lernie_ang

thank you for the response. i'm actually not going to print any of the shots into paper, at least not readily. i plan to scan them directly to avoid contrast differences in papers (and save money and time).

what i'm actually trying to do is know how much exposure range i have in a particular film so that i can make sure i can take multiple exposures without losing detail on both the dark and light areas. if the scene has a 9 stop range, and suppose that my film has only 5-stops that it can record at any give time without blowing up, then it will tell me how to progress up or down the f/stops so i can capture, in multiple frames, the whole scene brightness.

again, thanks.

lernie.

i've dutifully searched as many threads i could about exposure range,

but i found none that answered this question that i am asking:

what, indeed, is the amount of f/stops that black and white, and/or

color print film (generally speaking) can record?

and another thing, if i may: this whole exposure latitude is driving

me nuts. now i know what exposure latitude is. but what i dont get is

how there is a fixed range for a particular film, when i know

exposure latitude is the excess f/stop range between the film

exposure range AGAINST the scene brightness range. of course, if

indeed b&w and color print film have a 'standard' exposure range,

like say maybe 5 stops, then i can understand if manufacturers say

our film has an exposure latitude of 1 3/4 to 2 stops. that would

probably mean that the film has an exposure range of 7 stops, for

example.

thanks for any help.

lernie.

it means that the effective aperture when you are at 315mm is 12. when you are zoomed out at 180mm, your effective aperture is 5.6. i think it's called dual-aperture (somebody correct me on this term). the idea is that the light coming in the lens is reduced when you zoom in more. if this is an AF lens, and you have an AF body, set your camera to aperture priority. open it up to 5.6, zoom out out 180mm. then slowly zoom in up to 315mm and you'll see the aperture go down progressively.

hope that helps.

thanks for the replies, guys... first, i've personally never had problems with tri-x (my film of choice) when i was developing it myself because i did use 1:1 and i didnt recycle my developer (well maybe once or twice :D). but the photo store i'm 'overseeing' does things differently. i'm going to check on both chris' and rob's advice and experiment further. i'm not sure if the store is up to giving up it's 'cutting corners' way of doing business. it's a shame really.

one more thing: just today we had a neopan roll exhibit the exact same spots. the spots usually barely a millimeter in diameter. almost like bubbles actually.

thanks for all the advice.

uh... also: what does presoak actually mean?

Hi folks,

I was asked to ask a question regarding developing problems with

Kodak Tri-X and Plus-X films. The problem is that sometimes our

developing creates 'white' spots (e.g. white on film, black on

print). Our developing process involves 'recycling' some of the

developers after every 'can' of three rolls. But before you assume

that that is the sole reason, I must add that we have not had any

problem, using this method, with Neopan films. We have had virtually

100% consistent developing output with Neopan.

We use Kodak D76, and Fuji CN3 for fixing.

Does anyone have an idea why we have no troubles with Neopan but get

these spots with Tri-X / Plus-X using exactly the same developing

processes?

Thanks for any response,

lernie.