Ash Lizzies. by Nicolas Fourny photographie
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Lydie. by Nicolas Fourny photographie
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Kodak Tri-X, as a concept, has been around since the 1940's when it was a 200 ISO b&w sheet film. Because it was their first fast film, when Kodak released the 400 ISO roll film version, the Tri-X name was maintained. Just like Kodak TMAX P3200 revolutionized low light photography in 1989, Tri-X was an early step in the liberation of photography out of formal studios and away from posed subjects. With its compelling grain structure, rich blacks and ease of use, Kodak Tri-X became an icon of photojournalism and available light photography of all genres. Stephen Dowling, creator of Kosmo Foto, even proposed that Tri-X might be the best black and white film ever made!
Today, on November 1st, this mid-century American classic celebrates it's 67th birthday. Getting to this age hasn't been without its struggles though. Through the 60's and 70's, with the rise in popularity of color film, legacy b&w film sales declined and caused other stocks to go extinct. Tri-X soldiered on though and out-lived color films like Kodachrome that it once seemed to be losing against. In 1989, Ilford released what is still a strong Tri-X competitor; HP5 Plus, a reformulation of HP5. And in 2007, as digital began to compete seriously with film, Kodak struck back with a reformulated Tri-X that has finer grain and uses less silver but still retains much of its character. Today, amidst a global supply chain crisis, Tri-X has received different packaging and an ever-climbing price point that is turning thrifty film photographers to cheaper alternatives. Whatever the future has in store for Kodak Tri-X, its legacy and impact on photography can never be denied, particularly when viewing expansive bodies of work such as that of Andrew Morang who has been shooting Tri-X seemingly non-stop since the 1960's.
I shoot more Tri-X than any other film. I rate Tri-X at either 400 or 1600 and process it in Kodak HC110b. It looks great behind every type of lens I use thanks to is vast dynamic range that picks up every bit of character from the glass. I can shoot it in broad daylight without too harsh a look or very dim indoor light without a muddy a look. So it's a great film to just leave in your daily carry camera for stream-of-consciousness shooting. In fact, I have gotten to a point of keeping my 1930 Leica loaded with Tri-X exclusively at pretty much all times. The rich contrast compensates for the lack of UV coating on my vintage Leitz lenses. And because it's associated with the birth of photojournalism as an art, Tri-X also just feels like the best film for my old Leica that also helped define the genre of photography about which I am most passionate. Behind more modern, multi-coated lenses, the contrast is show-stopping and the film doesn't look its age in the slightest.
Below are some recent photos I've taken on Kodak Tri-X that I think are strong examples of what I appreciate about its character.
This photo was taken about an hour before sunset through my Leitz 90mm Summicron. This lens, built in 1989, amazingly is only single coated but Tri-X helps deepen the shadows. And the texture of out of focus areas with this combo are quite dreamy. I shot this mid-day in fairly harsh sun with my 1932 Leitz Elmar. This lens doesn't have any UV coating but between the harsh light and contrast of Tri-X, the sky took on a haunting quality. Here's another Tri-X shot with my 5cm 3.5 Leitz Elmar during Golden Hour. The image has a lot of textures going on with the soft swirly bokeh, flaring and details of the plants and subjects. If I'd shot this on TMAX, I think it would be too clear and harsh. But with Tri-X grain, things kind of smooth out and equalize without looking mushy. Put Tri-X behind a modern, multi-coated lens like the Voigtlander 40/1.4, find some nice light and watch it sing! The quality of light and lens make the grain in the highlights and shadows nearly disappear but you still have it in the mid tones. This is exactly what people don't understand when they fake film with digital filters. Film can react completely differently in different lighting conditions or with different lenses. I think that an image like this might also challenge Josh Solomon's comment that ["Shooting Tri-X exclusively does tend to get boring after a while."](http://Shooting Tri-X exclusively does tend to get boring after a while.) I thought this image demonstrated how well Tri-X performs in challenging, mixed lighting. We have window and artificial light from multiple rooms competing here with some under and correctly exposed areas. Yet there is still plenty of detail retained in the mid tones before they fall off into deep shadow. I took this wedding photo through a Nikkor 85mm 1.8 and the film was rated and processed for 1600. Looks completely different than the previous shot or the upcoming one. Very little grey here courtesy of the push process and an example of how diverse the Tri-X look can be. This was a late afternoon family portrait session with my 1930 Leica and '32 Elmar. The speckled leaf light is well-controlled. When I was in school, I read a textbook that mentioned something about how grainy film can be used to enhance very textured subjects such as rocks and sand. I think that's what's going on with the rough patina of this old Pontiac whose finish looks like sandpaper. I know it's corny to share selfies but hey, I love my little 1930 Leica and how crisp it looks on Tri-X! The painterly bokeh and modern resolution of my 90mm Summicron are pulled together and given nuanced detail with Tri-X Tri-X is known for its rich blacks but in this evenly lit, late afternoon image of a wedding guest, the mid tones are soft and delicate. Tri-X has a way of being sharp without harsh. I think this is perfect for portraits. I didn't have to do any dodging or burning on this little gentleman's eyes. The wide latitude of Tri-X renders a full compliment of detail from shadow to highlight.
After 67 years, only the newest photographers don't have an opinion on this ubiquitous film but they are probably going to find out about it soon and begin connecting the dots. The rest of us either cut our teeth on it or continue to use Tri-X regularly and have our own personal stories with this film.
Kodak Tri-X is perhaps so common and widely used that it would not only be impossible to imagine a world without it but we may even forget just how special a product that it is.
As we continue to use Tri-X to document the latest cultural events, using modern shooting methods, and the latest processing and digitizing techniques, we not only make the many looks of Tri-X that much more timeless but we starkly highlight what has changed since 1954 and what remains the same. In 2020, I photographed a Black Lives Matter protest on Tri-X and one of the takeaways seemed to be how reminiscent recent events were to the 1960's civil rights movement. But even the simple, isolated family photos and snapshots of dilapidated Americana shared here seem to carry with them a perspective that's nearly geologic in scale.
The adults above were photographed on Tri-X as children by their parents who were also, themselves photographed on Tri-X and the photos that they experienced the news with were on Tri-X. And now I've photographed their children on it. The car. The sign. They were built when Tri-X was still new. Take these photos on a digital camera, or even another film stock. They'll look great. But on Tri-X, these photos, these people, these objects, these events take their place on longer, more connected strings of history. Rather that matters to some people or not is another question of course. Many may be happy to simulate what they think Tri-X looks like using digital filters. But for me, I'll keep the real, the original Kodak Tri-X 400 loaded in my cameras as long as I can get it, and hopefully keep making a little history as I go.
Thanks for reading, happy shooting!
_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _
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Kodak Tri-X, as a concept, has been around since the 1940's when it was a 200 ISO b&w sheet film. Because it was their first fast film, when Kodak released the 400 ISO roll film version, the Tri-X name was maintained. Just like Kodak TMAX P3200 revolutionized low light photography in 1989, Tri-X was an early step in the liberation of photography out of formal studios and away from posed subjects. With its compelling grain structure, rich blacks and ease of use, Kodak Tri-X became an icon of photojournalism and available light photography of all genres. Stephen Dowling, creator of Kosmo Foto, even proposed that Tri-X might be the best black and white film ever made!
Today, on November 1st, this mid-century American classic celebrates it's 67th birthday. Getting to this age hasn't been without its struggles though. Through the 60's and 70's, with the rise in popularity of color film, legacy b&w film sales declined and caused other stocks to go extinct. Tri-X soldiered on though and out-lived color films like Kodachrome that it once seemed to be losing against. In 1989, Ilford released what is still a strong Tri-X competitor; HP5. And in 2007, as digital began to compete seriously with film, Kodak struck back with a reformulated Tri-X that has finer grain and uses less silver but still retains much of its character. Today, amidst a global supply chain crisis, Tri-X has received different packaging and an ever-climbing price point that is turning thrifty film photographers to cheaper alternatives. Whatever the future has in store for Kodak Tri-X, its legacy and impact on photography can never be denied, particularly when viewing expansive bodies of work such as that of Andrew Morang who has been shooting Tri-X seemingly non-stop since the 1960's.
I shoot more Tri-X than any other film. I rate Tri-X at either 400 or 1600 and process it in Kodak HC110b. It looks great behind every type of lens I use thanks to is vast dynamic range that picks up every bit of character from the glass. I can shoot it in broad daylight without too harsh a look or very dim indoor light without a muddy a look. So it's a great film to just leave in your daily carry camera for stream-of-consciousness shooting. In fact, I have gotten to a point of keeping my 1930 Leica loaded with Tri-X exclusively at pretty much all times. The rich contrast compensates for the lack of UV coating on my vintage Leitz lenses. And because it's associated with the birth of photojournalism as an art, Tri-X also just feels like the best film for my old Leica that also helped define the genre of photography about which I am most passionate. Behind more modern, multi-coated lenses, the contrast is show-stopping and the film doesn't look its age in the slightest.
Below are some recent photos I've taken on Kodak Tri-X that I think are strong examples of what I appreciate about its character.
