TMY-2 and 400TX

[2F/2F]

This test shows you just how important spectral sensitivity is, and why so many of us are always going on about it. Aside from obvious grain differences, it is the most distinguishing (and most ignored) characteristic of any film b/w, the way I see it.

It also shows you a little bit of the magic of Tri-X; the thing that makes it most unique! I love the film's slight darkening of warm hues (including, of course, most human skin), while it slightly boosts the tone of cool hues (sky, shade, plants). Not that many films have the "glow" that you get from Tri-X as a result of its combination of soft grain and higher sensitivity to cool light. (Efke/Adox 100 does feel somewhat similar.) This is why the loss of TXP in medium format is such a tragedy, IMO. This spectral sensitivity combined with its soft contrast made for a unique and beautiful film. You can bet your bottom dollar I will be stocking up on it in large format sizes. It is my absolute favorite for portraiture, especially in natural light.

 

[Ektagraphic]

I would also like to add that I like Tri-X's grain. Sometimes I shoot 35mm Tri-X simply to get the classic look and get grain along with it. Simply Stunning. I really with I picked up Tri-X 320 in 120 earlier. I love the film in 4x5!

 

[tom_bw]

In your original post, you thought TX400 was more sensitive to red. If you read the tech sheet for TMY-2 it explains that TMY-2 is less sensitive to blue than standard B&W film in order to more closely approximate human sensitivity to color. In effect, this has reduced my need for a yellow 8 filter for general landscape photography.

Indeed! In cases where you would use a K2 filter (e.g. Tri-X), TMY-2 can get a similar effect with no filter. Effectively, a one stop film increase. TMY-2 is my most used film (developed in Rodinal). Tri-X in Rodinal is very grainer (beginning to be objectionable in 5X enlargements.

 

[Athiril]

What?

Look up the 2 hour and 4 hour rodinal 1+100 semi-stands for Tri-X for high speeds, done correctly it gives extremely fine grain for such high speeds, underexpose slightly from your EI and development and grain is massive.

 

[Harry Lime]

Is it possible to shift the spectral response of TMY-2 to be closer to Tri-X via filtering?

thanks

 

[Ektagraphic]

Is it possible to shift the spectral response of TMY-2 to be closer to Tri-X via filtering?

thanks

If you want the look, just shoot Tri-X.

 

[Anon Ymous]

Is it possible to shift the spectral response of TMY-2 to be closer to Tri-X via filtering?

thanks

You'd need a somewhat bluish filter for that, but I'm afraid I don't have my Hoya booklet near. Have a look at the spectral sensitivity charts provided by Kodak at the technical publications for each film and try finding transmission curves for the 80{A, B, C, D} series filters. The effect of an 80A is probably too much and will cost you 2 stops. IIRC you will need 1 stop more exposure with an 80C.

 

[2F/2F]

Look up the 2 hour and 4 hour rodinal 1+100 semi-stands for Tri-X for high speeds, done correctly it gives extremely fine grain for such high speeds, underexpose slightly from your EI and development and grain is massive.

I was asking what you were stating, not any technical details.

 

[2F/2F]

Is it possible to shift the spectral response of TMY-2 to be closer to Tri-X via filtering?

thanks

Try a little bit of cyan filtration over your lens, 10 to 20 points.
I use 20C filtration with FP4 and Pan F sometimes. Not sure if you can get mounted glass CC filters anywhere, so square gel filters may be your only option. (They are what I use.) You could, however, cut out an appropriately-sized circle from a cyan CC filter and place it in front of (or behind) the glass of a UV or clear filter.

Blue filters are also nice, but are a bit more extreme an effect than Tri-X's extra cool sensitivity will give you. For this very reason, I use an 80A for a blue filter on b/w instead of the "proper" blue filter made for b/w film (Wratten #47). The 80A is designed for a major color balance change on color film. Even though is strongly boosts blue, it still must let all the other colors through. The 47 filter is designed to let through blue only, effectively giving you the extreme effect of a blue-sensitive film.

However, any blue filter is too extreme for what you are talking about. A bit of cyan CC is the way to go, IME.

 

[Tim Gray]

B+W makes color correction filters, including cyan. Don't know where you'd buy them, but they are in their filter handbook.

I've not thought about how Tri-X's high blue sensitivity affects its general look. I do know that I find it annoying while photographing outdoors with the sky in the frame.

 

[Harry Lime]

If you want the look, just shoot Tri-X.

Obviously.

The question is can you shift the spectral sensitivity of TMY-2 to be closer to Tri-X via filtration. That way you would get the finer grain of TMY-2 and the spectral response of Tri-X.

My guess is that it can't be done.

 

[Harry Lime]

thanks for the filter information.

 

[Rolleijoe]

Of the two, I prefer the look of Tri-X.

I'd tried a few test rolls of TMY-2 a couple of years ago, and while an improvement over TMY, it still lacked IT for me.