perfect... Anyway, I got out again yesterday as the clouds gathered for another weekend of rain, taking the Konica Autoreflex T loaded with Arista EDU Ultra 100. I don't think I like it's tones as much as the Kentmere 100 I used for the previous images in this thread, but it seems to have a little more edge sharpness and "bite", probably due to a very different grain structure. I actually started using the Arista because it's cheap and I wanted something economical with which to test old cameras, and it's kinda grown on me... This latest roll has more manufacturing defects than I like to see, unfortunately... The lens was the 57mm Hexanon AR f/1.4, and the developer was the usual PMK Pyro.
Siegen Germany , dusk time.
Also in Siegen
Hello Rick and all
I have not liked the Kentmere 400 or the Ultrafine Extreme 400 for any shots with sky and clouds, as I hate the excessive grain in either 35mm or 120.
I have found better results with XP-2 developed with HC110, I haven't tried it with Pyrocat, but I think you will find the grain much better.
Anyway just my thoughts.
35mm Minolta 7S I may have blown out a little on the clouds on this one
I've not been around in a while but I took this today with my F100 and 35mm series E on Foma 200.
M4, Wide angle tri-elmar, Tri-X, Xtol/Rodinal. Steamboat Springs, CO or thereabouts.
Don Harpold said:
Thanks for the suggestion Don; I hadn't realised that one could process XP-2 in anything other than C-41 chemistry, and to me the results always looked a little too bland , reminiscent of desaturated colour images. Certainly no grain issues, though.
Hello again. When XP-2 is developed in C-41 chemistry, dyes replace the silver deposits & the process yields an almost grainless negative. . .Are these dyes in the film emulsion to begin with ? If not, then the development in HC or any other developer will still yield a noticeable grain. I was always "bugged" in a wet dark room with the film since a grain focuser was next to useless. In my Hawaii work, clouds frequently are in the frame & a G filter yields excellent sharpness & tonality to them with the UFX/Kentmere emulsions. The staining of a pyro developer does a lot for grain since it fills in between the silver deposits. Bill
I don't think so. I know opinions vary but, in my opinion, if you don't have any areas of pure white in a shot of sunlit clouds, you've cheated yourself out of some dynamic range. You've got plenty of texture there and I don't see any big blobs of featureless white.
Beautiful series. I haven't made it to Steamboat Springs, yet, but I hope to, one of these days.
That may be the most educational post I've read here. Thanks!
The variety and quality of the images continues to impress.
I'll add some more Plus-X images later today. This roll was shot in my Olympus OM-1 with 35mm f 2.8 Zuiko.
Fresh from the scanner:
Installing cable, Olympus OM-1, 35mm f 2.8 Zuiko, Plus-X
While solidly constructed, the OM-1 is still a handy size for biking.
Fence around a large lot, same gear and film (also made while biking)
Later images after I put my bicycle away
Inside the new Mugshots in Starkville
Flame on, at Mt. Fuji (again, same gear and film)
The Mill on an overcast afternoon
parallel parking next to Mugshots
I must return with color film for this one.
Just a couple to finish of my weeks contribution. 1951 Kodak Signet 35 : 44mm Ektar f/3.5 : Arista EDU Ultra 100 : PMK Pyro
Set for Twelve
Separate names with a comma.