This photo was taken about an hour before sunset through my Leitz 90mm Summicron. This lens, built in 1989, amazingly is only single coated but Tri-X helps deepen the shadows. And the texture of out of focus areas with this combo are quite dreamy. I shot this mid day in fairly harsh sun with my 1932 Leitz Elmar. This lens doesn't have any UV coating but between the harsh light and contrast of Tri-X, I find the sky to take on a haunting quality. Here's another Tri-X shot with my 5cm 3.5 Leitz Elmar during Golden Hour. The image has a lot of textures going on with the soft swirly bokeh, flaring and details of the plants and subjects. If I'd shot this on TMAX, I think it would be too clear and harsh. But with Tri-X grain, things kind of smooth out and equalize without looking mushy. Put Tri-X behind a modern, multi-coated lens like the Voigtlander 40/1.4, find some nice light and watch it sing! The quality of light and lens make the grain in the highlights and shadows nearly disappear but you still have it in the mid tones. This is exactly what people don't understand when they fake film with digital filters. Film can react completely differently in different lighting conditions or with different lenses. I think that an image like this might also challenge Josh Solomon's comment that ["Shooting Tri-X exclusively does tend to get boring after a while."](http://Shooting Tri-X exclusively does tend to get boring after a while.) I thought this image demonstrated how well Tri-X performs in challenging, mixed lighting. We have window and artificial light from multiple rooms competing here with some under and correctly exposed areas. Yet there is still plenty of detail retained in the mid tones before they fall off into deep shadow. I took this wedding photo through a Nikkor 85mm 1.8 and the film was rated and processed for 1600. Looks completely different than the previous shot or the upcoming one. Very little grey here courtesy of the push process and an example of how diverse the Tri-X look can be. This was a late afternoon family portrait session with my 1930 Leica and '32 Elmar. The speckled leaf light is well-controlled. When I was in school, I read a textbook that mentioned something about how grainy film can be used to enhance very textured subjects such as rocks and sand. I think that's what's going on with the rough patina of this old Pontiac whose finish looks like sandpaper. I know it's corny to share selfies but hey, I love my little 1930 Leica and how crisp it looks on Tri-X! The painterly bokeh and modern resolution of my 90mm Summicron are pulled together and given nuanced detail with Tri-X Tri-X is known for its rich blacks but in this evenly lit late afternoon image of a wedding guest, the mid tones are soft and delicate. Tri-X has a way of being sharp without harsh. I think this is perfect for portraits. I didn't have to do any dodging or burning on this little gentleman's eyes. The wide latitude of Tri-X renders a full compliment of detail from shadow to highlight.
After 67 years, only the newest photographers don't have an opinion on this ubiquitous film but they are probably going to find out about it soon and begin connecting the dots. The rest of us either cut our teeth on it or continue to use Tri-X regularly and have our own personal stories with this film.
Kodak Tri-X is perhaps so common and widely used that it would not only be impossible to imagine a world without it but we may even forget just how special a product that it is.
As we continue to use Tri-X to document the latest cultural events, using modern shooting methods, and the latest processing and digitizing techniques, we not only make the many looks of Tri-X that much more timeless but we starkly highlight what has changed since 1954 and what remains the same. In 2020, I photographed a Black Lives Matter protest on Tri-X and one of the takeaways seemed to be how reminiscent recent events were to the 1960's civil rights movement. But even the simple, isolated family photos and snapshots of dilapidated Americana shared here seem to carry with them a perspective that's nearly geologic in scale. The adults above were photographed on Tri-X as children by their parents who were also, themselves photographed on Tri-X and the photos that they experienced the news with were on Tri-X. And now I've photographed their children on it. The car. The sign. They were built when Tri-X was still new, . Take these photos on a digital camera, or even another film stock. They'll look great. But on Tri-X, these photos, these people, these objects, these events take their place on longer, more connected strings of history. Rather that matters to some people or not is another question of course. Many may be happy to simulate what they think Tri-X looks like using digital filters. But for me, I'll keep the real, the original Kodak Tri-X 400 loaded in my cameras as long as I can get it, and hopefully keep making a little history as I go.
Thanks for reading, happy shooting!
_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _
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One Year with the Voigtlander 40mm 1.4 Nokton MC
Since buying, shooting and writing about the Voigtlander 40mm 1.4 Nokton MC, I feel like I see this lens everywhere! I didn't realise how popular it is. The blog I wrote about it is my third most viewed of all time, I see it mounted to many of the cameras that I read reviews of and a shooter at the Leica Store was even using it to photograph Dave Burnett at his gallery opening last October, one of the last big events I attended before COVID struck.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr
I re-read my original comments about the lens and while they're still valid a year later, I found that in practice, I really like the lens despite my initial disappointment. I probably was expecting or hoping for too much. In fact, I used it exactly as I'd first intended for a few shoots before COVID wiped out much of my wedding work and bar-hopping and it excelled beautifully. I figured I'd share some of those photos, which turned out to be some of my favorites of 2019 and early 2020, and take a deeper dive into the characteristics and uses of, what is for many, their go-to M-mount lens.
By the way, these images were taken on my Leica M6 TTL .85.
Here we go…
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX 100 | Kodak HC110b |
© 2019 Johnny Martyr
I took this photo of a forgotten Ford truck on my way to a wedding shoot in Thurmont, Maryland in the fall of 2019. It was probably close to high noon, hence the straight down shadows. For portraits, this light would have been terrible. But between the low grain Kodak TMAX 100 and the super sharp Voigtlander 40/1.4, the harsh light was perfect for rendering an image that out-resolves my meager Epson flatbed scanner. Who needs gimmicky classic car HDR filters when you're packing these ingredients? The 40mm focal length was great for a standard establishing shot at a low quarter angle. The scene was so ideal that I didn't even bother taking any significantly different versions of it, just a couple aperture brackets because I had time for it. I think this was f8 by the way.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
This photo shows quite the other end of the spectrum. I arrived at the ceremony location early, in order to acquaint myself with the people and place that I'd be working with. While doing some establishing shots, I took this image of the couples' sand ceremony set-up. I was on Tri-X and topped my shutter out so as to open the Voigt Nokton as wide as possible. I also focused it to near full minimum distance. The Nokton actually focuses closer than my M6 TTL can so one can play with that a little to bottom out the depth of field. As you can see, the lens has a strong vignette and displays a bit of swirlios that I don't see discussed in reviews very often. So the 40 Nokton can also be used as an effects lens if desired.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
And here are the couple whose wedding I was shooting. You may already know the groom by his writing. This is fellow film blogger, Mark from The GAS Haus. Mark hired me to shoot candids of his woodsy wedding but, you know, everyone wants a few posed shots. I used my 90mm Leitz Summicron for most of the ceremony but took some of the posed shots with the 40mm so as to include some context of their beautiful outdoor ceremony. On a faster film, with a wider aperture and overcast lighting (from the tree covering), the 40mm Nokton softens up as one wants for portraits. And the lack of barrel distortion allows this wider lens to meet the challenge of accurate rendering of faces.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX 100 | Kodak HC110b |
© 2019 Johnny Martyr
Switching back to TMAX 100, I thought this dramatically lit door provided a good scope on the range of performance of the 40mm Nokton in one image. You've got super crisp, in-focus areas revealing gobs of detail with a fast fall-off into smooth bokeh, featuring playful out-of-focus points of leaf light. Notice the slight fringing on the bokeh balls. For color shooters the Nokton's OoF areas may be distracting but in b&w, there's not enough CA to really bother me. I knew this shot would be a keeper and probably took ten versions of it before the light shifted and the moment was gone.
For another 2019 wedding, I was using my 1930 Leica with 1936 Summar as my main normal lens but I also squeezed off some shots with the 40mm Nokton.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
I was on Tri-X rated at 400 for both of these but I was beginning to lose light during cocktail hour so I opened up considerably. You can see that the second image, of the blonde smiling, was at full aperture because the OoF points of light are perfectly circular and we see some of that swirling from earlier. While the 40 Nokton loses a lot of resolution as you open it up, the 10 blade aperture diaphragm and classic optical formula make for some really painterly bokeh that I enjoy, particularly when rendered on contrasty Tri-X in HC110b (and a little bump in black levels!)
The two photos above are only a couple apertures apart and give you an idea how fast the Nokton sharpens up/softens as you move to and from full aperture.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr
These three shots above were taken on different days of the wedding, but all were with Tri-X at 1600 ISO and demonstrate how highlights from the Nokton glow gently, a la it's "Classic" namesake.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr
Here's another glowy 1600 Tri-X shot of guests on a party boat for the rehearsal dinner. I think it really demonstrates how you can use the slightly wider perspective of the 40 to differentiate work from a boring 50mm. The lines of the ceiling tile, as well as window frames and the bar just emit from the subject and run out of the corners of the frame with a speed that wouldn't happen with a 50. And many 35's would have distorted the lines. More examples of those cool bokeh balls and playful, perhaps somewhat busy but fun bokeh.
The next wedding images were shot on TMAX P3200 rated and pushed to 6400 in HC110b. This is an important reason why I wanted a sharper, fast lens. For low, available light work with a grainy film, as a I noted in a blog a couple years back, you need a sharper-than-average lens because the grain gets overly mooshy with a softer one.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr
Below are some photos from when I went out drinking for New Year's Eve. Little did I know that it would be the last time I'd be enjoying the downtown Frederick bar scene for the rest of 2020.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
This is my friend and muse, Denise warming up beside one of those outdoor heater things. Notice we've got some out-of-focus points of light and you can tell by the lack of perfect circles that I was stopped down slightly. Oddly, you'll note that even though the 40mm Nokton has 10 blades, OoF points of light render with seven sides. If anyone understands this, please, let me know in the comments! Images with leading out-of-focus elements show again how the 40mm focal length can pull the viewer in; a key reason that there is a small but dedicated crowd who prefer 40 to 35 or 50mm.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
Here's Denise huddled by the heater again. I like how isolated the focus is here and how smooth the fall-off is.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
I know you're supposed to start with the best and end with the best but I was dragging my shutter for this image of a crowd at Firestones in downtown Frederick, MD. It's not a good demonstration of the Voigtlander 40mm 1.4 Nokton MC at all because there's some shutter blur to it. But I really love this image because it feels, to me, like a final glance at a personal moment within a sea of people before they all disappeared from public life shortly after 2020 commenced.
I haven't shot much with the 40 Nokton in 2020. The few weddings I had were in the daytime and consisted only of ceremony and posed shots due to venue restrictions for COVID. And the only barhopping I've done has been from my kitchen to my living room to my porch then back to my kitchen. Reviewing these images has been a fun reminder of 2019 and the ambition of buying a new lens and having a number of exciting uses lined up for it.
Do you use the Voigtlander 40mm Nokton MC or SC? Any recommendations on other uses? I really need to do more automotive and architecture! What do you love and hate about this curiously cheap, high spec little hunk of glass and aluminum?
Thanks for reading and happy shooting!
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Rating + Processing for Available Light Portraits – EI 1600 ISO
International Center of Photography shooter James Mignogna once told me that a good photographer matches their light, lens, film and developer.
