FOMAPAN 100, image samples

[shawn]

Horizon 202, Fomapan, HC110 1:63

 

[Freakscene]

I haven't kept that data for ages. But pretty much everything I developed conventionally hit 0.1 DU above FB+F for Zone I at about 1/2 box speed.

After I saw this pattern across many dev/film combos, I put my densitometer away.

But... this is not cast in stone. People will get different EIs depending on how they agitate, accuracy of their meters, accuracy and resolution of their thermometers, and even water composition. Also, everyone meters differently.

Fixed density 0.1 DU above fb+f measurement is not an ISO speed, it’s a zone system tonal placement terminology derived from an older speed system. If you’re not measuring the delta logH and ensuring that it conforms to the ISO standard, you’re not measuring the ISO speed. I am not saying it is not useful, I am simply stating that this speed point is not the ISO speed.

 

[chuckroast]

Fixed density 0.1 DU above fb+f measurement is not an ISO speed, it’s a zone system tonal placement terminology derived from an older speed system. If you’re not measuring the delta logH and ensuring that it conforms to the ISO standard, you’re not measuring the ISO speed. I am not saying it is not useful, I am simply stating that this speed point is not the ISO speed.

I never claimed to be measuring ISO. I am measuring EI... the practically useful film speed.

 

[Coldkennels]

Personally, I find Fomapan 100 lands at a perfect 64 Weston when developed in Rodinal 1:50.

That's the original 64 Weston, before the mid-50s revision.

I've not figured out how that translates to BSI or Scheiner. European Scheiner, of course - not that weird American one. Weston speeds never let me down.

 

[Slumgullion]

Dad by Jim Fischer, on Flickr
Zeiss Ikon ZM, Zeiss 35mm f/1.4 ZM, Fomapan 100 @ 50, Xtol 1:1...buzzed the focus a bit, but it's hard when your driving through a bumpy field trying to take a photo at 1/30'.

Dad by Jim Fischer, on Flickr
Leica M5, Artizlab 35mm f/1.4 Classic, Fomapan 100 @ 50, Xtol 1:1

Dad by Jim Fischer, on Flickr
Leica M5, Artizlab 35mm f/1.4 Classic, Fomapan 100 @ 50, Xtol 1:1

 

[fub]

just some canned peeled potatoes late a night. Jupiter-8 50mm, Fed-3. Rodinal 1:100 stand development. Shot from closest focus distance and a bit cropped

 

[chuckroast]

This is curious to me - the image you posted, to my eye, has a very compressed tonal range. It could just be my monitor...but it doesn't make sense that sheet film Foma 100 would give the impression of less gradation than 35mm, but I've never shot it in large format (it's also entirely possible that it's a slightly different emulsion than 35mm). So my question is, given your above statement, was that your editorial choice? Was that the tonal map you wanted? I ask this with all due respect, you are clearly knowledgable and put a lot of thought into these topics, so I would love to hear your thoughts on how you made your image.

So I've been a baaaaad forum participant. I just today noticed your comment and question and thus and (finally) responding. My apologies for not being more observant.

I'm assuming you're talking about the "Barking Mad" picture above and will respond in that context.

In the scene as it appeared, the late sun was driving the light onto the front surfaces of the logs against a gloomy dark forest behind it, many stops darker. The conscious decision I made was to save the highlights, get some shadow detail, and get some pop in the midtones . I did this combining semistand long development/low agitation with super dilute D-23 "juiced" just a little with sodium hydroxide (lye) to keep the alkalinity in place. So there is definitely some compression of the tonal range that was intentional.

The alternative would have been to lower the EI and do an N-3 or N-3 type development with a "normal" developer. My problem with this is that - while N- type development can preserve the whole tonal range - it does so at the expense of midtone local contrast. I also wouldn't have gotten the same acutance I did with the super-dilute D-23.

Certainly, monitor variably does get in the way, as do the limitations of a scan of a finished print. But, it's worth noting that the compression you're seeing isn't therefore an inherent property of the Foma 100 film itself, but rather an artefact of the developer, agitation scheme, and split VC printing techniques I employed.

Was it the tonal map I "wanted"? It's hard to answer this. It's certainly a tonal map I like, but I'd be lying if I said I had that in mind in the first place. I was mostly experimenting to see if super dilute D-23 semistand would give me control of a big SBR and deliver high acutance.

More generally, my shooting approach is to give myself a negative that gives me a good range of choices in the printing process. I'm not St. Ansel - I'm rarely all that intentional about what the final thing will look like while I am behind the camera 😉

 

[BobCoRn]

Hapo 66e,Enna Haponar 1:4.5/7.5, Fomapan 100 Classic (120) FX-39-II 1:9 7min.




Voigtlander Vaskar 1:4,5 f=80 mm. Voigtlander Perkeo I. Fomapan 100 classic. Rodinal 1:50 9 min. Scanner - Kodak 6x6 Mobile Film Scanner iPhone 7.

 

[davidswiss]

Nikon F2S, Dorset fields.

 

[davidswiss]

Nikon F2S Morgan car tubs

 

[BobCoRn]

Hapo 66e, Enna Haponar 1:3.5/75mm, Fomapan 100 Classic (120) FX-39-II 1:9 7min.

 

[BobCoRn]

Hapo 66e, Enna Haponar 1:3.5/75mm, Fomapan 100 Classic (120) FX-39-II 1:9 7min.

 

[webouser2]

Made with a Zorki 1 w/Industar 22 50mm f/3.5 lens on Fomapan 100.

 

[BobCoRn]

View attachment 4883572

Hapo 66e, Enna Haponar 1:3.5/75mm, Fomapan 100 Classic (120) FX-39-II 1:9 7min.

Honestly, I was pleasantly surprised after developing this roll of film yesterday. Why? There wasn't a single defect on the negatives. Usually, negatives have at least a few round dots. This roll came from a fresh purchase of ten films. Could I really be that lucky?!

 

[Freakscene]

Honestly, I was pleasantly surprised after developing this roll of film yesterday. Why? There wasn't a single defect on the negatives. Usually, negatives have at least a few round dots. This roll came from a fresh purchase of ten films. Could I really be that lucky?!

Foma have really improved their qa/qc.