Finally Getting Some Grain – Ilford Delta 3200

The search for some really grainy shots continues, and the latest batch of shots seems to be heading in the right direction.

Olympus OM2N, Ilford Delta 3200, D76

Some decent grainy goodness at last – not quite there yet but this is a ‘work in progress’!

This mini project was inspired after being reminded of Scotch 3M 1000 slide film in an old photography book. I used to like fast Scotch film a lot – sadly it’s now been discontinued for many years. It didn’t try to hide its grainyness – instead the grain was an integral and deliberate part of the image. It was a little like trying to recreate a 19th century painting technique called pointillism using film. Modern 400 ASA films have proved reluctant to ‘grain up’ to the challenge so more extreme measures are called for.

Olympus OM2N, Ilford Delta 3200, D76

Overcast days are best for this technique- too much light overwhelms the OM2N’s 1/1000th second shutter speed without a filter of some sort..

It turns out this ‘closest yet’ effort was really very simple – expose Ilford Delta 3200 at it’s ‘box speed’ 3200 which just involves a little work on the OM2N. The OM2N goes to a maximum 1600 ISO and is at it’s limit, so no there’s no -1 exposure compensation in aperture priority mode. It’s just a case of setting the exposure manually and then taking a stop off. So simple really as long as you remember!

Olympus OM2N, Ilford Delta 3200, D76

These were developed in D76 – it’s Rodinal for the next try to really harden the grain up. After that it’s 6400 ASA – with an ND filter I think.

Olympus OM2N, Ilford Delta 3200, D76

These were taken on a cold, overcast day in Lymington near the New Forest in Hampshire UK. Lymington seems to be dependent on the yachting/tourist fraternity – in January it’s quite quiet and empty.

Olympus OM2N, Ilford Delta 3200, D76

Worn out, old patterns complement this technique nicely – but only in the smoother areas (the window) as this wall was already pretty gritty already.

Now for a close up of the grain structure :-

Olympus OM2N, Ilford Delta 3200, D76

The full frame.

 

Olympus OM2N, Ilford Delta 3200, D76

And a portion of the centre – complete with a few drying marks. Oops.

Finally a rural church – always a good choice for a book cover.

Olympus OM2N, Ilford Delta 3200, D76

This was taken before a heavy storm – hence the dark clouds. The snowdrops add a certain something.

Well, almost there, but this has been more difficult than first imagined. Thirty years ago grain was a major problem using 35mm film, but the past few experiments have shown that it’s really quite difficult to get really grainy results with modern emulsions. Ilford 3200 seems to produce some promising results, but pushing Kodak Tri-X to 3200 ASA might work well – more experiments!

This is the best reason to use film – the combinations of film, developer and exposure provide some fascinating possibilities and learning opportunities. The 5d Mk2 and the 60D are enjoying a break for a while until this particular project is over – this is the best photographic fun I’ve had in ages.

Oh – and Ilford 3200 in D76 is quite good too!

Thanks for looking – hope you find this useful.

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

The Search for Grain Continues – Kodak Tri-X. Lots of Shots and Some Photographic History.

Approaching a review of Kodak Tri-X provokes some nervousness. Tri-X has been around since 1954 (though reformulated many times since then) and was the black and white film which defined a photographic era for fashion and journalism in the 1970’s and 1980’s, creating a dark gritty look which is still used today. It’s still the best-selling mono film (according to Kodak).

Kodak Tri-X, 35mm, Olympus OM2N, D76

Salisbury Cathedral again on an overcast day. This needed some PP but the dark ‘look’ I remember is still there. Zuiko 28mm f2 though not as grainy as I’d remembered.

The great Don McCullin used Tri-X for his famous photographs of the Vietnam war. For David Bailey, Irving Penn, Alfred Eisenstaedt, and Cartier Bresson it was a mainstay too. In short it’s one of the few films which has legendary status so I’d best be thorough! For a fuller description see here for an excellent history of this film.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Inside the cathedral and that tonality is lovely – enough to feel optimistic! Vivitar 17mm lens.

When a film has been going for 60 years it’s got to be good – but does the modern version capture that ‘look’ I loved thirty years ago? Best shoot a few rolls.

Kodak Tri-X, 35mm, Olympus OM2N, D76

A further interior – and good too. Vivitar 17mm lens. The textured stone of the interior masks the graininess as always.

All these shots rated at 400 ASA on a Olympus OM2N with a variety of Zuiko/Vivitar lenses and developed in D76 – D76 and Tri-X must be a classic combination. Scanned on the usual Plustek 7500 and subjected to some levels and contrast adjustment.

Kodak Tri-X, 35mm, Olympus OM2N, D76

The last from Salisbury and a bit of a gothic type shot – working as hoped. Vivitar 17mm lens.

The film feels like a quality product in a well made cassette with solid felt light baffles. It’s difficult to break into for loading on a film spiral – always a good sign. It loads easily onto the spiral too.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Hard light suits this film. The humble Zuiko 50mm f1.8.

Drying it doesn’t attract much dust and is quite a ‘hard’ emulsion when dry. When you’ve had 60 years to perfect a film it should be one of the best I suppose!

Kodak Tri-X, 35mm, Olympus OM2N, D76

Zuiko 50mm f1.8.

One of the properties of Tri-X was to capture a subject’s essential details – complete with grain, dirt and darkness in the process. It was famous for it’s deep black tones and is often used to emphasise the grittier side of life – with a bit of PP in the contrast department it does it well.

Kodak Tri-X, 35mm, Olympus OM2N, D76

To portray dark grittyness this is excellent. Zuiko 28mm f2.