Nowhere do I think these decisions are more critical than portraits in dim lighting.
With all of us spending so much time at home lately, I have gotten a number of emails asking for my recommendations on taking better available light portraits. Pre-pandemic, I shot weddings and concerts using fast b&w films and lenses. For personal work, I enjoy taking candid/informal portraits of friends which is what I'll use as examples throughout this two-part blog. I currently process my own b&w but I'll provide some recommendations for color and lab processing because I used to do that too also. This blog will be about how to work in 1600 ISO. And I'll follow up with a blog on 3200 ISO to clear up the confusion surrounding Delta and TMAX 3200 ISO films.
Start WIT H 1600
It's often recommended to use 400 ISO as one's general use film, but if you do this with any regularity, I think you'll find that shooting in many indoor settings this can be problematic. On cloudy days when there's little window light, the limitations of 400 as your go-to ISO will become apparent. Many people will employ that fast 50mm 1.whatever lens which I'm all about too, but I don't always like to lean on them. Shooting at full aperture, particularly at the closer distances one tends to find oneself shooting at indoors, can result in missed focus due to the shallow depth of field and moving subject matter. Stopping down allows me to shoot someone, or a couple "someones" who is/are laughing, gesticulating, etc and get the important bits in focus. Additionally, while there are some lenses that perform well at full aperture, the vast majority sharpen up as one stops down.
The solution? Bump up to 1600.
Lipstick Lamarr|Kodak Portra 400 rated at 1600 processed normal at EI 400 (by a lab)
But what 1600 ISO films are on the market? None. There used to be Fuji Neopan 1600; a b&w stock in the Acros family that was discontinued in 2009 and Fuji Superia 1600; a color stock in the Superia/Fujicolor family that was discontinued in 2018. I think you can still buy fresh Fuji Natura 1600, a version of Superia that was/is only available in Japan but it was/is very expensive to export.
Color films are also difficult to shoot at higher ISO's. Every major brand of still photo print film currently on the market is daylight, not tungsten balanced. This results in shifts to orange that have to be tamed with editing and filters. The shift is more dramatic as one works in dimmer light. Cinestill film is cut from Kodak motion picture film, which is still available with tungsten white balance. So if you're dead set on shooting color film in dim, artificial light, check out 800T and learn to push it as necessary. Even still, I find that color is challenging for unstaged, non-deliberately lit work due to all the variables it introduces. Many shooters will end up removing the color in some really dim scenes anyway.
Natalie| Kodak Portra 800 rated at 800 processed normal at EI 800 (by a lab)
Some time ago, after experimenting with the aforementioned, I chose to move to an all black and white workflow. Shooting in b&w not only alleviates this complication but there are still two, wide production, fast b&w films on the market that I enjoy; Kodak TMAX P3200 and Ilford Delta 3200. But more on those later.
While it sucks that there are no 1600 ISO films available anymore, I think the reason for this is that we don't really need them. You see, modern 400 ISO films push or over rate to EI 1600 beautifully. By pushing or over-rating a 400 ISO film to 1600 instead of using a 1600 ISO film, you get images that have finer grain and richer contrast. As you'll see below, I don't advocate fine grain and rich contrast as universal goals, but I will say that for me, the quality of light that I choose EI 1600 for is usually flatter so it's nice to counteract that.
My personal favorite 400 ISO film to rate at 1600 is Kodak Tri-X 400. If you enjoy finer grain, TMAX 400 is a great substitute. When I took my work to labs and used more C41, I also used Ilford XP2 400 and Portra 400. In order to get these films to 1600, you can do a couple things.
HOW TO RATE AND PROCESS FOR 1600
Start by setting your camera/light meter to 1600 ISO. I recommend marking the film canister at the speed you're shooting and potentially also, the speed you want to process for. This ensures that you won't mix up your film. However, as I'm about to discuss, that may not necessarily matter!
Next, take your photos. Notice that 1600 ISO gives you a big two stops more apertures to use than 400 ISO. It's pretty nice be be able to shoot at f4 and make f1.whatever a creative decision instead of a necessity. In most indoor situations with a little window light, 1600 at f4 is a good combo for me. It gives me enough depth of field to hit focus accurately and easily as well as higher resolution from the lens. Because distance to subject is often shorter indoors than outdoors, I can still get decently out of focus background also. The f2 or wider aperture can be chosen when you want that dreamier, even more shallow DoF. By shooting at 1600 instead of 400, you have a choice in aperture range rather than just bottoming out all your settings.
Christa| Kodak Tri-X 400 rated at 1600 ISO and processed in Kodak HC110b for EI 1600
Christa| Kodak Tri-X 400 rated at 1600 ISO and processed in Kodak HC110b for EI 1600
Now this is where things can go two different ways.
Conventional wisdom is that if you rate your film 2 stops over box speed, you need to push process by 2 stops. Doing so preserves some tonality and tames the inevitable increase in contrast. If you process your own film, consult your development time and temperature to push two stops. If you use a lab, mark your film and order form for the film to be pushed two stops. Be sure that your lab is able and willing to push process BEFORE shooting. Some cannot push. And just a warning, those that do, charge a couple bucks for each stop that they push. So be prepared for a higher bill.
Now, your other choice is this lesser known thing that I call over-rating.
Christi | Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Devon| Kodak Portra 400 rated at 1600 ISO and processed normal at EI 400
So let's say you've got your rolls of Tri-X 400, TMAX 400, XP2 400 or Portra 400 that you exposed at 1600, now hand them to your lab, or process them yourself and IGNORE the whole 1600 thing all together. These films and some others, will look JUST FINE when processed "normal" at their box speed, despite being two stops underexposed. I refer to this as over-rating. **** It is different from push processing your film because there is no push in the processing!
Tricia| Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Why would I recommend this? Well, when I was shooting C41 film at weddings and having pro labs do all my processing and scanning, I didn't want to pay the extra $2 per stop to push my films since I didn't charge as much back then as I do now! It was also one extra issue to have to mark the film while shooting many rolls of film during fast-paced events in order to separate it for different processing.
I stumbled upon this because I'd forgotten to mark a couple rolls at 1600 and they got processed normal but came out beautifully. So I started experimenting with doing it deliberately. I found that I could over-rate XP2 400 and Portra 400 as high as 6400 without pushing. But going higher than 1600 results in somewhat dangerously thin negatives, increased grain and very specific lighting needs. 1600 is solid though. Negs are a little thinner but very useable. Some may like the greyer look of unedited scans of thinner film but I like to bring the black point in on mine (which I do with all my film scans to varying degrees.)
Steph| Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
If you don't believe me, try it. Or just keep pushing. Whatever you want! Because I process all my own b&w work now, I just push instead of over-rating as I don't have to pay extra to do so and generally prefer to start with a more tonal image when possible. But over-rating was an arrow in my quiver for several years of weddings, concerts and night time candid portraits.
When over-rating 400 ISO films, I look for scenes with a good deal of contrast. I find that more evenly lit scenes, can appear flat and potentially muddy if over-rated. These are scenes that would work better with pushing. But if you have a decent contrast ratio in your scene and want to save yourself a couple bucks or use a lab that does not push process, over-rating should prove useful.
Lipstick Lamarr | Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Personally, Tri-X 400 which I'm rating and processing at EI 1600, is my go-to. It's not such a great idea to use outside in daylight unless you love contrast and for everything to be in focus! But I think you'll find that this approach and the others described here will work well indoors.
For those of you who enjoy more grain and tonality, or are just shooting well after the sun goes down, there's no escaping the light gathering abilities of Kodak TMAX P3200 and Ilford Delta 3200. More shots of the ladies above in my next entry; Rating + Processing for Available Light Portraits - EI 3200 ISO.
Thanks for reading and happy shooting!
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Rating + Processing for Available Light Portraits – EI 3200 ISO
It bears repeating:
International Center of Photography shooter James Mignogna once told me that a good photographer matches their light, lens, film and developer. Nowhere do I think these decisions are more critical than portraits in dim lighting.
That was the intro I used in my previous entry: Rating + Processing for Available Light Portraits - EL 1600 ISO and it's as relevant to the entry you're reading now, which will center around 3200 ISO films. Of which, there are only two currently available.
SHOOTING IN THE DARK: KODAK TMAX P3200 AND DELTA 3200
Okay, so what happens when the sun goes down? 1600 and a 50/2 lens will not cut it anymore so you have to go faster. Ilford Delta and Kodak TMAX 3200 films are here to the rescue!
Armchair available light photographers delight in pointing out that Delta 3200 has a native ISO of 1000 and TMAX P3200 has a native ISO of 800. On a technical level, this is not misinformation. However, I am of the opinion that the constant restating of this as well as some incomplete, inaccurate tutorials about how to shoot these films has spawned not only an inaccurate belief that these films are "best" shot at their native ISO but even a bit of FEAR of shooting them at their box speed or higher.
I say, forget about this native ISO stuff!
For all intents and purposes, 3200 ISO is the NORMAL speed of Delta 3200 and TMAX P3200.
The DX codes printed on their canisters read 3200 by cameras and minilabs. Therefore, this is how Ilford and Kodak want these films to be rated and processed.
The films are not called Delta 1000 or TMAX P800, they're called 3200. This is not just marketing as people will lament on the interwebs.
These films are intended by their designers, to be rated at 3200 and processed for 3200. They are also designed to function as "multiple ISO films," as has been worded in older Kodak literature.
I don't personally see the point of paying for higher priced 3200 ISO films and, rating them well within the range of what 400 ISO film can handle, without a more specific reason than because a few influencers have told followers that this is how these films "should" be used.
To be clear, I'm not discouraging anyone from exploring what these flexible films can do, I'm denouncing boxing oneself into this native ISO rating.
If you are shooting a brighter scene but enjoy grain, yes, go ahead and under-rate your film. Rate it at 1600 and process normal (at EI 3200) This will give you richer contrast, you don't have to pay your lab extra money or separate or mark your film.
