Film #13

After the somewhat successful experiment of pushing a Kodak T-Max 400 to ASA 800, I decided to try another pushed to roughly ASA 1600 instead — both to see what the result would be, but also as another attempt at capturing the romantic night streets; I mean, who doesn’t dream of getting a shot such as Brassaï’s Watchmaker?

Assuming that the right exposure value for the night streets was between EV3 and EV4, at their widest aperture I could in theory use shutter speeds 1/60 and 1/125 for the 50mm f/1.4, and 1/15 and 1/30 for the 28mm f/2.8. However, for the former it intuitively seemed too fast so I ended up using speeds 1/30 and 1/60 instead. And as the underexposed negatives showed afterwards, this was not completely off and it would probably have been better to simply use 1/30 for the 50mm and 1/15 for the 28mm.

For the development, the data sheets added a few minutes to the development time, but also mentioned that pushing this much using the Kodak HC-110 developer is possible but on the border (others apparently can go one or two stops further). My suspicion is that this, combined with perhaps a wrong guess at the exposure values, may have played a part in the negatives turning out underexposed. In other words, my hypothesis for next time is going to be that Kodak T-Max 400 can only be pushed to ASA 1000-1200 when developed in Kodak HC-110, allowing me to stick to the speeds mentioned above.

As for the photographs, for many it clearly shows that the lesser quality of the negatives meant an aggressive scanning with noise and a loss in details as a result (although I was actually quite impressed by how much the Epson V600 could pull from seemingly blank negatives!). Yet, photographically, I’m happier with the outcome this time.

I like the mystery and angle of Dirty Chess (took it while standing on the back of a sofa), the ambiance of River Night and Under the Sidewalk (the latter was a quick shot and in retrospect would like to have moved the frame a bit to the left, placing the two guys closer to the edge and leaving more space for the towers), and the light in Rainy Streets and Rue de Lappe.

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