@sanmich
I have used briefly D76 1+1 and 1+3 with Neopan 400, and I generally liked the results, although the tonality was "fuller" at 1+1. Here is an example of a fairly high contrast scene shot with the Elmarit 90/2.8 last version and developd 1+3:
This photo appears very sharp, but Neopan IS sharper than Tri X, so this could be nothing extrordinary. I like the tonality, but the highlights here are really borderline, and the blacks are not so convincing. One of the problems I have found with Prescysol EF, is my inability to darken substantially the skies. I tried recently some shots of architecture with a red filter, and the sky which was rich blue, is barely a touch darker than pure white. I have asked Peter Hogan, who formulated this developer, if it is a problem of the compensating action of Prescysol EF, but he suggests that my exposure is at fault. I am not so much convinced about it, as I believe that shooting white buildings against a blue sky with the 25A filter on, should in any case create a contrast difference that would show no matter the exposure, so I want to test this again. Here is the example:
For contrast, this one has been shot on Acros, developed in Rodinal, with an orange filter on:
I am very fond of the tonality seen on the prints of Michael Kenna, who notoriously shoots on Tri X and develops in D 76 (or Rodinal, whenever D76 is not available). If you look at these prints, 70% of them are "made" with a rich, dark, sometimes also heavily burned in, sky. So I am a bit undecided... However, the pyro gives you very high sharpness, nice defined grain (Prescysol EF notoriously controls well the grain size), and an incredible midtone palette. I will try now also Tanol speed, to see if it can improve on some Prescysol weaknesses.