Jill| Kodak TMAX P3200 rated at 1600 ISO and processed normal at EI 3200
I was on a Nikkormat kick for some time and the meters on these and other classic cameras top out at 1600, so this guided how I shot and processed my 3200 films. In the example above, I was shooting in flat light that needed the under-rating to bring contrast to the scene. Some Nikkor lenses are not very contrasty at full aperture, so under-rating the film helps balance this out too.
If you like grain and tonality and shooting at wider apertures (a dreamy look, if you will), you can rate 3200 films at box speed to achieve this.
Laurie | Kodak TMAX P3200 rated at 3200 ISO and processed normal at EI 3200
In fact, you can always rate your film at 3200 and process normal at EI 3200. This is what Kodak and Ilford designed the film for and is it's "normal" look. No pushing, no pulling, no over- or under-rating. This will give you a flatter, more tonal image which is perhaps a less popular look currently and the reason that you see people recommending against EI 3200. But look, it's all about assessing the quality of the light you're working in and deciding what style you want. You may also just NEED that extra stop because the light is too dim to shoot at 1600 handheld.
I encourage other photographers not to assign subjective judgement such as presuming more contrast is "better" or less grain is "better."
In truth, everything's about balancing what you are working with and what you are trying to achieve. Under-rating (overexposing) your film may increase contrast but it also reduces tonality and shadow detail. It also gives you fewer apertures from which to choose. A detail-oriented shooter is going to be ready to shoot/process these films several ways depending on what the scene is giving them, as oppose to prescribing one method or film for every situation.
What I do most of the time is rate my film at 6400 ISO and process for EI 6400 by pushing one stop. This is critical of shooting in low light and night time without a flash or camera support and slow shutter speeds. It's how I shoot weddings and concerts and pre-pandemic bar hopping with friends. My reasoning is multi-fold. One being that the light meters of my best cameras top out at 6400, so I can operate them without a shred of guess work. Another being that I'm using these films to do what they were intended. The higher sensitivity allows me to stop down if there's ample light, so I can control my DoF more. The tonality I get from not under-rating gives me more "information" to work with when editing. And the final one being that I very seldom encounter a situation worth photographing where ISO 6400 with a 1/60th shutter speed and a 1.4 aperture are not adequate at bare minimum. Yes, these films can be rated even faster and you may use a lens faster than 1.4. But in these conditions, even with current digital cameras, one encounters some insurmountable (in my opinion) aesthetic concerns.
Christi | Kodak TMAX P3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Laurie| Kodak TMAX P3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Aside from how to expose and process, the other big question is which to use, Ilford Delta 3200 or Kodak TMAX P3200. In HC110b, I find the Kodak to be softer and more tonal, whereas the Ilford is sharper and more contrasty. So, just as I recommend under-rating or push processing to bring contrast to a scene with flatter lighting, I would also recommend choosing Delta. The opposite would be true for a contrasty scene, reach for the TMAX to quell that contrast. OR, if you want to emphasize a contrasty scene, use Delta and to emphasize a flat, dreamy scene, use TMAX. And within each model of film, you can rate and process to add or calm contrast.
Is your head exploding with options?
Don't worry! My recommendation is to start at box speed and normal processing and learn what works and doesn't work with your particular lenses and your usual scenes. I DO NOT recommend starting out by under-rating these films as many influencers will encourage. These films simply are not a one-size-fits all solution. They're not meant to be. They're SUPPOSED to be personally tailored. Just doing whatever you're told to do with them is negating the entire point.
Steph | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Lipstick Lamarr | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Devon | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Another important thing to keep in mind, which I've talked about but maybe not explicitly enough, is not to confuse quantity and quality of light.
Just because a scene has a lower QUANTITY of light and necessitates a higher ISO, this does not mean that you can ignore the QUALITY of the light just because you are shooting at 1600 or 6400. I see so many available light portraits at high ISO's with shadows on faces or other important elements of the scene. I think photographers forget this because in 100 and 400 ISO conditions which are often sunlit, one needn't pay a lot of attention to the quality of light in order to return acceptable photos. A shadow on a face may not turn into a grainy mess in the same way it does at 6400. In fact, I find that the less and less light you shoot in, I find that more critical the quality of that light becomes. And maybe this is one of the main reasons that shooting in these conditions is so challenging.
Tricia| Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Notice in all these photos, both in this and the 1600 blog, regardless of how dark/black the surrounded area, highlights are generally on the faces. The inclination with candid portraits sometimes is to squeeze the shutter release during the peak of action. But with available light photography, not only must you consider the peak of action but also, this moment has to agree with where the light falls on your subject.
So when working in EI 1600 and 3200; it sounds cheesy and maybe even obvious but… let the light be your guide!
Don't choose your film, rating and process because someone who takes great photos said something is "the best," or because you saw some photos at those specs that look good. Ask these photogs about the quality of light they were shooting in and assess the quality of light you're shooting in. Consider the character of your lenses. Make judgement calls based on those points and your desired outcome. Film responds different ways in different situations. That's why digital can never fully copy it. And it's also why there's a lot to learn in order to get the look you're after. It's very possible that of all my examples, you still don't see something that's right for you. And that's okay. The concept is there. From 1600 to 6400 ISO/EI, hopefully I've given you a springboard from which to find combinations that work for what you are trying to do. Go out and find your own method for shooting portraits in low, available light!
Thanks for reading and happy shooting!
_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _
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One Year with the Voigtlander 40mm 1.4 Nokton MC
Since buying, shooting and writing about the Voigtlander 40mm 1.4 Nokton MC, I feel like I see this lens everywhere! I didn't realise how popular it is. The blog I wrote about it is my third most viewed of all time, I see it mounted to many of the cameras that I read reviews of and a shooter at the Leica Store was even using it to photograph Dave Burnett at his gallery opening last October, one of the last big events I attended before COVID struck.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr
I re-read my original comments about the lens and while they're still valid a year later, I found that in practice, I really like the lens despite my initial disappointment. I probably was expecting or hoping for too much. In fact, I used it exactly as I'd first intended for a few shoots before COVID wiped out much of my wedding work and bar-hopping and it excelled beautifully. I figured I'd share some of those photos, which turned out to be some of my favorites of 2019 and early 2020, and take a deeper dive into the characteristics and uses of, what is for many, their go-to M-mount lens.
By the way, these images were taken on my Leica M6 TTL .85.
Here we go…
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX 100 | Kodak HC110b |
© 2019 Johnny Martyr
I took this photo of a forgotten Ford truck on my way to a wedding shoot in Thurmont, Maryland in the fall of 2019. It was probably close to high noon, hence the straight down shadows. For portraits, this light would have been terrible. But between the low grain Kodak TMAX 100 and the super sharp Voigtlander 40/1.4, the harsh light was perfect for rendering an image that out-resolves my meager Epson flatbed scanner. Who needs gimmicky classic car HDR filters when you're packing these ingredients? The 40mm focal length was great for a standard establishing shot at a low quarter angle. The scene was so ideal that I didn't even bother taking any significantly different versions of it, just a couple aperture brackets because I had time for it. I think this was f8 by the way.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
This photo shows quite the other end of the spectrum. I arrived at the ceremony location early, in order to acquaint myself with the people and place that I'd be working with. While doing some establishing shots, I took this image of the couples' sand ceremony set-up. I was on Tri-X and topped my shutter out so as to open the Voigt Nokton as wide as possible. I also focused it to near full minimum distance. The Nokton actually focuses closer than my M6 TTL can so one can play with that a little to bottom out the depth of field. As you can see, the lens has a strong vignette and displays a bit of swirlios that I don't see discussed in reviews very often. So the 40 Nokton can also be used as an effects lens if desired.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
And here are the couple whose wedding I was shooting. You may already know the groom by his writing. This is fellow film blogger, Mark from The GAS Haus. Mark hired me to shoot candids of his woodsy wedding but, you know, everyone wants a few posed shots. I used my 90mm Leitz Summicron for most of the ceremony but took some of the posed shots with the 40mm so as to include some context of their beautiful outdoor ceremony. On a faster film, with a wider aperture and overcast lighting (from the tree covering), the 40mm Nokton softens up as one wants for portraits. And the lack of barrel distortion allows this wider lens to meet the challenge of accurate rendering of faces.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX 100 | Kodak HC110b |
© 2019 Johnny Martyr
Switching back to TMAX 100, I thought this dramatically lit door provided a good scope on the range of performance of the 40mm Nokton in one image. You've got super crisp, in-focus areas revealing gobs of detail with a fast fall-off into smooth bokeh, featuring playful out-of-focus points of leaf light. Notice the slight fringing on the bokeh balls. For color shooters the Nokton's OoF areas may be distracting but in b&w, there's not enough CA to really bother me. I knew this shot would be a keeper and probably took ten versions of it before the light shifted and the moment was gone.
For another 2019 wedding, I was using my 1930 Leica with 1936 Summar as my main normal lens but I also squeezed off some shots with the 40mm Nokton.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
I was on Tri-X rated at 400 for both of these but I was beginning to lose light during cocktail hour so I opened up considerably. You can see that the second image, of the blonde smiling, was at full aperture because the OoF points of light are perfectly circular and we see some of that swirling from earlier. While the 40 Nokton loses a lot of resolution as you open it up, the 10 blade aperture diaphragm and classic optical formula make for some really painterly bokeh that I enjoy, particularly when rendered on contrasty Tri-X in HC110b (and a little bump in black levels!)
The two photos above are only a couple apertures apart and give you an idea how fast the Nokton sharpens up/softens as you move to and from full aperture.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr
These three shots above were taken on different days of the wedding, but all were with Tri-X at 1600 ISO and demonstrate how highlights from the Nokton glow gently, a la it's "Classic" namesake.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr
Here's another glowy 1600 Tri-X shot of guests on a party boat for the rehearsal dinner. I think it really demonstrates how you can use the slightly wider perspective of the 40 to differentiate work from a boring 50mm. The lines of the ceiling tile, as well as window frames and the bar just emit from the subject and run out of the corners of the frame with a speed that wouldn't happen with a 50. And many 35's would have distorted the lines. More examples of those cool bokeh balls and playful, perhaps somewhat busy but fun bokeh.
