Ilford Delta 400 shot at about 530 - for portrait

[ingino]

Hi everyone, I have a question. I shot some headshots yesterday for a

musician and I wanted a more dramatic look than I usually shoot for

actors, so I rated it at about 530. I have been using Ilford Delta

400, lit with a coupla photofloods (I like continuous lighting). For

actors, I usually rate it at 330 (one notch on my camera's dial below

400) and have my lab just process at 400. But I've never pushed the

dial one notch above 400 before. I'm not sure if I should tell my lab

(Modernage in NYC) that I shot at about 530 or not. If I don't, I'm

afraid the shots will be too dark. I just wanted a little drama, some

shadows and a little moe grain is okay with me - but I don't want it

underexposed and useless. So I experimented (the musician is aware it

was a "test shoot"). What should I tell them over at Modernage when I

bring my film there? All suggestions welcome. Thanks!

[frank.schifano]

That's only about 1/3 stop underexposed. If this film behaves anything like TMY, you can still get some very decent shadow detail. I'd probably go with straight processing. A 1 stop push might be too much. The folks at ModernAge are pretty good. Tell them you shot the film 1/3 stop underexposed, tell them what you want, and see what they say.

[titrisol]

DDX 1+4 or Clayton F76 1+9 should allow you a 1 stop push easily.

 

I assume Xtol should allow that as well, check in ilford site for the data sheet of Delta400.

 

I got a bunch of expired rolls for cheap and I guesstimated exposures in an old camera, developed in DDX 1+4 most frames looked good.

 

If you are not processing the film yourself I think you are in a bind, I'd probably ask for a 1 stop push given you do not have any extreme highlights

[ingino]

Frank, thanks, I didn't realize it was just 1/3 stop. I'm still new at this.

 

Pablo, I don't have a clue what all those numbers and letters mean. I don't develop myself. I use a lab.

 

So, I've gotten one answer that says process regularly and another says push 1 stop. I shot the subject pretty close in, just head & shoulders, with lights fairly close. I know the background will be dark, which is what I wanted, but I'm afraid the shadows on his face might be too much. Maybe I'll have it pushed just a quarter or half stop. Sheesh, I wish I knew more about this stuff. Whenever I try something new, I'm a wreck until I see the results.

[david_beal___richmond_hts.]

The "numbers" refer to the extent to which you dilute stock developer. Ilford DD-X, which is a speed enhancing developer, is diluted with 4 parts of water to make a solution which is 1/5 as concentrated as stock (the Brits say 1+4; we say 1:5 -- same thing).

 

If you're not doing your own processing (and you really should be; it's not that difficult), at least talk to your lab and see how they are handling your films. Before you go, surf to digitaltruth.com and download developer data for Delta 400. You'll then know how almost any developer can be used to get the speed that you want (as I recall, even down to 200).

 

When you go, take your data and your film, and ask them what developer they use and what time and temperature. That information will let you infer the nominal speed for which the film is processed. You may find that they are processing it at 500 already, because Delta 400's optimum "box" speed is 500.

 

I'm going to guess they're using XTOL. The times for achieving ASA 400, 500, and 800 at 20 degrees C using XTOL stock are 7.5, 8.5, and 10 minutes. Diluted 1:1, 11.5, 13, 15.5 minutes. It's apparent that a small difference in time can make a noticeable difference in speed.

 

When your're shooting at 325, your lab may be developing at 400 -- or even 500. This could be fortuitous, because 325 will give you a bit better rendering of shadow, and a slightly longer development will perk up the highlights. OTOH, maybe they're developing at 500. If you like the results, stick with it.

 

You can successfully push Delta 400 to ASA 3200, and it will give you more contrast than Delta 3200 shot at 3200. Obviously, grain increases with speed.

 

You can also shoot Delta 400 as low as 200.

 

Speed is a necessity if you're going to use continuous light. What you sacrifice is grain, and, if you're using a "new technology" film like Delta 400 or Kodak TMax400, middle tones. Ilford has said in a number of postings that the Delta films tend to compress middle tones, and so they are less favored for portraiture than the traditional grain films (FP4, Tri-X, NeoPan 400, HP5+). That's ultimately a choice for you and your subject. Some people shoot portraits with Fuji Acros at 80, which gives you every hair, wrinkle, line, ridge and blemish.

 

It's YOUR vision. Fulfill it!

 

Good Shooting.

 

/s/ David Beal ** Memories Preserved Photography, LLC

[ingino]

Hmmm... it all seems a bit complicated to me. I had to go drop off the roll at lunchtime, so I told them at what speed I shot it, and asked them to push it a half-stop. I'd rather have it a little grainy and/or contrasty than be too dark and underexposed. I'll get the contact sheet tomorrow and see what damage I've done. Thanks, everyone for your input.

[lex_jenkins]

Hey, Diane, if you just want to concentrate on shooting and not worry about the dirty work, there's not a thing wrong with that.

 

It *does* help to have a grasp of the basic terms, tho'. There are many websites and books to help with this - you don't need to read Ansel Adams' books to get the basics of exposure and how development affects the film.

 

One guideline to keep in mind is that it takes about 1/2 stop difference in exposure to notice any significant difference in most faster films like Delta 400. A 1/2 difference can make or break a roll of Pan F+ or T-Max 100 unless development is tailored to suit the exposure. But this is seldom the case with faster films.

 

A simple way to determine the best exposure index for your purposes is to rate the film normally (let's say, 400) and meter as for 400. Then bracket shots, a series of three photos for each setup, 1/2 stop under, one at the meter reading, and 1/2 stop over. The easiest way to do this is with the aperture ring unless you're using a camera with stepless shutter speed settings (so you're not confined to a jump from 1/125 to 1/250 but can use something in between).

 

Have the lab develop the film normally, as for 400. Ask for a contact sheet, not proof prints. Proof prints can be adjusted in exposure during printing to compensate for slight variations in exposure during shooting. A contact sheet allows you to examine the bracketed shots side by side and decide which frame has the characteristics you want in terms of shadow detail (how much texture do you want visible in a black cotton t-shirt or a tuxedo, for example?), highlight detail (white t-shirt, wedding gown, etc.), and overall tonality and contrast. You're just looking for an impression, nothing too technical.

 

If one particular type of exposure appeals to you consistently (assuming consistent lighting during the session), use that for an entire roll for a second test.

 

If none of them appeals to you - for example, if they're all too contrasty, too flat or lacking in some way - ask the lab for advice for your next roll. They might suggest developing a little less or a little more the next time.

[henning_klas_n]

David,

 

you confused me a little here...

 

"which is 1/5 as concentrated as stock (the Brits say 1+4; we say 1:5 -- same thing)."

 

Here you state that by 1:5 you mean one of five parts, the equivalent of 1+4.

 

"Diluted 1:1, 11.5, 13, 15.5 minutes. "

 

Here you state that 1:1 is the same as 1+1. I think you mean 1:2, right? 1:1 is stock

solution, 1:2 is two equal parts of developer and water.

 

Am I right?