Ken,
Without the insight of having actually experienced such differences
across
different films, I must question your "part optics, part film" statement
below (or would love to see different examples).
In my experience, unsharp masking, artificial sharpening, or even
different developers
with different film grain characteristics always alter the effect of
the photograph
at a micro level, i.e. directly around high-contrast edges.
Since a blurred background has almost no micro-features (or, at least
'good' bokeh does not,
it should all be a smooth blur), I cannot for the life of me imagine
the film or developing
having an effect on it, apart from overall contrast changes? If that
were so, it would 10x more
drastically alter the structural character of the in-focus areas?
What I have found, however, is that the actual nature of the
background has a big effect on the
bokeh of a lens. For example, Canon's EF 50mm f/1.2L has still, to
this day, the best bokeh of
any lens I have ever personally owned (though I must say the Zuiko
90mm f/2.0 Macro is fast changing
that perception) - the backgrounds of images have a dreamy, deep
smoothness which you could fall
into.
For example, have a look at these two images I made using it:
http://fc26.deviantart.com/fs22/f/2007/316/7/c/A_growing_loneliness_by_philosomatographer.jpg
http://fc23.deviantart.com/fs23/f/2008/017/b/0/The_Wrong_Era_by_philosomatographer.jpg
Yet, under some peculiar lighting conditions, it renders harsh halos
around point light sources,
with a dramatically different look to it. I think it all depends on
the light and the objects
in the background of the photograph...
Perhaps, when you have been pushing Delta 400, you have also been
using it in low-light,
harsh conditions, hence the different character?
On 03 Dec 2008, at 3:56 PM, Ken Norton wrote:
> The bokeh issue is part optics, part film. I have noticed that high-
> speed
> films--even Delta 400 pushed two stops, don't react the same to
> bokeh as
> lower-speed films.
--
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