The next wedding images were shot on TMAX P3200 rated and pushed to 6400 in HC110b. This is an important reason why I wanted a sharper, fast lens. For low, available light work with a grainy film, as a I noted in a blog a couple years back, you need a sharper-than-average lens because the grain gets overly mooshy with a softer one.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr
Below are some photos from when I went out drinking for New Year's Eve. Little did I know that it would be the last time I'd be enjoying the downtown Frederick bar scene for the rest of 2020.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
This is my friend and muse, Denise warming up beside one of those outdoor heater things. Notice we've got some out-of-focus points of light and you can tell by the lack of perfect circles that I was stopped down slightly. Oddly, you'll note that even though the 40mm Nokton has 10 blades, OoF points of light render with seven sides. If anyone understands this, please, let me know in the comments! Images with leading out-of-focus elements show again how the 40mm focal length can pull the viewer in; a key reason that there is a small but dedicated crowd who prefer 40 to 35 or 50mm.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
Here's Denise huddled by the heater again. I like how isolated the focus is here and how smooth the fall-off is.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
I know you're supposed to start with the best and end with the best but I was dragging my shutter for this image of a crowd at Firestones in downtown Frederick, MD. It's not a good demonstration of the Voigtlander 40mm 1.4 Nokton MC at all because there's some shutter blur to it. But I really love this image because it feels, to me, like a final glance at a personal moment within a sea of people before they all disappeared from public life shortly after 2020 commenced.
I haven't shot much with the 40 Nokton in 2020. The few weddings I had were in the daytime and consisted only of ceremony and posed shots due to venue restrictions for COVID. And the only barhopping I've done has been from my kitchen to my living room to my porch then back to my kitchen. Reviewing these images has been a fun reminder of 2019 and the ambition of buying a new lens and having a number of exciting uses lined up for it.
Do you use the Voigtlander 40mm Nokton MC or SC? Any recommendations on other uses? I really need to do more automotive and architecture! What do you love and hate about this curiously cheap, high spec little hunk of glass and aluminum?
Thanks for reading and happy shooting!
_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _
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Rating + Processing for Available Light Portraits – EI 1600 ISO
International Center of Photography shooter James Mignogna once told me that a good photographer matches their light, lens, film and developer.
Nowhere do I think these decisions are more critical than portraits in dim lighting.
With all of us spending so much time at home lately, I have gotten a number of emails asking for my recommendations on taking better available light portraits. Pre-pandemic, I shot weddings and concerts using fast b&w films and lenses. For personal work, I enjoy taking candid/informal portraits of friends which is what I'll use as examples throughout this two-part blog. I currently process my own b&w but I'll provide some recommendations for color and lab processing because I used to do that too also. This blog will be about how to work in 1600 ISO. And I'll follow up with a blog on 3200 ISO to clear up the confusion surrounding Delta and TMAX 3200 ISO films.
Start WIT H 1600
It's often recommended to use 400 ISO as one's general use film, but if you do this with any regularity, I think you'll find that shooting in many indoor settings this can be problematic. On cloudy days when there's little window light, the limitations of 400 as your go-to ISO will become apparent. Many people will employ that fast 50mm 1.whatever lens which I'm all about too, but I don't always like to lean on them. Shooting at full aperture, particularly at the closer distances one tends to find oneself shooting at indoors, can result in missed focus due to the shallow depth of field and moving subject matter. Stopping down allows me to shoot someone, or a couple "someones" who is/are laughing, gesticulating, etc and get the important bits in focus. Additionally, while there are some lenses that perform well at full aperture, the vast majority sharpen up as one stops down.
The solution? Bump up to 1600.
Lipstick Lamarr|Kodak Portra 400 rated at 1600 processed normal at EI 400 (by a lab)
But what 1600 ISO films are on the market? None. There used to be Fuji Neopan 1600; a b&w stock in the Acros family that was discontinued in 2009 and Fuji Superia 1600; a color stock in the Superia/Fujicolor family that was discontinued in 2018. I think you can still buy fresh Fuji Natura 1600, a version of Superia that was/is only available in Japan but it was/is very expensive to export.
Color films are also difficult to shoot at higher ISO's. Every major brand of still photo print film currently on the market is daylight, not tungsten balanced. This results in shifts to orange that have to be tamed with editing and filters. The shift is more dramatic as one works in dimmer light. Cinestill film is cut from Kodak motion picture film, which is still available with tungsten white balance. So if you're dead set on shooting color film in dim, artificial light, check out 800T and learn to push it as necessary. Even still, I find that color is challenging for unstaged, non-deliberately lit work due to all the variables it introduces. Many shooters will end up removing the color in some really dim scenes anyway.
Natalie| Kodak Portra 800 rated at 800 processed normal at EI 800 (by a lab)
Some time ago, after experimenting with the aforementioned, I chose to move to an all black and white workflow. Shooting in b&w not only alleviates this complication but there are still two, wide production, fast b&w films on the market that I enjoy; Kodak TMAX P3200 and Ilford Delta 3200. But more on those later.
While it sucks that there are no 1600 ISO films available anymore, I think the reason for this is that we don't really need them. You see, modern 400 ISO films push or over rate to EI 1600 beautifully. By pushing or over-rating a 400 ISO film to 1600 instead of using a 1600 ISO film, you get images that have finer grain and richer contrast. As you'll see below, I don't advocate fine grain and rich contrast as universal goals, but I will say that for me, the quality of light that I choose EI 1600 for is usually flatter so it's nice to counteract that.
My personal favorite 400 ISO film to rate at 1600 is Kodak Tri-X 400. If you enjoy finer grain, TMAX 400 is a great substitute. When I took my work to labs and used more C41, I also used Ilford XP2 400 and Portra 400. In order to get these films to 1600, you can do a couple things.
HOW TO RATE AND PROCESS FOR 1600
Start by setting your camera/light meter to 1600 ISO. I recommend marking the film canister at the speed you're shooting and potentially also, the speed you want to process for. This ensures that you won't mix up your film. However, as I'm about to discuss, that may not necessarily matter!
Next, take your photos. Notice that 1600 ISO gives you a big two stops more apertures to use than 400 ISO. It's pretty nice be be able to shoot at f4 and make f1.whatever a creative decision instead of a necessity. In most indoor situations with a little window light, 1600 at f4 is a good combo for me. It gives me enough depth of field to hit focus accurately and easily as well as higher resolution from the lens. Because distance to subject is often shorter indoors than outdoors, I can still get decently out of focus background also. The f2 or wider aperture can be chosen when you want that dreamier, even more shallow DoF. By shooting at 1600 instead of 400, you have a choice in aperture range rather than just bottoming out all your settings.
Christa| Kodak Tri-X 400 rated at 1600 ISO and processed in Kodak HC110b for EI 1600
Christa| Kodak Tri-X 400 rated at 1600 ISO and processed in Kodak HC110b for EI 1600
Now this is where things can go two different ways.
Conventional wisdom is that if you rate your film 2 stops over box speed, you need to push process by 2 stops. Doing so preserves some tonality and tames the inevitable increase in contrast. If you process your own film, consult your development time and temperature to push two stops. If you use a lab, mark your film and order form for the film to be pushed two stops. Be sure that your lab is able and willing to push process BEFORE shooting. Some cannot push. And just a warning, those that do, charge a couple bucks for each stop that they push. So be prepared for a higher bill.
Now, your other choice is this lesser known thing that I call over-rating.
Christi | Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Devon| Kodak Portra 400 rated at 1600 ISO and processed normal at EI 400
So let's say you've got your rolls of Tri-X 400, TMAX 400, XP2 400 or Portra 400 that you exposed at 1600, now hand them to your lab, or process them yourself and IGNORE the whole 1600 thing all together. These films and some others, will look JUST FINE when processed "normal" at their box speed, despite being two stops underexposed. I refer to this as over-rating. **** It is different from push processing your film because there is no push in the processing!
Tricia| Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Why would I recommend this? Well, when I was shooting C41 film at weddings and having pro labs do all my processing and scanning, I didn't want to pay the extra $2 per stop to push my films since I didn't charge as much back then as I do now! It was also one extra issue to have to mark the film while shooting many rolls of film during fast-paced events in order to separate it for different processing.
I stumbled upon this because I'd forgotten to mark a couple rolls at 1600 and they got processed normal but came out beautifully. So I started experimenting with doing it deliberately. I found that I could over-rate XP2 400 and Portra 400 as high as 6400 without pushing. But going higher than 1600 results in somewhat dangerously thin negatives, increased grain and very specific lighting needs. 1600 is solid though. Negs are a little thinner but very useable. Some may like the greyer look of unedited scans of thinner film but I like to bring the black point in on mine (which I do with all my film scans to varying degrees.)
Steph| Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
If you don't believe me, try it. Or just keep pushing. Whatever you want! Because I process all my own b&w work now, I just push instead of over-rating as I don't have to pay extra to do so and generally prefer to start with a more tonal image when possible. But over-rating was an arrow in my quiver for several years of weddings, concerts and night time candid portraits.
When over-rating 400 ISO films, I look for scenes with a good deal of contrast. I find that more evenly lit scenes, can appear flat and potentially muddy if over-rated. These are scenes that would work better with pushing. But if you have a decent contrast ratio in your scene and want to save yourself a couple bucks or use a lab that does not push process, over-rating should prove useful.
Lipstick Lamarr | Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Personally, Tri-X 400 which I'm rating and processing at EI 1600, is my go-to. It's not such a great idea to use outside in daylight unless you love contrast and for everything to be in focus! But I think you'll find that this approach and the others described here will work well indoors.
For those of you who enjoy more grain and tonality, or are just shooting well after the sun goes down, there's no escaping the light gathering abilities of Kodak TMAX P3200 and Ilford Delta 3200. More shots of the ladies above in my next entry; Rating + Processing for Available Light Portraits - EI 3200 ISO.
Thanks for reading and happy shooting!
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Rating + Processing for Available Light Portraits – EI 3200 ISO
It bears repeating:
International Center of Photography shooter James Mignogna once told me that a good photographer matches their light, lens, film and developer. Nowhere do I think these decisions are more critical than portraits in dim lighting.
