Kodak Vision2 500T in Kodak D-76

[iangreenhalgh1]

I had great results with the 100T variant of this film stock in D-76. This roll of 500T has also come out pretty good, grain is slightly greater but otherwise, it looks the same as the 100T.

I had some strange dark marks on many of the frames, not sure what went on there, but the frames that were unaffected show good results imho.

Exposed at 533 in my Pentax MV-1 with M 1.7/50, developed in D-76 1:1, 15mins at 24C slightly underdeveloped on some frames, but only by about half a stop at most.

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_________________
'The question I would really consider (especially if an amateur and on a budget) is whether or not anyone (including yourself, of course) can tell the difference in any situation for which you will use the lens...and if they can, why are they burying their noses in your prints hard enough to tell the difference instead of responding to the prints emotionally and thinking about what they might mean?' - 2F/2F on apug.org

Digital: Sony NEX-3, Samsung NX100, Canon EOS 450d
35mm SLR: Konica FT-1, Konica FC-1, Konica Autoreflex T, Carena SRH760, Exakta RTL1000, Canon EOS 10qd
35mm VF: Olympus Stylus, Konica C35, Konica A4, Konica MG, Konica MT-9, Ricoh FF-9, Ricoh AF-80
35mm RF: Zorki 6, Kiev II, Kiev IV, Contax IIIa, CZJ Werra III,
Medium format: Franka Rolfix, Mess Ikonta 524/16, Voigtlander Bessa with Skopar 3.5/105, Voigtlander Bessa with Voigtar 3.5/105, Kiev 6C, Century Graphic 23, Ensign Selfix 820, Kershaw 450
MF lenses: Schneider Angulon 6.5/68, Componon-S 5.6/100, C-Claron 4.5/135, Xenar 3.5/105, Mamiya C 2.8/45, Mamiya 2.8/80, CZJ Flektogon 4/50, Biometar 2.8/80, Zodiac 3.5/30, Tominon 4.5/135, Pullin Pulnar 2.8/100
Large Format: Ernemann HEAG Series VII version II 9x12 with Kodak Anastigmat 6.3/170
Konica Hexanons 4/21, 2.8/24, 3.5/28, 2.8/35, 1.8/40, 1.4/50, 1.7/50, 1.8/50, 3.2/135, 3.5/135, 3.5/200, 4.5/300, 3.5-4.5/35-70, 4-4.6/28-135, 3.5/35-70, UC 3.5/45-100, 4/70-150, 4/65-135, UC 4/80-200. Hexars 3.5/28, 3.5/135, Konishiroku 2.8/35
Carl Zeiss Jena Flektogon 2.8/35, Skoparex 3.4/35, Tessar 2.8/50, Sonnar 1.5/50, Biotar 2/58, Pancolar 1.8/50, Cardinar 4/100, Zeiss-Opton Biogon 2.8/35
Meyer/Pentacons 2.8/28, Primagon 4.5/35, Trioplan 2.9/50, 1.8/50, 2.4/50, Primotar 3.5/50, Primotar 3.5/135
Topcon RE Auto Topcors 1.8/58, 3.5/135, 5.6/200
Russians: OKC1-18-1 2.8/18, OKC1-28-1 2.8/28, Jupiter-12 2.8/35, Jupiter-8 2/50, Industar-50 3.5/50, Industar-26M 2.8/50, Industar-22 3.5/50, Zenitar M2S 2/50, Helios-44-2, Jupiter-9 2/85, Jupiter-11 4/135, Tair-3C 4.5/300
Tokina 3.5/17, Nikon Auto Nikkor-N 2.8/24, Nikon Micro-Nikkor-P 3.5/55, Ross Xpress 3.5/4in, Ross Xpress 4/5in, Ross Xpress 4.5/8.5in, Wollensak APO-Raptar 10/541

[Orio]

Have you processed the frames after scanning, or are these direct scans?
I see a strange aspect in some places, something like blurring blots, don't know how to explain better but it does not look natural.
Contrast seem perfect.
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[iangreenhalgh1]

Processed. Sharpened then noise reduced. Sometimes Dfine seems to smear detail in areas, other times it doesn't, I think it depends on the level of grain it has to deal with and the smearing only occurs when there is a higher level of grain.