Exposure latitude is wide too allowing shooting in a wide variety of situations.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Shooting into the light and a nice result – flare, grain and all.

However – is it grainy enough? That’s what this search is all about!

Kodak Tri-X, 35mm, Olympus OM2N, D76

The whole frame.

And a small enlargement :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

This small section of the negative looks quite detailed with reasonable grain for 400 ASA.

Nope – I’m looking for more grain than this. Let’s try uprating it to 1600 ASA and push processing it for 12 minutes.

Kodak Tri-X, 35mm, Olympus OM2N, D76

This is a little more like it in low light. 50mm f1.8.

Outdoors in soft sunlight :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

Time for a frame enlargement and here’s the full frame. Zuiko 135 f3.5 (a recent acquisition!)

 

Kodak Tri-X, 35mm, Olympus OM2N, D76

And here’s a small section enlarged. Slightly harder grain than a 100 ASA film but not that much.

Well it’s made things a little more grainy but not as much as I’d hoped. Tri-X is made to be pushed to higher speeds so it shouldn’t be too much of a surprise. These were developed in D76 but it’s (annoyingly!) done a good job on the grain structure that I’m thinking for the next roll it will have to be souped in Rodinal which should harden the grain up a bit. It’s amazing how good modern film is by comparison with 30 years ago. All of the high-speed films tested so far have proved highly resistant to heavy grain formation – so much so there’s not a huge difference between them and 100 ASA film. Even Ilford 3200 was tame at 1600 ASA.

Finally – for those who don’t like slopping chemicals around – can Tri-X be replicated digitally in DXO Filmpack? There’s a preset for it so let’s see.

Here’s a Tri-X ‘original’ :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

And here’s a DXO converted shot from an EPL5 :-

Kodak Tri-X, 35mm, Olympus OM2N, DXO Filmpack

Close enough I’d say, though film development and PP variations (in both cases) mean that DXO can only really do an approximation of the final ‘look’. The stonework on the house is brighter in the later shot due these being taken many weeks apart – the DXO shot has the advantage of some sunlight on the wall face.

Well what to make of it? Tri-X is still an excellent film just past it’s 60th birthday and as good as it’s competitors if you prefer a darker look (think of it crudely as a fast Ilford PAN-F). As a photographer who still shoots lots of film as well as digital, it’s worth a thanks to Kodak for keeping this stuff in production. My recommendation is to give it a try – I’m about to order 10 rolls!

Thanks for looking – hope this is useful!

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

 

Still Quite Fast – Fuji Neopan Professional 400

As part of a series testing films which are faster than I’m used too (100 ASA essentially), the next one up is Fuji Neopan Professional 400. After testing the 100 ASA version of this film (here), the 400 ASA version should hopefully be as good.

Fuji Neopan Professional 400, Olympus OM2N, Vivitar 17mm f3.5

This was taken at a local Iron Age hillfort which floods between the ramparts after heavy rain. The landscape is quite surreal and a good location for some abstract landscapes. This is a very good start! Vivitar 17mm.

Physically the film exudes a high quality feel as the canister feels very robust – it’s quite difficult to prise it open when it comes to development. Efke films canisters used to just fall apart in the darkroom!

Fuji Neopan Professional 400, Olympus OM2N, Vivitar 17mm f3.5

Another abstract shot round the other side of the hillfort. Vivitar 17mm.

The film loads very easily on to a film spiral – always a good thing – and usually a sign that film is well made.

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 50mm f1.4

This is something of a nice oddity from the start of the roll. There’s an area down the left extending over to the upper part of the shot which looks like a strange light leak into the canister. Not that I’m complaining – I like the effect. Zuiko 50mm f1.4 and soft (or mis-focussed!) wide open.

Exposed at its box speed these were taken on an Oly OM2N in aperture priority mode (I’m getting lazy!), adjusting exposure as necessary. Various lenses were used – if I can remember what they were I’ll put it in the caption!

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 28mm f2

This one’s a bit of a test of DR (in digital speak). Shadow detail is lost to preserve most of the highlights with the sun behind the obelisk. The film has coped well here – again very good. Zuiko 28mm f2 closed down to f11 .

Developed in D76 stock for 7 minutes (these were taken in contrasty conditions so 30 seconds were taken off the recommendation) the results look pretty good.

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 50mm f1.4

The Zuiko 50mm f1.4 at f11 – nice and sharp and a good range of tones.

An enlargement of the centre portion :-

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 50mm f1.4

This grain for a 400 ASA film is excellent – if I didn’t know I’d guess this was a 100 ASA film.

There hasn’t been any dust spotting or ‘dust and scratches’ correction on these negatives so it looks like it’s resistant to gathering dust when drying. This makes it’s use worthwhile just on it’s own and is quite remarkable!

Fuji Neopan Professional 400, Olympus OM2N, Zuiko 50mm f1.4

Close up (well ‘ish’), 50mm f1.4 blurring the winter background away. The range of tones captured is excellent again.

Unfortunately if you like the look of this stuff and want to cheat with DXO Filmpack you can only approximate the look with something like Acros 100 as there is no profile for this film – on my installation anyway – so a direct comparison isn’t possible here.

Oddly enough the conclusion of this test isn’t what I was expecting to write at all. This is virtually indistinguishable from 100 ASA film which makes it a useful film for use in the winter when the light is low. Unfortunately I’m currently trying to get more grain in my shots so it didn’t quite do what I wanted! I’ll try pushing a roll a few stops and use Rodinal or Neofin Blue on the next roll to see if I can coax some grain from this excellent film.

So highly recommended – unless you’re after some grain! Thanks for looking – hope you find this useful!

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.