Pushing Ilford Delta 100 4x5

[IanG]

I've been using Delta 100 for about 8-9 years now, I get box speed and superb shadow detaol and separation, just as good as I got with APX100 and Tmax100 (at half the speed of Delta 100 & APX100) in the past.

For more speed I use Delta 400 in 120 and HP5 in sheet film. I have push processed 5x4 HP5 to 3200 in Pyrocat HD out of necessity rather than choice and had far better results than I expected, I was shooting a moving object at 1/50 and f5.5, so pushing was the only option, I might go a stop over HP5's box speed in future depending on the subject matter and whether I needed shadow detail.

Ian

[Drew Wiley]

It's relative. Try working with a true straight-line film in a more serious developer, then go back to Delta in a high contrast situation. I suspect what you call "superb" I'd call awful.

[Drew Wiley]

Sorry, just noticed I mistook your typo, "detaol" for dektol, not "detail". I make plenty of typos myself.

[IanG]

It's relative. Try working with a true straight-line film in a more serious developer, then go back to Delta in a high contrast situation. I suspect what you call "superb" I'd call awful.

What I call awful is what you call superb, lets get it right. You hide from posting any images and really can't be taken seriously.

The truth is even most high contrast (normal) films can be controlled well it you take minor effort, I use the word normal to include Foma, but Tech Pan was outside that

Ian

[bob carnie]

OP should describe what he/she expects or wishes, terminology is quite different for many people.


for example.

For lith printing I like a very distinct negative .

400 speed film rated at 1600 then developed with HC110 - I call this a push process as I have deliberately underexposed but tried to compensate with development.

This type of negative is what I am looking for, maybe lacking in shadow detail but retains highlight.

[Jac@stafford.net]

What Doremus Scudder wrote. Read it at least twice.
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[Drew Wiley]

Basic sensitometry tells it all. Long-toe films are designed for optimal upper mid to highlight reproduction, not for ideal shadow separation. And Delta films are
conspicuously long-toe, though not to the extent of old Plus-X Pan. Delta 3200 is a bit different, and more medium toe like HP5. Posted images tell damn little about such things, but mainly about the inherent limitations of casual scanning and the qualitative limitations of the web itself. Otherwise, everything you need to
know if there on the published curves.

[Jac@stafford.net]

Drew, I hope to be alive after you pass away if your work is made available to the public. For now your work is invisible. All we have are your words, and you know the value of words in this paradigm: nothing.
.

[Drew Wiley]

The web is less than words. You want to me get involved with a venue which is capable of proving anything, and therefore nothing? I learned some time back that
the web is best at misrepresenting such things. When I have nothing better to do, I might selectively employ it once again. Thousands of people had their chance and did respond. Nice web images and nice prints aren't synonymous. But you do even need that. Like I said, the published film curves tell it all. And all of this was common sense to previous generations of pros. Plus-X was marketed mainly for controlled lighting studio use, esp high-key portraiture, and hence was engineered as an "all-toe" film (a bit of marketing hyperbole, but descriptive nonetheless). Super-XX was a true straight line film capable of resolving a very long range of contrast gradation. Tri-X had intermediate characteristics. Now there is a whole new generation of popular films: Delta with a relatively long toe, TMax films with relatively long straight characteristic curves, things like FP4 and Acros more in the middle. Nothing new here. Just the basics. Yeah, you can do all kinds of dev tweaks to many individual films do other tricks, but at a penalty. I've worked with nearly all the films out there, and plotted quite a few myself.
There's a reason they're not all the same.

[jnantz]

Drew, I hope to be alive after you pass away if your work is made available to the public. For now your work is invisible. All we have are your words, and you know the value of words in this paradigm: nothing.
.

jac , sherman and mr peabody did their job ...