Bosaiya
Member
Certainly you should tailor your combination to achieve the look you're after.
The 3200s are the only ones that come close to 1600 in true speed. Neopan 1600 is a complete waste of time at 1600 unless your brightness range is limited as you will lose loads of shadow. That said at 500-640 in my M it is a wonderful documentary film for available light work. Developed right it has very smooth contrast and great tonal range. It rarely is rate and developed right, hence the frequent comments of sever contrast and soot and whitewash tones.
D3200 at 1000-1600 developed for 3200 times is magic. Unique look and modest contrast. Great film for contrast control of very high range scenes, such as dawn sunrises through fog etc.
I dont push unless the SBR is very low, in which case the shadows are going to record properly anyway and I am really stretching the rest of teh range while allowing the lows to drop a touch from their reality (bit still falling within the range of the film). If shooting inside a building with windows in the frame, you have little choice but to select a film with higher true speed otherwise you will have thin shadows and blown to hell highlights.
Tip for Neopan 1600: Start by rating it a stop faster than Neopan 400. Get your dev right and the two films have almost identical tonal ranges and the Neopan 1600 will still have grain to rival TriX/HP5 shot at half the speed. 1600 it is not, however.
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