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ParkerSmithPhoto

ParkerSmithPhoto

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Is it possible to develop TMY400 and make it look like FP4?

How would one go about doing this? Would you try to match the gradient?

Reason I'm asking is I started shooting a project on FP4 and LOVE the silvery quality of the prints, BUT I really need a bit more depth of field and I'd like to match the look with TMY400.

I'm using divided D23, so the thought occurred to me that I could run some controlled BTZS tests with FP4, develop the film with my standard time, calculate the average gradient, then test TMY400 and see what matches. It also occurred to me that this might be completely wrong.

Anyone?
 
ParkerSmithPhoto said:
Reason I'm asking is I started shooting a project on FP4 and LOVE the silvery quality of the prints, BUT I really need a bit more depth of field and I'd like to match the look with TMY400.
Click to expand...
Use FP4 and a tripod.
No need to say Thank You! :wink:
 
The only thing you can do is to try to achieve a similar contrast and hope for the best. I've thought in the past, using both films side by side, that they are confusingly similar. Color reproduction might be slightly different, which is probably where the largest difference lies.
I'd shoot a short roll of each and develop it in pieces until you have the normal developing time for both, since that will make a difference (as I'm sure you are aware).
 
As my father-in-law used to say, there's no such thing as a free lunch. Just because you may be able to match a couple of the easier-to-measure numbers does not mean two items are identical. I think you may be able to match the overall tonal range, but never the tonal gradation. That's why people use slower films or larger formats.
 
If you're shooting MF I'd suggest Delta 400, but I used to use Tmax 400, no problem matching print tonality if you do some testing for optimum EI and dev times, there's a lot you can do at the printing stage.

My current exhibition set has images made on Delta 100 & 400 as well as HP5 and you'd be pushed to see a difference with final prints.

Ian
 
Just my humble opinion but I would try a roll of Kentmere 400 I find that as a silvery quality to it..........FP4 and Kentmere 400 are my personal favourites for 2017......You may hate it though.:smile:
 
Maybe...you could shoot FP-4 and dev in Diafine? Your EI might only be 250, tho'. Diafine gives a push, but the film doesn't look pushed. Works well for TX, but have never tried it w/FP-4.

Or, a 2nd flash tied in with a radio slave?
 
michael_r said:
Develop to the same contrast and that's about it.

I suggest not worrying too much about a film's "look". Most of them look substantially the same within relatively normal exposure ranges and you'd be hard pressed to tell the difference in a blind test.
Click to expand...

I agree, if exactly the same shot is made of the same thing at the same time with different films you will see differences. But images made on different films at different times will be as you say "substantially the same".

On a slight variation someone wanted to get a unique old look using a Dagor, when asked to choose from a series of exhibition prints which was made using the Dagor she choose the only shot using differential focus with a Yashinon (TLR - Tessar), and the other lenses were modern Plasmats, 1950's tesssar, the Dagor etc..

Ian
 
Ricardo Miranda said:
Use FP4 and a tripod.
No need to say Thank You! :wink:
Click to expand...
ParkerSmithPhoto said:
Yeah, that isn't going to work. I'm using on camera flash.
Click to expand...

Use a higher-powered flash.
This advice was worth USD 50, you can send payment to my PayPal account.
If this isn't worth, for an extra USD 20 i can give you an alternative to using a higher-powered flash.

ParkerSmithPhoto said:
Reason I'm asking is I started shooting a project on FP4 and LOVE the silvery quality of the prints, BUT I really need a bit more depth of field and I'd like to match the look with TMY400.
Click to expand...

You can try pushing FP4. It is not too well known, but FP4 is easily pushable up to 1000 or perhaps even more.

The other choice is to use HP5 since it's possible that the spectral response is similar to FP4 (haven't compared). But i feel HP5 is lower contrast so be sure to develop HP5 to a higher contrast so you match the FP4 image.
 
The simple answer is a big fat NO!
You can manipulate the exposure/development in an effort to attain the same characteristic curve. The chances of being successful are somewhere around zero.
 
flavio81 said:
Use a higher-powered flash.
This advice was worth USD 50, you can send payment to my PayPal account.
If this isn't worth, for an extra USD 20 i can give you an alternative to using a higher-powered flash.



You can try pushing FP4. It is not too well known, but FP4 is easily pushable up to 1000 or perhaps even more.

The other choice is to use HP5 since it's possible that the spectral response is similar to FP4 (haven't compared). But i feel HP5 is lower contrast so be sure to develop HP5 to a higher contrast so you match the FP4 image.
Click to expand...
And you can send me GBP 50 for quoting me.
 
A typo error I was thinking HP5 (iso 400 and Tmax 400), wrote HP4 when it would be FP4Plus. My suggestion about flash power stands although I have no idea what equipment he is using.

http://www.jeffreyglasser.com/
 
Jim Noel said:
The simple answer is a big fat NO!
You can manipulate the exposure/development in an effort to attain the same characteristic curve. The chances of being successful are somewhere around zero.
Click to expand...

It's the final prints that matter and it is possible to mix films and even developers as well and still obtain a coherence in the overall look of a body of work.

As long as you've good control of EI and dev times to get the sort of negative you prefer you have a lot of flexibility at the printing (or scanning) stage.

Ian
 
This is the second thread in a short time about making negs from a faster film look like negs of a slower film:

(there was a url link here which no longer exists)

----------------

I bet it is NOT possible to deduct the brand/type of film used from a well done print.

If you do not like the prints you are getting from a certain film type, most probably your overall process with that film type has some potential for improvement. Might be the exposure of the negative, might the development of the film or some possible improvement during printing.
 
ParkerSmithPhoto said:
Is it possible to develop TMY400 and make it look like FP4?

How would one go about doing this? Would you try to match the gradient?

Reason I'm asking is I started shooting a project on FP4 and LOVE the silvery quality of the prints, BUT I really need a bit more depth of field and I'd like to match the look with TMY400.

I'm using divided D23, so the thought occurred to me that I could run some controlled BTZS tests with FP4, develop the film with my standard time, calculate the average gradient, then test TMY400 and see what matches. It also occurred to me that this might be completely wrong.

Anyone?
Click to expand...
If you like the look of FP4 and who doesn't? buy FP4! You can push it a bit.
 
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