Contrast has been boosted on all of them, this film seems to need that, it has a high dynamic range so it is possible to make large boosts in contrast without losing highlight and shadow detail.
_________________
'The question I would really consider (especially if an amateur and on a budget) is whether or not anyone (including yourself, of course) can tell the difference in any situation for which you will use the lens...and if they can, why are they burying their noses in your prints hard enough to tell the difference instead of responding to the prints emotionally and thinking about what they might mean?' - 2F/2F on apug.org

Digital: Sony NEX-3, Samsung NX100, Canon EOS 450d
35mm SLR: Konica FT-1, Konica FC-1, Konica Autoreflex T, Carena SRH760, Exakta RTL1000, Canon EOS 10qd
35mm VF: Olympus Stylus, Konica C35, Konica A4, Konica MG, Konica MT-9, Ricoh FF-9, Ricoh AF-80
35mm RF: Zorki 6, Kiev II, Kiev IV, Contax IIIa, CZJ Werra III,
Medium format: Franka Rolfix, Mess Ikonta 524/16, Voigtlander Bessa with Skopar 3.5/105, Voigtlander Bessa with Voigtar 3.5/105, Kiev 6C, Century Graphic 23, Ensign Selfix 820, Kershaw 450
MF lenses: Schneider Angulon 6.5/68, Componon-S 5.6/100, C-Claron 4.5/135, Xenar 3.5/105, Mamiya C 2.8/45, Mamiya 2.8/80, CZJ Flektogon 4/50, Biometar 2.8/80, Zodiac 3.5/30, Tominon 4.5/135, Pullin Pulnar 2.8/100
Large Format: Ernemann HEAG Series VII version II 9x12 with Kodak Anastigmat 6.3/170
Konica Hexanons 4/21, 2.8/24, 3.5/28, 2.8/35, 1.8/40, 1.4/50, 1.7/50, 1.8/50, 3.2/135, 3.5/135, 3.5/200, 4.5/300, 3.5-4.5/35-70, 4-4.6/28-135, 3.5/35-70, UC 3.5/45-100, 4/70-150, 4/65-135, UC 4/80-200. Hexars 3.5/28, 3.5/135, Konishiroku 2.8/35
Carl Zeiss Jena Flektogon 2.8/35, Skoparex 3.4/35, Tessar 2.8/50, Sonnar 1.5/50, Biotar 2/58, Pancolar 1.8/50, Cardinar 4/100, Zeiss-Opton Biogon 2.8/35
Meyer/Pentacons 2.8/28, Primagon 4.5/35, Trioplan 2.9/50, 1.8/50, 2.4/50, Primotar 3.5/50, Primotar 3.5/135
Topcon RE Auto Topcors 1.8/58, 3.5/135, 5.6/200
Russians: OKC1-18-1 2.8/18, OKC1-28-1 2.8/28, Jupiter-12 2.8/35, Jupiter-8 2/50, Industar-50 3.5/50, Industar-26M 2.8/50, Industar-22 3.5/50, Zenitar M2S 2/50, Helios-44-2, Jupiter-9 2/85, Jupiter-11 4/135, Tair-3C 4.5/300
Tokina 3.5/17, Nikon Auto Nikkor-N 2.8/24, Nikon Micro-Nikkor-P 3.5/55, Ross Xpress 3.5/4in, Ross Xpress 4/5in, Ross Xpress 4.5/8.5in, Wollensak APO-Raptar 10/541

[Orio]

Ah ok, then it's the noise reduction which did that.
Have you tried to not apply any (noise reduction?)
Maybe the tradeoff is worse than the noise.
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Orio, Administrator
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Support the Ornano film chemicals company and help them survive!
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[iangreenhalgh1]

I'm not a fan of noise/grain so I tend to prefer to reduce it and live with the smearing. However I did discard some frames because the noise reduction produced too much smearing.