That was the intro I used in my previous entry: Rating + Processing for Available Light Portraits - EL 1600 ISO and it's as relevant to the entry you're reading now, which will center around 3200 ISO films. Of which, there are only two currently available.
SHOOTING IN THE DARK: KODAK TMAX P3200 AND DELTA 3200
Okay, so what happens when the sun goes down? 1600 and a 50/2 lens will not cut it anymore so you have to go faster. Ilford Delta and Kodak TMAX 3200 films are here to the rescue!
Armchair available light photographers delight in pointing out that Delta 3200 has a native ISO of 1000 and TMAX P3200 has a native ISO of 800. On a technical level, this is not misinformation. However, I am of the opinion that the constant restating of this as well as some incomplete, inaccurate tutorials about how to shoot these films has spawned not only an inaccurate belief that these films are "best" shot at their native ISO but even a bit of FEAR of shooting them at their box speed or higher.
I say, forget about this native ISO stuff!
For all intents and purposes, 3200 ISO is the NORMAL speed of Delta 3200 and TMAX P3200.
The DX codes printed on their canisters read 3200 by cameras and minilabs. Therefore, this is how Ilford and Kodak want these films to be rated and processed.
The films are not called Delta 1000 or TMAX P800, they're called 3200. This is not just marketing as people will lament on the interwebs.
These films are intended by their designers, to be rated at 3200 and processed for 3200. They are also designed to function as "multiple ISO films," as has been worded in older Kodak literature.
I don't personally see the point of paying for higher priced 3200 ISO films and, rating them well within the range of what 400 ISO film can handle, without a more specific reason than because a few influencers have told followers that this is how these films "should" be used.
To be clear, I'm not discouraging anyone from exploring what these flexible films can do, I'm denouncing boxing oneself into this native ISO rating.
If you are shooting a brighter scene but enjoy grain, yes, go ahead and under-rate your film. Rate it at 1600 and process normal (at EI 3200) This will give you richer contrast, you don't have to pay your lab extra money or separate or mark your film.
Jill| Kodak TMAX P3200 rated at 1600 ISO and processed normal at EI 3200
I was on a Nikkormat kick for some time and the meters on these and other classic cameras top out at 1600, so this guided how I shot and processed my 3200 films. In the example above, I was shooting in flat light that needed the under-rating to bring contrast to the scene. Some Nikkor lenses are not very contrasty at full aperture, so under-rating the film helps balance this out too.
If you like grain and tonality and shooting at wider apertures (a dreamy look, if you will), you can rate 3200 films at box speed to achieve this.
Laurie | Kodak TMAX P3200 rated at 3200 ISO and processed normal at EI 3200
In fact, you can always rate your film at 3200 and process normal at EI 3200. This is what Kodak and Ilford designed the film for and is it's "normal" look. No pushing, no pulling, no over- or under-rating. This will give you a flatter, more tonal image which is perhaps a less popular look currently and the reason that you see people recommending against EI 3200. But look, it's all about assessing the quality of the light you're working in and deciding what style you want. You may also just NEED that extra stop because the light is too dim to shoot at 1600 handheld.
I encourage other photographers not to assign subjective judgement such as presuming more contrast is "better" or less grain is "better."
In truth, everything's about balancing what you are working with and what you are trying to achieve. Under-rating (overexposing) your film may increase contrast but it also reduces tonality and shadow detail. It also gives you fewer apertures from which to choose. A detail-oriented shooter is going to be ready to shoot/process these films several ways depending on what the scene is giving them, as oppose to prescribing one method or film for every situation.
What I do most of the time is rate my film at 6400 ISO and process for EI 6400 by pushing one stop. This is critical of shooting in low light and night time without a flash or camera support and slow shutter speeds. It's how I shoot weddings and concerts and pre-pandemic bar hopping with friends. My reasoning is multi-fold. One being that the light meters of my best cameras top out at 6400, so I can operate them without a shred of guess work. Another being that I'm using these films to do what they were intended. The higher sensitivity allows me to stop down if there's ample light, so I can control my DoF more. The tonality I get from not under-rating gives me more "information" to work with when editing. And the final one being that I very seldom encounter a situation worth photographing where ISO 6400 with a 1/60th shutter speed and a 1.4 aperture are not adequate at bare minimum. Yes, these films can be rated even faster and you may use a lens faster than 1.4. But in these conditions, even with current digital cameras, one encounters some insurmountable (in my opinion) aesthetic concerns.
Christi | Kodak TMAX P3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Laurie| Kodak TMAX P3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Aside from how to expose and process, the other big question is which to use, Ilford Delta 3200 or Kodak TMAX P3200. In HC110b, I find the Kodak to be softer and more tonal, whereas the Ilford is sharper and more contrasty. So, just as I recommend under-rating or push processing to bring contrast to a scene with flatter lighting, I would also recommend choosing Delta. The opposite would be true for a contrasty scene, reach for the TMAX to quell that contrast. OR, if you want to emphasize a contrasty scene, use Delta and to emphasize a flat, dreamy scene, use TMAX. And within each model of film, you can rate and process to add or calm contrast.
Is your head exploding with options?
Don't worry! My recommendation is to start at box speed and normal processing and learn what works and doesn't work with your particular lenses and your usual scenes. I DO NOT recommend starting out by under-rating these films as many influencers will encourage. These films simply are not a one-size-fits all solution. They're not meant to be. They're SUPPOSED to be personally tailored. Just doing whatever you're told to do with them is negating the entire point.
Steph | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Lipstick Lamarr | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Devon | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Another important thing to keep in mind, which I've talked about but maybe not explicitly enough, is not to confuse quantity and quality of light.
Just because a scene has a lower QUANTITY of light and necessitates a higher ISO, this does not mean that you can ignore the QUALITY of the light just because you are shooting at 1600 or 6400. I see so many available light portraits at high ISO's with shadows on faces or other important elements of the scene. I think photographers forget this because in 100 and 400 ISO conditions which are often sunlit, one needn't pay a lot of attention to the quality of light in order to return acceptable photos. A shadow on a face may not turn into a grainy mess in the same way it does at 6400. In fact, I find that the less and less light you shoot in, I find that more critical the quality of that light becomes. And maybe this is one of the main reasons that shooting in these conditions is so challenging.
Tricia| Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Notice in all these photos, both in this and the 1600 blog, regardless of how dark/black the surrounded area, highlights are generally on the faces. The inclination with candid portraits sometimes is to squeeze the shutter release during the peak of action. But with available light photography, not only must you consider the peak of action but also, this moment has to agree with where the light falls on your subject.
So when working in EI 1600 and 3200; it sounds cheesy and maybe even obvious but… let the light be your guide!
Don't choose your film, rating and process because someone who takes great photos said something is "the best," or because you saw some photos at those specs that look good. Ask these photogs about the quality of light they were shooting in and assess the quality of light you're shooting in. Consider the character of your lenses. Make judgement calls based on those points and your desired outcome. Film responds different ways in different situations. That's why digital can never fully copy it. And it's also why there's a lot to learn in order to get the look you're after. It's very possible that of all my examples, you still don't see something that's right for you. And that's okay. The concept is there. From 1600 to 6400 ISO/EI, hopefully I've given you a springboard from which to find combinations that work for what you are trying to do. Go out and find your own method for shooting portraits in low, available light!
Thanks for reading and happy shooting!
_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _
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One Year with the Voigtlander 40mm 1.4 Nokton MC
Since buying, shooting and writing about the Voigtlander 40mm 1.4 Nokton MC, I feel like I see this lens everywhere! I didn't realise how popular it is. The blog I wrote about it is my third most viewed of all time, I see it mounted to many of the cameras that I read reviews of and a shooter at the Leica Store was even using it to photograph Dave Burnett at his gallery opening last October, one of the last big events I attended before COVID struck.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr
I re-read my original comments about the lens and while they're still valid a year later, I found that in practice, I really like the lens despite my initial disappointment. I probably was expecting or hoping for too much. In fact, I used it exactly as I'd first intended for a few shoots before COVID wiped out much of my wedding work and bar-hopping and it excelled beautifully. I figured I'd share some of those photos, which turned out to be some of my favorites of 2019 and early 2020, and take a deeper dive into the characteristics and uses of, what is for many, their go-to M-mount lens.
By the way, these images were taken on my Leica M6 TTL .85.
Here we go…
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX 100 | Kodak HC110b |
© 2019 Johnny Martyr
I took this photo of a forgotten Ford truck on my way to a wedding shoot in Thurmont, Maryland in the fall of 2019. It was probably close to high noon, hence the straight down shadows. For portraits, this light would have been terrible. But between the low grain Kodak TMAX 100 and the super sharp Voigtlander 40/1.4, the harsh light was perfect for rendering an image that out-resolves my meager Epson flatbed scanner. Who needs gimmicky classic car HDR filters when you're packing these ingredients? The 40mm focal length was great for a standard establishing shot at a low quarter angle. The scene was so ideal that I didn't even bother taking any significantly different versions of it, just a couple aperture brackets because I had time for it. I think this was f8 by the way.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
This photo shows quite the other end of the spectrum. I arrived at the ceremony location early, in order to acquaint myself with the people and place that I'd be working with. While doing some establishing shots, I took this image of the couples' sand ceremony set-up. I was on Tri-X and topped my shutter out so as to open the Voigt Nokton as wide as possible. I also focused it to near full minimum distance. The Nokton actually focuses closer than my M6 TTL can so one can play with that a little to bottom out the depth of field. As you can see, the lens has a strong vignette and displays a bit of swirlios that I don't see discussed in reviews very often. So the 40 Nokton can also be used as an effects lens if desired.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
And here are the couple whose wedding I was shooting. You may already know the groom by his writing. This is fellow film blogger, Mark from The GAS Haus. Mark hired me to shoot candids of his woodsy wedding but, you know, everyone wants a few posed shots. I used my 90mm Leitz Summicron for most of the ceremony but took some of the posed shots with the 40mm so as to include some context of their beautiful outdoor ceremony. On a faster film, with a wider aperture and overcast lighting (from the tree covering), the 40mm Nokton softens up as one wants for portraits. And the lack of barrel distortion allows this wider lens to meet the challenge of accurate rendering of faces.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX 100 | Kodak HC110b |
© 2019 Johnny Martyr
Switching back to TMAX 100, I thought this dramatically lit door provided a good scope on the range of performance of the 40mm Nokton in one image. You've got super crisp, in-focus areas revealing gobs of detail with a fast fall-off into smooth bokeh, featuring playful out-of-focus points of leaf light. Notice the slight fringing on the bokeh balls. For color shooters the Nokton's OoF areas may be distracting but in b&w, there's not enough CA to really bother me. I knew this shot would be a keeper and probably took ten versions of it before the light shifted and the moment was gone.
