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Thread: EI for FP4+, HP5+ and Acros in PMK

  1. #1

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    EI for FP4+, HP5+ and Acros in PMK

    What EI do you use for FP4+, HP5+ and Fuji Acros in PMK pyro?

    Thanks.

    Sincerely,

    Hany.

  2. #2
    mitch
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    Re: EI for FP4+, HP5+ and Acros in PMK

    hi i use all the films you asked about and after testing found that fp4 was ei 50 hp5 was ei 320 and acros was iei 100 acros time was 10m at 70d fp4 was 13m@70 and hp5 was13m @ 70
    the longer time with fp4 is becaue of an ei of 50. this works very well for me
    mitch

  3. #3

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    Re: EI for FP4+, HP5+ and Acros in PMK

    I've gotten into the habit of running an ASA test using "proper proof" at least once a year because the EI and developing times on all films and chemistry, especially PMK, is relative to water supply, termperature, agitation method, and paper used. Asking what I use for EI and times is sort of like asking what I prefer for dinner. It's very kind of you to ask, but it may not be YOUR preference. Running periodic tests is tedious, but the payoff is worth it.

  4. #4

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    Re: EI for FP4+, HP5+ and Acros in PMK

    Quote Originally Posted by Ed Lajoie View Post
    I've gotten into the habit of running an ASA test using "proper proof" at least once a year because the EI and developing times on all films and chemistry, especially PMK, is relative to water supply, termperature, agitation method, and paper used. Asking what I use for EI and times is sort of like asking what I prefer for dinner. It's very kind of you to ask, but it may not be YOUR preference. Running periodic tests is tedious, but the payoff is worth it.
    I usually do my own testing using my densitometer. Problem is since it is a regular densitometer I do have problems measuring the density due to stain.

    Sincerely,

    Hany.

  5. #5

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    Re: EI for FP4+, HP5+ and Acros in PMK

    I use FP4+ at ISO 80 and HP5+ at ISO 250 in both PMK and Rollo Pyro. I used Acros 100 a long time ago and rated it @ 80 with nice results.

  6. #6

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    Re: EI for FP4+, HP5+ and Acros in PMK

    My FP4+ zone system uses a E.I. of 100. There are WAY too many variables involved in order to use someones E.I., you need to test it out yourself.

  7. #7
    kev curry's Avatar
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    Re: EI for FP4+, HP5+ and Acros in PMK

    Hany, in the ''Book of Pyro''. Gordon Hutchings suggests as a starting point an EI of 320/400 for HP5 @ a (N) normal development time of 13min/70'F or 8min@80'F. For FP4 an EI of 80/100 @ a (N) development time of 10min/70'F. Nothing on Fuji. Theres a straight forward way to test for personal EI and development time explained in the Free Articles section of 'View Camera' that doesn't rely on a Densitometer. http://www.viewcamera.com/

    kev

  8. #8

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    Re: EI for FP4+, HP5+ and Acros in PMK

    Quote Originally Posted by Sir Tony View Post
    My FP4+ zone system uses a E.I. of 100. There are WAY too many variables involved in order to use someones E.I., you need to test it out yourself.
    Now you're talking. Photography is a visual art. The only arbiter of technique should be the visual results of that technique. Give yourself the gift of replicabilty. If you do something great, be able to do it again. Test, test, and test once more. Keep sharpening the pencil. Remember, EI is measured in one-third f stops. Considering the number of variables in the process of creating a good negative, it doesn't take much to throw things off a zone. Uncle Ansel said the negative is the score and the print is the performance. ASA testing assures that your vision won't be compromised by your technique.

  9. #9
    Peter De Smidt's Avatar
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    Re: EI for FP4+, HP5+ and Acros in PMK

    Make a proof using a non-stained negative that has the highlight density that you'd like. A Step tablet is ideal, but anything with a decent size area of the right density will do. Give enough exposure such that the clear film edge prints black. If possible, use a reflection densitometer to figure out what the black reading is it. Now print a stained negative with an area that you'd like to match the highlight density of the other print. Change the exposure to match the blacks as closely as possible. The stained negative will probably have a little more overall fog than the non-stained negative. Now compare the higher print values of the two prints. Adjust you development of the stained negative such that it'll produce prints that are close to what you non-stained negative produces.

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