I'm not too concerned about it as when I use Fomadon LQR with this film, I get less grain and don't have the problem, I am only using D-76 atm because I've run out of Fomadon and the D-76 I happened to have in the cupboard so it's a temporary stopgap. Also, under 'normal' circumstances I would just avoid shooting in bad light as far as possible, and it is only the shoots in bad light where I have had this issue. Circumstances are far from normal atm however, with record levels of rainfall and a total absence of anything resembling summer weather, so it's a case of getting out to shoot whenever the weather allows and just disregarding the light conditions, if I waited until there was some sunshine I'd not have shot more than a handful of frames in the last few weeks. This is the worst summer in Britain since records began in the 1760s and I don't remember seeing constant prolonged rainfall and dark skies without any sign of the sun as it has been ever before apart from in the depths of winter, but this is the height of summer!
_________________
'The question I would really consider (especially if an amateur and on a budget) is whether or not anyone (including yourself, of course) can tell the difference in any situation for which you will use the lens...and if they can, why are they burying their noses in your prints hard enough to tell the difference instead of responding to the prints emotionally and thinking about what they might mean?' - 2F/2F on apug.org

Digital: Sony NEX-3, Samsung NX100, Canon EOS 450d
35mm SLR: Konica FT-1, Konica FC-1, Konica Autoreflex T, Carena SRH760, Exakta RTL1000, Canon EOS 10qd
35mm VF: Olympus Stylus, Konica C35, Konica A4, Konica MG, Konica MT-9, Ricoh FF-9, Ricoh AF-80
35mm RF: Zorki 6, Kiev II, Kiev IV, Contax IIIa, CZJ Werra III,
Medium format: Franka Rolfix, Mess Ikonta 524/16, Voigtlander Bessa with Skopar 3.5/105, Voigtlander Bessa with Voigtar 3.5/105, Kiev 6C, Century Graphic 23, Ensign Selfix 820, Kershaw 450
MF lenses: Schneider Angulon 6.5/68, Componon-S 5.6/100, C-Claron 4.5/135, Xenar 3.5/105, Mamiya C 2.8/45, Mamiya 2.8/80, CZJ Flektogon 4/50, Biometar 2.8/80, Zodiac 3.5/30, Tominon 4.5/135, Pullin Pulnar 2.8/100
Large Format: Ernemann HEAG Series VII version II 9x12 with Kodak Anastigmat 6.3/170
Konica Hexanons 4/21, 2.8/24, 3.5/28, 2.8/35, 1.8/40, 1.4/50, 1.7/50, 1.8/50, 3.2/135, 3.5/135, 3.5/200, 4.5/300, 3.5-4.5/35-70, 4-4.6/28-135, 3.5/35-70, UC 3.5/45-100, 4/70-150, 4/65-135, UC 4/80-200. Hexars 3.5/28, 3.5/135, Konishiroku 2.8/35
Carl Zeiss Jena Flektogon 2.8/35, Skoparex 3.4/35, Tessar 2.8/50, Sonnar 1.5/50, Biotar 2/58, Pancolar 1.8/50, Cardinar 4/100, Zeiss-Opton Biogon 2.8/35
Meyer/Pentacons 2.8/28, Primagon 4.5/35, Trioplan 2.9/50, 1.8/50, 2.4/50, Primotar 3.5/50, Primotar 3.5/135
Topcon RE Auto Topcors 1.8/58, 3.5/135, 5.6/200
Russians: OKC1-18-1 2.8/18, OKC1-28-1 2.8/28, Jupiter-12 2.8/35, Jupiter-8 2/50, Industar-50 3.5/50, Industar-26M 2.8/50, Industar-22 3.5/50, Zenitar M2S 2/50, Helios-44-2, Jupiter-9 2/85, Jupiter-11 4/135, Tair-3C 4.5/300
Tokina 3.5/17, Nikon Auto Nikkor-N 2.8/24, Nikon Micro-Nikkor-P 3.5/55, Ross Xpress 3.5/4in, Ross Xpress 4/5in, Ross Xpress 4.5/8.5in, Wollensak APO-Raptar 10/541