For another 2019 wedding, I was using my 1930 Leica with 1936 Summar as my main normal lens but I also squeezed off some shots with the 40mm Nokton.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 | Kodak HC110b |
© 2019 Johnny Martyr
I was on Tri-X rated at 400 for both of these but I was beginning to lose light during cocktail hour so I opened up considerably. You can see that the second image, of the blonde smiling, was at full aperture because the OoF points of light are perfectly circular and we see some of that swirling from earlier. While the 40 Nokton loses a lot of resolution as you open it up, the 10 blade aperture diaphragm and classic optical formula make for some really painterly bokeh that I enjoy, particularly when rendered on contrasty Tri-X in HC110b (and a little bump in black levels!)
The two photos above are only a couple apertures apart and give you an idea how fast the Nokton sharpens up/softens as you move to and from full aperture.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr
These three shots above were taken on different days of the wedding, but all were with Tri-X at 1600 ISO and demonstrate how highlights from the Nokton glow gently, a la it's "Classic" namesake.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak Tri-X 400 @ 1600| Kodak HC110b |© 2019 Johnny Martyr
Here's another glowy 1600 Tri-X shot of guests on a party boat for the rehearsal dinner. I think it really demonstrates how you can use the slightly wider perspective of the 40 to differentiate work from a boring 50mm. The lines of the ceiling tile, as well as window frames and the bar just emit from the subject and run out of the corners of the frame with a speed that wouldn't happen with a 50. And many 35's would have distorted the lines. More examples of those cool bokeh balls and playful, perhaps somewhat busy but fun bokeh.
The next wedding images were shot on TMAX P3200 rated and pushed to 6400 in HC110b. This is an important reason why I wanted a sharper, fast lens. For low, available light work with a grainy film, as a I noted in a blog a couple years back, you need a sharper-than-average lens because the grain gets overly mooshy with a softer one.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2019 Johnny Martyr
Below are some photos from when I went out drinking for New Year's Eve. Little did I know that it would be the last time I'd be enjoying the downtown Frederick bar scene for the rest of 2020.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
This is my friend and muse, Denise warming up beside one of those outdoor heater things. Notice we've got some out-of-focus points of light and you can tell by the lack of perfect circles that I was stopped down slightly. Oddly, you'll note that even though the 40mm Nokton has 10 blades, OoF points of light render with seven sides. If anyone understands this, please, let me know in the comments! Images with leading out-of-focus elements show again how the 40mm focal length can pull the viewer in; a key reason that there is a small but dedicated crowd who prefer 40 to 35 or 50mm.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
Here's Denise huddled by the heater again. I like how isolated the focus is here and how smooth the fall-off is.
Leica M6 TTL .85 | Voigtländer 40mm 1.4 Nokton MC | Kodak TMAX P3200 @ 6400 | Kodak HC110b |© 2020 Johnny Martyr
I know you're supposed to start with the best and end with the best but I was dragging my shutter for this image of a crowd at Firestones in downtown Frederick, MD. It's not a good demonstration of the Voigtlander 40mm 1.4 Nokton MC at all because there's some shutter blur to it. But I really love this image because it feels, to me, like a final glance at a personal moment within a sea of people before they all disappeared from public life shortly after 2020 commenced.
I haven't shot much with the 40 Nokton in 2020. The few weddings I had were in the daytime and consisted only of ceremony and posed shots due to venue restrictions for COVID. And the only barhopping I've done has been from my kitchen to my living room to my porch then back to my kitchen. Reviewing these images has been a fun reminder of 2019 and the ambition of buying a new lens and having a number of exciting uses lined up for it.
Do you use the Voigtlander 40mm Nokton MC or SC? Any recommendations on other uses? I really need to do more automotive and architecture! What do you love and hate about this curiously cheap, high spec little hunk of glass and aluminum?
Thanks for reading and happy shooting!
_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _
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Rating + Processing for Available Light Portraits – EI 1600 ISO
International Center of Photography shooter James Mignogna once told me that a good photographer matches their light, lens, film and developer.
Nowhere do I think these decisions are more critical than portraits in dim lighting.
With all of us spending so much time at home lately, I have gotten a number of emails asking for my recommendations on taking better available light portraits. Pre-pandemic, I shot weddings and concerts using fast b&w films and lenses. For personal work, I enjoy taking candid/informal portraits of friends which is what I'll use as examples throughout this two-part blog. I currently process my own b&w but I'll provide some recommendations for color and lab processing because I used to do that too also. This blog will be about how to work in 1600 ISO. And I'll follow up with a blog on 3200 ISO to clear up the confusion surrounding Delta and TMAX 3200 ISO films.
Start WIT H 1600
It's often recommended to use 400 ISO as one's general use film, but if you do this with any regularity, I think you'll find that shooting in many indoor settings this can be problematic. On cloudy days when there's little window light, the limitations of 400 as your go-to ISO will become apparent. Many people will employ that fast 50mm 1.whatever lens which I'm all about too, but I don't always like to lean on them. Shooting at full aperture, particularly at the closer distances one tends to find oneself shooting at indoors, can result in missed focus due to the shallow depth of field and moving subject matter. Stopping down allows me to shoot someone, or a couple "someones" who is/are laughing, gesticulating, etc and get the important bits in focus. Additionally, while there are some lenses that perform well at full aperture, the vast majority sharpen up as one stops down.
The solution? Bump up to 1600.
Lipstick Lamarr|Kodak Portra 400 rated at 1600 processed normal at EI 400 (by a lab)
But what 1600 ISO films are on the market? None. There used to be Fuji Neopan 1600; a b&w stock in the Acros family that was discontinued in 2009 and Fuji Superia 1600; a color stock in the Superia/Fujicolor family that was discontinued in 2018. I think you can still buy fresh Fuji Natura 1600, a version of Superia that was/is only available in Japan but it was/is very expensive to export.
Color films are also difficult to shoot at higher ISO's. Every major brand of still photo print film currently on the market is daylight, not tungsten balanced. This results in shifts to orange that have to be tamed with editing and filters. The shift is more dramatic as one works in dimmer light. Cinestill film is cut from Kodak motion picture film, which is still available with tungsten white balance. So if you're dead set on shooting color film in dim, artificial light, check out 800T and learn to push it as necessary. Even still, I find that color is challenging for unstaged, non-deliberately lit work due to all the variables it introduces. Many shooters will end up removing the color in some really dim scenes anyway.
Natalie| Kodak Portra 800 rated at 800 processed normal at EI 800 (by a lab)
Some time ago, after experimenting with the aforementioned, I chose to move to an all black and white workflow. Shooting in b&w not only alleviates this complication but there are still two, wide production, fast b&w films on the market that I enjoy; Kodak TMAX P3200 and Ilford Delta 3200. But more on those later.
While it sucks that there are no 1600 ISO films available anymore, I think the reason for this is that we don't really need them. You see, modern 400 ISO films push or over rate to EI 1600 beautifully. By pushing or over-rating a 400 ISO film to 1600 instead of using a 1600 ISO film, you get images that have finer grain and richer contrast. As you'll see below, I don't advocate fine grain and rich contrast as universal goals, but I will say that for me, the quality of light that I choose EI 1600 for is usually flatter so it's nice to counteract that.
My personal favorite 400 ISO film to rate at 1600 is Kodak Tri-X 400. If you enjoy finer grain, TMAX 400 is a great substitute. When I took my work to labs and used more C41, I also used Ilford XP2 400 and Portra 400. In order to get these films to 1600, you can do a couple things.
HOW TO RATE AND PROCESS FOR 1600
Start by setting your camera/light meter to 1600 ISO. I recommend marking the film canister at the speed you're shooting and potentially also, the speed you want to process for. This ensures that you won't mix up your film. However, as I'm about to discuss, that may not necessarily matter!
Next, take your photos. Notice that 1600 ISO gives you a big two stops more apertures to use than 400 ISO. It's pretty nice be be able to shoot at f4 and make f1.whatever a creative decision instead of a necessity. In most indoor situations with a little window light, 1600 at f4 is a good combo for me. It gives me enough depth of field to hit focus accurately and easily as well as higher resolution from the lens. Because distance to subject is often shorter indoors than outdoors, I can still get decently out of focus background also. The f2 or wider aperture can be chosen when you want that dreamier, even more shallow DoF. By shooting at 1600 instead of 400, you have a choice in aperture range rather than just bottoming out all your settings.
Christa| Kodak Tri-X 400 rated at 1600 ISO and processed in Kodak HC110b for EI 1600
Christa| Kodak Tri-X 400 rated at 1600 ISO and processed in Kodak HC110b for EI 1600
Now this is where things can go two different ways.
Conventional wisdom is that if you rate your film 2 stops over box speed, you need to push process by 2 stops. Doing so preserves some tonality and tames the inevitable increase in contrast. If you process your own film, consult your development time and temperature to push two stops. If you use a lab, mark your film and order form for the film to be pushed two stops. Be sure that your lab is able and willing to push process BEFORE shooting. Some cannot push. And just a warning, those that do, charge a couple bucks for each stop that they push. So be prepared for a higher bill.
Now, your other choice is this lesser known thing that I call over-rating.
