[Jonathan Mac]

Here's a question. Can you push Acros 100 five stops?

I'd picked up my Mamiya M645 1000s after a few months and saw I'd just started a roll of Ilford Delta 3200. So I did some indoor shots, including a vege market and a museum, and because I'd taken my time and each shot was carefully considered I thought there'd be a few keepers. Imagine my surprise when I opened up the camera and discovered, instead of Delta 3200, a roll of Acros 100. I'm usually so conscientious about exchanging the box ends so I'd know what I was shooting. But not this time. I was just going to throw the roll away but then I thought it might be an interesting experiment to see how far I could push it. These examples are after 20 minutes of ilford ilfotec lc 29 at 1/19. It's not too bad but not something I'd try again.
What's interesting is the only shots which were worthwhile keeping were those at the long exposure end. In this case 1/125, 2.8. Anything faster barely registered on the negative. There was nothing to push.

These shots seem to have come out pretty well, considering. I've been left with almost completely blank negatives when using Acros for night photography and guessing (badly) the exposure the shots needed. I suppose it's the flipside of the absence of repricocity - very little leeway in case of error.

Maybe you'd have been better using stand development?

More from rome. MX and Ilford Delta 400.


Italy MX Delta 400 076a by Jonathan MacDonald, on Flickr


Italy MX Delta 400 066a by Jonathan MacDonald, on Flickr


Italy MX Delta 400 063a by Jonathan MacDonald, on Flickr

[officiousbystander]

Maybe you'd have been better using stand development?

Thank you for the suggestion. I did consider that but the calculations were beyond me. I think the standard adjustment is 50% extra time for each stop. But also I read (doing Google searches) there's an upper limit for the developing chemistry ie it gradually becomes ineffective. What I did notice was that agitation is as important over 20 minutes as it is over five. Some of the frames had a processing delineation which suggested that I didn't do enough agitation. I wrongly thought as it's 20 minutes I could afford to be a bit lazy. However while I can now see how I can get high key affects by pushing film I'll be much more conscious about checking what speed film I'm dealing with in the first place. And if I was going to push a couple of stops I'd make sure the subject matter would lend itself to high key treatment.

[Swift1]

Asahi Pentax MX
SMC Pentax-M 100/2.8
Expired (1995) Kodak TMAX 100
Epson V750-M Pro

[gofour3]

P67 & 75/4.5 Shift shooting T-Max 100:



Phil.

[Jorgario]

P67 & 75/4.5 Shift shooting T-Max 100:

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[abruzzi]

For some strange reason, I have a lot of photos of signs on power and telephone poles. This is the first time I went out with a macro lens and took the photo. This is the Pentax-F 100mm 2.8 macro on a SuperProgram with Fomapan 100. I just like how it came out.
(Cross post from the Film Shooters challenge group.)

[Eyewanders]

Some more Ferrania P30 alpha....

In the MX with .... a lens. A50/1.4 I do believe. Could be the FA31. I won't swear to either.

[Jonathan Mac]

Thank you for the suggestion. I did consider that but the calculations were beyond me. I think the standard adjustment is 50% extra time for each stop. But also I read (doing Google searches) there's an upper limit for the developing chemistry ie it gradually becomes ineffective. What I did notice was that agitation is as important over 20 minutes as it is over five. Some of the frames had a processing delineation which suggested that I didn't do enough agitation. I wrongly thought as it's 20 minutes I could afford to be a bit lazy. However while I can now see how I can get high key affects by pushing film I'll be much more conscious about checking what speed film I'm dealing with in the first place. And if I was going to push a couple of stops I'd make sure the subject matter would lend itself to high key treatment.

I haven't looked into it a lot and I've never done it but I think the most common approach is an hour with agitation only half-way through, other than that you just leave it sitting there. It does become gradually more ineffective but that's the point - it will do so in a localised way because of the lack of agitation so each area will develop up to a certain point and then stop, which is how it manages to compensate for "erratic" exposure or heavy pushing that would otherwise produce huge contrast.

[drmoss_ca]

Rolleiflex 2.8GX, XP2, ISO 50, HC-110, X1 scan:

[nickthetasmaniac]

Runabouts | Penang

M2, Voigtlander 28/f2, APX400, yellow filter

[drmoss_ca]

Rolleiflex 2.8GX, XP2, ISO 50, HC-110, X1 scan:

[Kevin B123]

Ilford Delta 400

[twilhelm]

Ilford fP4 in Perceptol
Spotmatic SP w/ Super Takumar 150 f/4

[edom31]

Ilford fP4 in Perceptol
Spotmatic SP w/ Super Takumar 150 f/4

Nice shot - I actually go out of my way to shot fire hydrants in the city every now and then... This one beats out most - in the middle of nowehere!

[Jonathan Mac]

Rome, MX, Delta 400 and Epson V500

First one was taken from a moving train on our way to the airport, so finishing up the roll, and is the only one of those photos that I liked.


Italy MX Delta 400 067a by Jonathan MacDonald, on Flickr


Italy MX Delta 400 052a by Jonathan MacDonald, on Flickr


Italy MX Delta 400 061b by Jonathan MacDonald, on Flickr