Ilford FP4+ in HC110 tested. From way too contrasty to normal.

[Stephen Benskin]

This has been interesting to read. I have nothing to contribute, but I would like to understand some of the experimental technique -

For those here using densitometers and compiling contrast curves, what is the method for applying a known exposure to the film calibrated to the desired units? Is it done by photographing a chart under known/measured lighting conditions, or some other way?

By using a step tablet and preferably a sensitometer.

 

[Bill Burk]

Thanks for the reply...I had a senior moment and thought I had read all of the pdf, but did not get back to it and missed the last couple of pages.

Yes, alt processes, and using the processes with negs with a high DR...for Platinum/palladium printing without any contrast agent, for example, and a little higher DR for negatives destined for carbon printing.

For platinum printing, FP4+ with Ilford Universal PQ Developer was recommended by Terry King, who was a member of the Royal Photo Society who revisited the older photo processes for study. As well as expanding FP4+ nicely, he mentioned that the midtones also expanded well along with the highlights. The prints are good, and I do like the look of a well-expanded negative. I have also used straight Dektol.

Not issues silver printers usually deal with.

But issues that every study of film characteristics should include.

Besides, you're shooting in the depths of redwood groves, where there isn't much Subject Luminance Range to begin with.

 

[spookyphoto]

This has been interesting to read. I have nothing to contribute, but I would like to understand some of the experimental technique -

For those here using densitometers and compiling contrast curves, what is the method for applying a known exposure to the film calibrated to the desired units? Is it done by photographing a chart under known/measured lighting conditions, or some other way?

By using a sensitometer

 

[DREW WILEY]

Bill, were you being cynical? where do you live? Once the morning fog dissipates, lighting ratios in the redwoods can routinely be around 12 stops. Even in overcast, the range can be significant. So unless shooting with fog or rain present like a natural softbox, I only shoot films with very long straight line characteristic curves like both TMax emulsions or, in the past, Bergger 200 and Super-XX 200 (The pseudo-200 Foma/Arista 200 is very limited in deep woods due to its terrible recip characteristics).
FP4 just doesn't have enough range, and HP5 has even less, for these kinds of extreme ratio scenarios. Another extinct film which had a very long range nice for the redwoods was Efke 25; I sometimes shot it in roll film version.

 

[Vaughn]

But issues that every study of film characteristics should include.

Besides, you're shooting in the depths of redwood groves, where there isn't much Subject Luminance Range to begin with.

It is surprising how much contrast there is under the redwoods even with a light overcast. It is common to read 4 or 5 stops, with perhaps some darker and some brighter areas too small to read. Or that is one of the things I look for. Pools of light created by a fallen redwood or an opening above a creek is wonderful to work in.

But the nicest overcast light is only around for four or five hours in the middle of the day, leading to the very civilized hours of 10am to 2pm. This is also around the time that breezes up and down creeks die down for those long exposures.

One of my main reasons to explore carbon printing was its ability to handle sunlight coming thru the redwoods while keeping all the other values alive. Composing and working with light like that is a fun challenge. Photographing with a light overcast is pretty relaxing…the light changes very slowly and naps are sometimes possible during exposures.

PS I have eight rolls of 120 film, (FP4+ and Acros) to develop and what I have on hand is HC110. I will be developing them for direct pt/pd printing and perhaps carbon, so they will be getting extra development to boost contrast.

 

[DREW WILEY]

I was halfway up our Mt Tam one day when I reached a little meadow in the redwoods. The fog was just beginning to break up. Then I heard voices in the sky above, clear enough to make any Medieval monk convinced of a supernatural experience. Then as the sky cleared just a little more, I spotted two hang gliders directly overhead.

Around here, the fog along the coast in summer persists till around noon, and then it moves away and siphons through the Golden Gate to the opposite side of the Bay, and banks up against our East Bay hills.
So as I head back home, my own place is all socked in with fog.

That's why I like to carry the most versatile sheet film possible, due to potentially encountering very different lighting conditions on the same day, or even during the same hour at different elevations on the same hill. Often the true drippy cloud forest up on top will retain the fog longer, which makes those places and their natural softbox lighting particularly magical and appealing. That wetness also preserved the summit areas from the big Pt Reyes fire a few years ago.