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Kentmere offers a more classic look from being less perfect (vs. TMax), having more visible grain and lower contrast. Kodak TMax 400 is very modern and smooth looking from the fine T-grain structure. T-Max 400 is the best 400 speed film, especially in 35mm film format in terms of resolving power and look for my taste. That said TMax is so perfect it can look almost digital especially in 120 film format. I do quite like the classic look of film photography so Kentmere 400 will suit my needs in many instances and especially for low light. More Kentmere sample photos The Agfa 400 had the most grain, and slightly less sharpness than TMax/HP5, but it was not as grainy as Tri-X developed in D-76, and certainly acceptable.
Other than using it for dealing with harsh light, RPX’s lower contrast and nicer tonality is worth enjoying on its own. There has been a trend in the past few years with higher contrast and more dramatic b&w films such as TMax 3200, JCH Streetpan and the pushing of films to be even more impactful, so it is nice to enjoy the more subtle, tonal films like RPX, Bergger, BWXX and the like. While we like our highlights and shadows as much as the next photographer, there is a lot to say about an extended range of grays in an image. There are different ways to over expose film. A common way if you lab develop your film is to meter the film in camera at say ISO 200 and then ask you lab to develop the film as normal. For Kentmere 400 this would be at ISO 400 giving a +1 stop over exposure (as you metered at ISo 200)(thereby giving the camera +1 stops of extra light on each image). The first t-grain film we’ll discuss is Kodak T-MAX and Lady Gray (which is the same film). This film is very linear, tonally. It has very fine grain. The T-grain emulsion, as I mentioned, high sharpness and very high-edged detail. T-MAX is a great choice if you don’t like grain. The T-MAX base has a pink tint to it. Like Rollei Retro, T-MAX is also extremely curly upon drying but is also currently fairly affordable at .15 per frame. It is probably worth mentioning but for the photos shared above I shot the film both over exposed and under exposed. Sadly from a scientific point of view I was just winging it on the day and guessed the exposure. What I can say is some images were shot in very under exposed conditions with the light being probably -2 stops under. Highlights and shadow detail If you buy your films on the Internet, now that the film is still new, you should ask the dealer beforehand if it is the old or new film. A version for medium format cameras of the two films is currently not planned.EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc. It’s always a great feeling when you pull the film out of the developing can and you see your pictures or what’s on the film. That’s something else again than when you give your films to the lab.
Once again I'd like to comment as this does reinforce what several of us have said re; films being developer dependant...
Fact is, we don't even know for certain about every minor change made to our favorite films, papers and chemistry because the makers don't notify us. Generally we find out when the grapevine starts buzzing about different results, which leads to methodical tests that either confirm or disprove the rumors. We’ll start with the cheaper or what I would call the budget films. These are films typically used by students or the budget conscious photographer. And, weighing in at a pretty nine cents per frame (again, in USD), the cheapest of all of the films is Ultrafine Xtreme 400. I couldn’t find a lot of information on the history of this film. Though it is labeled as being produced in Europe, and many believe it to be another film simply rebranded, I can’t find any hard evidence to substantiate that claim. Leica 75mm f/1.25 Noctilux-M ASPH + Leica APO 75mm f/2 Summicron-SL ASPH + A Little Extra More - Part II As I develop my own film I shoot it at box speed (meaning if the box says ISO 400 I meter at ISO 400 (or guess ISO 400 or just be aware the camera is expecting ISO 400). If I know that there was insufficient light when I took the photos and I really needed ISO 800 or ISO 1600 I make a note. Under exposed film
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Last shot taken on the roll. The lighting conditions and lens combination doesn't generate much of a glow but I get a sense that there is some of it left around the bright sky part. Final Thoughts
I can understand Tim's frustration but if we start boycotting every maker of traditional photo supplies just because they've discontinued a favorite product or changed it without our permission we won't be buying from any of 'em. We'll be coating glass plates and arguing about who makes the best glass and debating the merits of free range vs. captive hens for making albumen prints. Here’s an example based on a rough estimate between Agfa APX 400 and Kodak Tri-X 400: Agfa APX 400 Kodak Tri-X 400 Comparing Image Stabilization and Fast Lenses - Nikon F6 + 28mm f/1.4E and Canon 1v + 28mm f/2.8 ISRollei is one of the oldest and most famous film brands. Perhaps better known for their iconic cameras than their films, but nethertheless they do have a brilliant range of emulsions to choose from (view the full collection here). In this review we will be diving into the wonderful Rollei RPX 400 emulsion! In fact, this is the one Ansel Adams himself recommended for those learning the zone system. It has a long shelf life and it’s cheap to use as one-shot. It’s not great for pushing, but we’re not doing any of that for this test. At box speeds, I feel like it’s a strong choice for most of these films. For many of these films, people will argue that other developers would be better to start out with. I’m not disagreeing with that, but again, I had to start somewhere and I certainly can’t test all of them. Canon 5D Mark IV + 24-70mm f/2.8 vs Leica SL + 24-90mm f/2.8-4 - Battle of the Prosumer Mid-Zoom Kit i>Just consider that the Agfa films are really about a stop and a half less fast than marked-unlike Kodak films...
The more I shoot and develop HP5 in 120 the more I think this THE film to use in a medium format camera. It is so versatile, you can use it under any light conditions including night photography because you can easily push is to 1600 or 3200, grain is not an issue at this size of negative, it offers great tonality and it is reasonably priced. View from Nymphaio village, we went to see a bear sanctuary located there. Bronica SQ-B, Zenzanon 80mm PS f/2.8, HP5, Rodinal 1+50 View from old commercial port of Thessaloniki, it is now gentrified with cafes, restaurants, and museums. Bronica SQ-B, Zenzanon 80mm PS f/2.8, HP5, Rodinal 1+50
Agfa APX 400 is an ISO 400 film. I developed my roll with HC-110 in dilution B for 8 minutes "and a bit". The "and a bit" is there as I slightly underexposed some shots and had the rest at 400. To ensure I don't lose shadows I allowed it to cook for a longer time in the developer. It wasn't a full 1 stop push. More like a 1/3rd of a stop push.Before Agfa stopped production in Germany, enormous quantities of the APX 100 were still produced. This was sold as Rollei Retro 100 and under the AgfaPhoto brand (AgfaPhoto APX 100). Now the leftovers are probably used up, nevertheless it will pass on the APX 100 of AgfaPhoto, but just no longer from Agfa Leverkusen production. For scanning, I used the Epson V800 with the same settings for each scan. It’s important to note that a scanner acts like an on board image processor in a digital camera and will absolutely have an effect on the look of a film. Again, there’s just no way we can test a wider set of options. I think you’ll find that my scan probably adds a bit more contrast than what you’d get if we’d just have enlarged these. And I think that’s important to note. Shortly after the end of World War II, IG Farben was forcibly dismantled by the Allies for their cooperation with Nazi leadership in supplying the pesticide Zyklon B for use in concentration camp gas chambers. Twenty-four IG Farben directors were indicted during the Nuremberg Trials, including Agfa’s director Fritz Gajewski. While over half of them were found guilty and served prison terms, Gajewski was found innocent and acquitted of all charges.
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