At 10:40 3/20/03, you wrote:
Some good captures there, John. One of who appears to be lead Brian
Benson, then another of the bald-headed drummer (I assume that's another
group), then a couple of the lady singers--who do these people sing with?
This was a concert with more than one band performing, yes?
Thank you. Not really. It was in a small local club. I believe the man
on the keyboard has played with major names in the past as a "hired
gun." He is very good. It is a monthly "jam" which opens with a local
group for about a half hour or so. While they're playing musicians sign up
to play. After the first set, musicians are assembled into lead, rhythm,
bass and drum, along with "harp" players and possibly vocalists. Usually
the lead/rhythm is also a vocalist. Likely sounds chaotic but it's not and
works out very well. I've never been disappointed by the mix & match
results. None of them have any notoriety beyond central Indiana that I'm
aware of. Every one of them has a "day job" and at least half of them work
where I do!
I haven't bothered with the faster B&W films after my trial-and-error
period (and disappointment) with Kodak's T-MAX p3200. From what I can see
off the Ilford sheet, Delta 3200 works about the same as its Kodak
counterpart, nominally rated at 1000, with apparently greater contrast.
(One never knows anymore with web displays.)
I normally use P3200 at EI 1600 and push 1. Results are similar with TMax
giving a bit less contrast. P3200 at EI 1600 looks a bit like Tri-X at its
rated speed.
What I don't understand is where the benefit lies in using these other
"faster" emulsions when it's quite possible to push Tri-X a couple of
stops with very good results--_was_ possible with the older emulsion, have
no idea what the results might be with this new stuff. And assuming one
doesn't mind the Tri-X grain--which seems to have mainly disappeared these
days. <g>
IMO Tri-X at Push 2 (EI 1600) is grainier and contrastier than TMax P3200
at EI 1600. Of course this is dependent on development. I send my stuff
to a pro lab in Indianapolis. I asked a while back what they use, and it's
TMax developer.
First question: how was this concert lighted?
Similar to what you described. Some overhead white floods with the three
banks of colored ones . . . one on each side and a third in front. The
lights are on dimmers and they're not afraid to crank them down. Most of
the performers are not accustomed to bright stage lights; some actually
complain if they're cranked up. No spots; only the banks of floods.
The first attempt at shooting it was late spring or early summer last
year. I loaded up with Tri-X at rated speed after consulting my guide on
existing light for small stages. Ooops! They are definitely running lower
lighting levels than the average stage; even a small one. Since I had
started at EI 400, I finished it out at that speed after grabbing the
50/1.2 and running it wide open . . . saying prayers the entire
time. Realized I definitely needed something faster and went to TMax
P3200. This one from October was a trial of the Ilford to see how it
compared. If I do this again I will use the TMax. Both the TMax and Delta
are intended to be used at EI 3200 and Push 2 while not becoming too harsh
with contrast or grain. Backing off to EI 1600 opens both of them up in
latitude, the TMax apparently more than the Delta. Again, P3200 at EI 1600
looks a *lot* like Tri-X at rated speed including its grainularity.
I'd be using Tri-X at rated speed if it were a couple stops brighter
lighting. IMHO, it's a classic, timeless film that's matched for this type
of music and its performers.
Thanks,
-- John
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