Christi | Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Devon| Kodak Portra 400 rated at 1600 ISO and processed normal at EI 400
So let's say you've got your rolls of Tri-X 400, TMAX 400, XP2 400 or Portra 400 that you exposed at 1600, now hand them to your lab, or process them yourself and IGNORE the whole 1600 thing all together. These films and some others, will look JUST FINE when processed "normal" at their box speed, despite being two stops underexposed. I refer to this as over-rating. **** It is different from push processing your film because there is no push in the processing!
Tricia| Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Why would I recommend this? Well, when I was shooting C41 film at weddings and having pro labs do all my processing and scanning, I didn't want to pay the extra $2 per stop to push my films since I didn't charge as much back then as I do now! It was also one extra issue to have to mark the film while shooting many rolls of film during fast-paced events in order to separate it for different processing.
I stumbled upon this because I'd forgotten to mark a couple rolls at 1600 and they got processed normal but came out beautifully. So I started experimenting with doing it deliberately. I found that I could over-rate XP2 400 and Portra 400 as high as 6400 without pushing. But going higher than 1600 results in somewhat dangerously thin negatives, increased grain and very specific lighting needs. 1600 is solid though. Negs are a little thinner but very useable. Some may like the greyer look of unedited scans of thinner film but I like to bring the black point in on mine (which I do with all my film scans to varying degrees.)
Steph| Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
If you don't believe me, try it. Or just keep pushing. Whatever you want! Because I process all my own b&w work now, I just push instead of over-rating as I don't have to pay extra to do so and generally prefer to start with a more tonal image when possible. But over-rating was an arrow in my quiver for several years of weddings, concerts and night time candid portraits.
When over-rating 400 ISO films, I look for scenes with a good deal of contrast. I find that more evenly lit scenes, can appear flat and potentially muddy if over-rated. These are scenes that would work better with pushing. But if you have a decent contrast ratio in your scene and want to save yourself a couple bucks or use a lab that does not push process, over-rating should prove useful.
Lipstick Lamarr | Ilford XP2 Super 400 rated at 1600 ISO and processed normal at EI 400
Personally, Tri-X 400 which I'm rating and processing at EI 1600, is my go-to. It's not such a great idea to use outside in daylight unless you love contrast and for everything to be in focus! But I think you'll find that this approach and the others described here will work well indoors.
For those of you who enjoy more grain and tonality, or are just shooting well after the sun goes down, there's no escaping the light gathering abilities of Kodak TMAX P3200 and Ilford Delta 3200. More shots of the ladies above in my next entry; Rating + Processing for Available Light Portraits - EI 3200 ISO.
Thanks for reading and happy shooting!
_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _
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Rating + Processing for Available Light Portraits – EI 3200 ISO
It bears repeating:
International Center of Photography shooter James Mignogna once told me that a good photographer matches their light, lens, film and developer. Nowhere do I think these decisions are more critical than portraits in dim lighting.
That was the intro I used in my previous entry: Rating + Processing for Available Light Portraits - EL 1600 ISO and it's as relevant to the entry you're reading now, which will center around 3200 ISO films. Of which, there are only two currently available.
SHOOTING IN THE DARK: KODAK TMAX P3200 AND DELTA 3200
Okay, so what happens when the sun goes down? 1600 and a 50/2 lens will not cut it anymore so you have to go faster. Ilford Delta and Kodak TMAX 3200 films are here to the rescue!
Armchair available light photographers delight in pointing out that Delta 3200 has a native ISO of 1000 and TMAX P3200 has a native ISO of 800. On a technical level, this is not misinformation. However, I am of the opinion that the constant restating of this as well as some incomplete, inaccurate tutorials about how to shoot these films has spawned not only an inaccurate belief that these films are "best" shot at their native ISO but even a bit of FEAR of shooting them at their box speed or higher.
I say, forget about this native ISO stuff!
For all intents and purposes, 3200 ISO is the NORMAL speed of Delta 3200 and TMAX P3200.
The DX codes printed on their canisters read 3200 by cameras and minilabs. Therefore, this is how Ilford and Kodak want these films to be rated and processed.
The films are not called Delta 1000 or TMAX P800, they're called 3200. This is not just marketing as people will lament on the interwebs.
These films are intended by their designers, to be rated at 3200 and processed for 3200. They are also designed to function as "multiple ISO films," as has been worded in older Kodak literature.
I don't personally see the point of paying for higher priced 3200 ISO films and, rating them well within the range of what 400 ISO film can handle, without a more specific reason than because a few influencers have told followers that this is how these films "should" be used.
To be clear, I'm not discouraging anyone from exploring what these flexible films can do, I'm denouncing boxing oneself into this native ISO rating.
If you are shooting a brighter scene but enjoy grain, yes, go ahead and under-rate your film. Rate it at 1600 and process normal (at EI 3200) This will give you richer contrast, you don't have to pay your lab extra money or separate or mark your film.
Jill| Kodak TMAX P3200 rated at 1600 ISO and processed normal at EI 3200
I was on a Nikkormat kick for some time and the meters on these and other classic cameras top out at 1600, so this guided how I shot and processed my 3200 films. In the example above, I was shooting in flat light that needed the under-rating to bring contrast to the scene. Some Nikkor lenses are not very contrasty at full aperture, so under-rating the film helps balance this out too.
If you like grain and tonality and shooting at wider apertures (a dreamy look, if you will), you can rate 3200 films at box speed to achieve this.
Laurie | Kodak TMAX P3200 rated at 3200 ISO and processed normal at EI 3200
In fact, you can always rate your film at 3200 and process normal at EI 3200. This is what Kodak and Ilford designed the film for and is it's "normal" look. No pushing, no pulling, no over- or under-rating. This will give you a flatter, more tonal image which is perhaps a less popular look currently and the reason that you see people recommending against EI 3200. But look, it's all about assessing the quality of the light you're working in and deciding what style you want. You may also just NEED that extra stop because the light is too dim to shoot at 1600 handheld.
I encourage other photographers not to assign subjective judgement such as presuming more contrast is "better" or less grain is "better."
In truth, everything's about balancing what you are working with and what you are trying to achieve. Under-rating (overexposing) your film may increase contrast but it also reduces tonality and shadow detail. It also gives you fewer apertures from which to choose. A detail-oriented shooter is going to be ready to shoot/process these films several ways depending on what the scene is giving them, as oppose to prescribing one method or film for every situation.
What I do most of the time is rate my film at 6400 ISO and process for EI 6400 by pushing one stop. This is critical of shooting in low light and night time without a flash or camera support and slow shutter speeds. It's how I shoot weddings and concerts and pre-pandemic bar hopping with friends. My reasoning is multi-fold. One being that the light meters of my best cameras top out at 6400, so I can operate them without a shred of guess work. Another being that I'm using these films to do what they were intended. The higher sensitivity allows me to stop down if there's ample light, so I can control my DoF more. The tonality I get from not under-rating gives me more "information" to work with when editing. And the final one being that I very seldom encounter a situation worth photographing where ISO 6400 with a 1/60th shutter speed and a 1.4 aperture are not adequate at bare minimum. Yes, these films can be rated even faster and you may use a lens faster than 1.4. But in these conditions, even with current digital cameras, one encounters some insurmountable (in my opinion) aesthetic concerns.
Christi | Kodak TMAX P3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Laurie| Kodak TMAX P3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Aside from how to expose and process, the other big question is which to use, Ilford Delta 3200 or Kodak TMAX P3200. In HC110b, I find the Kodak to be softer and more tonal, whereas the Ilford is sharper and more contrasty. So, just as I recommend under-rating or push processing to bring contrast to a scene with flatter lighting, I would also recommend choosing Delta. The opposite would be true for a contrasty scene, reach for the TMAX to quell that contrast. OR, if you want to emphasize a contrasty scene, use Delta and to emphasize a flat, dreamy scene, use TMAX. And within each model of film, you can rate and process to add or calm contrast.
Is your head exploding with options?
Don't worry! My recommendation is to start at box speed and normal processing and learn what works and doesn't work with your particular lenses and your usual scenes. I DO NOT recommend starting out by under-rating these films as many influencers will encourage. These films simply are not a one-size-fits all solution. They're not meant to be. They're SUPPOSED to be personally tailored. Just doing whatever you're told to do with them is negating the entire point.
Steph | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Lipstick Lamarr | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Devon | Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Another important thing to keep in mind, which I've talked about but maybe not explicitly enough, is not to confuse quantity and quality of light.
Just because a scene has a lower QUANTITY of light and necessitates a higher ISO, this does not mean that you can ignore the QUALITY of the light just because you are shooting at 1600 or 6400. I see so many available light portraits at high ISO's with shadows on faces or other important elements of the scene. I think photographers forget this because in 100 and 400 ISO conditions which are often sunlit, one needn't pay a lot of attention to the quality of light in order to return acceptable photos. A shadow on a face may not turn into a grainy mess in the same way it does at 6400. In fact, I find that the less and less light you shoot in, I find that more critical the quality of that light becomes. And maybe this is one of the main reasons that shooting in these conditions is so challenging.
Tricia| Ilford Delta 3200 rated at 6400 ISO and push processed in Kodak HC110b by one stop for EI 6400
Notice in all these photos, both in this and the 1600 blog, regardless of how dark/black the surrounded area, highlights are generally on the faces. The inclination with candid portraits sometimes is to squeeze the shutter release during the peak of action. But with available light photography, not only must you consider the peak of action but also, this moment has to agree with where the light falls on your subject.
So when working in EI 1600 and 3200; it sounds cheesy and maybe even obvious but… let the light be your guide!
Don't choose your film, rating and process because someone who takes great photos said something is "the best," or because you saw some photos at those specs that look good. Ask these photogs about the quality of light they were shooting in and assess the quality of light you're shooting in. Consider the character of your lenses. Make judgement calls based on those points and your desired outcome. Film responds different ways in different situations. That's why digital can never fully copy it. And it's also why there's a lot to learn in order to get the look you're after. It's very possible that of all my examples, you still don't see something that's right for you. And that's okay. The concept is there. From 1600 to 6400 ISO/EI, hopefully I've given you a springboard from which to find combinations that work for what you are trying to do. Go out and find your own method for shooting portraits in low, available light!
Thanks for reading and happy shooting!
_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _
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