Many people disagree with that... All those of us who find HP5+ reaches 400 with normal contrast in ID-11 but TMY doesn't... Anyway, I'm fine with you thinking your way... Thank you!
Many people disagree with that... All those of us who find HP5+ reaches 400 with normal contrast in ID-11 but TMY doesn't... Anyway, I'm fine with you thinking your way... Thank you!No, because you are saying that it is slower than other ISO 400 films.
And it isn't - it is a full ISO 400 film.
If you change the measuring criteria to one that builds in a 2/3 stop change, like Zone System criteria, it is a full EI 250 film.
Other 400 ISO films might be designed to rate higher using Zone System criteria, but that won't help you in most circumstances with roll film shot in varying circumstances, where ISO metering is most beneficial.
Hi Drew, I agree about TMY's straight toe and shadow separation... That's why I chose it as my #1 for the next two years as I said in my first post... But at box speed I like it in FX-39 and not in D-76... Every member can use their own words to say that, or deny it: that's society... Good night!TMY is faster because it has a longer straight line down into the toe, making threshold shadow gradation feasible at less exposure. But you obviously forfeit a full stop of shadow value by shooting it at 800 (and I do consider TMY to be a true 400 film). "Pushing" it is not an ideal form of phrasing. TMax films are especially amenable to higher gamma (contrast) using stronger development. But that won't give you back any lost shadow value due to underexposure. In Zone System talk, you can realistically launch off black around Zone 1 provided you carefully meter the shadow values and rate it at 400.That's a full stop more range down there than many films. But on an overcast day, you're not likely to have great contrast anyway, so shooting it at 800 instead will not carry a significant penalty like in open sun. But the ZS mantra of basing shadow values on Z3 is a good way to get into trouble with TMax films due to overly dense, hard to print highlights.
Hi Ralph,Tmax400
The OP must have some real problems because I do not run out of light faster using my Hasselblads. The last time I checked an f/stop is still and f/stop regardless of format.
True, but a normal lens on a medium format camera is longer focal length than for a 35mm, and in the case of an SLR, mirror shake is greater. And although f/8 is f/8, the depth of field is not the same on an 80mm lens as a 50mm lens, the normal lenses for those formats. All told, it is harder to hand-hold a medium format camera at the same EV than a 35.Agree, I shoot with my Rolleiflex and pan F , lot of light all the way down to 1/60th and f8.
I'd like to see some of those shots seriously enlarged, so remain a tad skeptical, esp about mirror lock-up apart from tripod use. I've resorted to things like fenceposts or car roofs in absence of a tripod. But I'm not young anymore either, so what I could once rely on doing at 1/30th sec now is more like 1/250 handheld. The Fuji 6x9 RF has been a bit of a game-changer for me, however. It handholds even better than my Nikon.
True, but a normal lens on a medium format camera is longer focal length than for a 35mm, and in the case of an SLR, mirror shake is greater. And although f/8 is f/8, the depth of field is not the same on an 80mm lens as a 50mm lens, the normal lenses for those formats. All told, it is harder to hand-hold a medium format camera at the same EV than a 35.
HP5 is way too grainy for me in any format smaller than 8x10. I've printed a lot of it. If I want a multi-format 400 film, it's TMY, which is capable of much more detail and contrast range. But for an even faster rainy day 120 film, Delta 3200 rated at 800 can deliver beautiful results with far more exposure forgiveness than TMY, nice for quickie snapshots pulling the camera out from under the rain parka.
Since I use the 45 degree prism, I am holding the camera with two hands and the eye piece is firmly against my head, thus providing three solid points for holding the camera. I normally use ISO 400 film so it is very rare that I would ever have to use 1/60 second during the day with my Hasselblad.
I agree using a prism helps but only so much. Sometimes you have to push when conditions demand it, or simply pass on making the image until conditions change.
If I need a large depth of field with MF I'd either need a tripod in my current conditions (not always an option) or a push in developing. I just held my light meter out the window into my back yard. Today is very overcast here. if I use iso400 and f16 I'm left with 1/15 sec which I wouldn't hand hold with a 35mm rangefinder much less my mirror slappy Hassy. Assuming I want to use the Hassy hand held while achieving maximum depth of field I'd need to expose at iso800 at f11 to get to 1/60 second exposure, which still sucks for hand holding a 150mm lens and is barely acceptable for an 80mm lens unless I'm making small prints or don't care about shake/blur on the print.
I hate pushing MF for all the accurate reasons Pieter12 states in post 56, but sometimes I have to. Anyway for Juan: if you're already settled on TMax for 35mm I'd just stick with it for MF too to keep things simple.
I've found it to be so. I can stretch that rule only a little, and only if there is no mirror.As a rule of thumb, YMMV, when the shutter speed is slower that 1/[lens focal length] one should use a tripod. That works of all formats. That is just the way it is.
As a rule of thumb, YMMV, when the shutter speed is slower that 1/[lens focal length] one should use a tripod. That works of all formats. That is just the way it is.
Some of my favorite pictures I have taken have been far from sharp.
I like to think that all this talk and thought about getting everything perfect improves your chances of pulling off a shot when conditions aren't very good.
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