Ilford hp5 400 shot at 200 speed

Hello,

My teacher has us use the ilford hp5 400 but camera is set to 200 speed. We

develope negatives using D-76 1:1 for 9 1/2 minutes. What would be the

difference if I developed the film at 400 speed and following the Ilford

guidelines.

Thanks

Arthur

I actually rate HP5+ @200 (1 stop more exposure) and develop it as if I shot it @ ISO 400. I do this to ensure that my shadow area would have enough detail. So in short, if you develop it at 400, you will have enough shadow to play with.

I routinely shoot HP5 at anything between 200 ~ 800 depending on what I need. There will always be differences but that is the trade off for speed, shadow detail and grain

Firstly to answer your question, by rule of thumb, you could just knock a minute off the time of whatever you are using. Refer to the slip sheets for manufacturers info. Ilford ID-11 is identical chemistry to D76. The other standard for HP5 film is Microphen. For a complete range Ilford developers visit http://www.ilfordphoto.com/products/producttype.asp?n=6&t=Film+Developers

 

Next, the teacher should have said something about the conditions in which the film is being exposed, because this is affects everything.

 

Shooting 400 film at 200, then reducing development is the well established, basic method of ensuring some shadow detail whilst not blocking (over exposing/developing)the highlights in outdoor sunlit images. The reduction of development will hold back the build up of density in the highlight areas of the negative. This permits printing of shaddow as well as highlight details.

 

It's about helping the film embrace all the tones in the scene, so that the final print will deliver a realistic perception of the original scene.

 

Getting away from the bright sun, if a subject/scene is dull and flat, as on an overcast day, the opposite approach is called for, where one will shoot either at the "nominal speed" or faster, ie 400 or 800 for HP5, and increase development. The increase in development will build up the density in the highlight areas of the negative, rendering a healthier, more punchy tonal range in the final print.

 

You will come across the expression: "Expose for the shaddows and develop for the highlights." This is about the same thing, and is fundamental to all camera and darkroom work.

 

An important part of developement is agitation. This should kept to an absolute minimum when holding back the highlight densities. But it can be increased slightly to build up the contrast as in the second example, when exposing a low contrast, flat-toned subject.

 

Let us know how you get on.

 

Cheers, Kevin.

To get a good grasp of the principle "Expose for the shaddows, and develop for the highlights", you will learn a lot by simply doing it. I don't know what sort of camera you are using, but assuming it's a 35mm SLR, I would like to suggest the following exercise.

 

With a friend/colleague from school, go out on a shoot with two cameras, both loaded with the same film. Now this can be the HP5 or any other medium to fast film. As long as they are the same in each camera. Choose a number of subjects and photograph with each camera, but in camera 1 using the film at it's "nominal" speed, ie 400ASA for HP5, and in camera 2, with the film rated at half the speed. ie 200ASA for the HP5.

 

Note the exposure details. If they are zoom lenses, keep both at the same focal length for each pair of images. Use the same aperture for each pair of exposures, with difference in exposure being catered for by the shutter speed.

 

Back at the darkroom, treat the "nominal" speed rated film to standard development, and the other with compensated (reduced) development.

 

When dry, the negs should appear slightly different by simple inspection with a magnifying loop. Select a pair of images, ie a matching pair from the two films, and print them identically on the same grade of paper.

 

In other words: test print one of them to find a near to ideal exposure and make the best possible print. Then using exactly the same enlarger settings eg 24 sec @ f5.6 or whatever, print the second neg in the pair.

 

What do you observe?

 

If you are fascinated by the results, a study of Ansell Adams' book "The Negative" is a guide to refine the method to a high art degree. It's a solid reference, and something to look forward to down the track.

 

Kevin.

HP5 at 400 ASA in D76, 1+1, 20 C is 13 minutes.

Hi Arthur:

 

The best way for you to determine the difference is for you to try it both ways, print the negatives, and study the results. Compare the shadows, midtones and highlights as well as the grain. Assuming that you are going to use a traditional darkroom--that is, use an enlarger to make your prints, the type of paper and enlarger head you are using will also influence your decision on how to develop your film.

 

Enjoy the film experience!

 

Pat Trent

Either Ilford Perceptol or Kodak Microdol-X would be a better choice of developer for an E.I. of 200 with HP5 Plus. Try about 15 minutes in either developer diluted 1+1 at 20C (68F) as a starting point.