Ilford HP5+ is a nearly ninety-year-old black-and-white film renowned for its adaptability, sharpness, and consistent response under various development techniques. Many photographers appreciate the ability to push-process it and occasionally pull-process as well. However, to my knowledge, no one has taken it to such an extreme; consequently, this may be the first instance of someone demonstrating this approach and the resulting images with HP5+ treated as if it’s an ISO 100,000 film. As observed, the outcomes aren’t as pristine as those achieved with standard development methods. I find them usable, having seen worse, though opinions may vary. Regardless, the image is present. This article serves as a continuation of yesterday’s experiment where HP5+ was pulled to ISO 3; while that process was relatively straightforward, I wouldn’t necessarily advise attempting what I’m about to share. Nevertheless, this resource includes all the techniques and recipes needed to replicate the experiment, along with recommended development times for HP5+ at EI 12800, 25600, and 51200.
In this article: An explanation of what it means to push film and the typical procedures involved; reasons for shooting HP5+ at an ISO 100,000; metering for EI 100,000; development times and techniques; scanning and post-processing; additional samples; and the conclusion. Support this blog & enjoy premium features with GOLD memberships! — The HP5+ formula will be 94 years old in 2025, considering dry plates. It was launched in 1931 under the name Ilford HP, which stands for Hypersensitive Panchromatic. This is the fifth updated version of the film.
Ilford HP5+ exposed at EI 100,000.
What does it mean to push film, and how is it typically done? In my earlier article, I discussed this in some detail and provided a dedicated guide that addresses this question. In essence, while there is a recommended ideal film speed, we can alter it by adjusting development times, temperatures, and chemical dilutions. For instance, although Ilford HP5+ is rated at ISO 400, it can be metered as ISO 200 or ISO 800 and developed accordingly for accurate exposures.
As expected, there are limits to how much we can push (developing film to mimic higher ISO values) or pull it. At some threshold, the film begins to exhibit various artifacts, including larger grain or, in worse cases, the absence of an image altogether. In this article, I will push HP5+ further than anyone has previously attempted or at least document it online successfully.
Why would anyone shoot HP5+ at an ISO 100,000? Increasing film sensitivity to such levels can assist photographers in capturing images in darker settings. Less light also allows for the use of faster shutter speeds and smaller apertures. For example, the photograph at the beginning of this article depicts a crow that has just launched off a table; it shows no motion blur (as it was captured with a 1/4000s shutter speed) and no depth blur (everything is in focus, from the table about 1m/3’ away to the light post roughly 10m/33’ distant — shot at 𝒇16).
The Tsushima Cyanotypes is a black-and-blue photobook featuring cyanotypes by KC Ahonen, with only 200 copies available. I enjoyed turning the 76 pages of this uncoated A5-sized book and observing the 30 beautifully printed blue-on-white cyanotype images. However, the most powerful element of this book was the artist’s statement, in which KC shared the origins of his images and their strange link to our contemporary existence within a parallel universe of ones and zeros.
This camera features 100% mechanically operated titanium honeycomb shutter curtains that can consistently synchronize with flash speeds of up to 1/250s and can shoot at an impressive speed of 1/4,000s when necessary. The FM2 stands out as one of Nikon’s most enduring SLRs, with a production run lasting 19 years! This review explores the camera’s lineage and characteristics in detail.
Fujifilm 400 Speed Film is a recent product from a Japanese manufacturer produced in the USA. It serves as a substitute for their previously made-in-Japan Fujicolor Superia X-Tra, which at one time incorporated a fourth cyan-sensitive color layer to enhance tonality in mixed lighting—a technology well-known from their iconic Fujicolor Pro 400H emulsion. In this review, I will explore the film's background as well as its technical and visual characteristics. Additionally, I will compare and contrast it with Kodak Ultramax 400.
Here's the Spanish translation of the provided text: If you are looking to grow your law firm in 2024, digital marketing is non-negotiable. The era of relying on referrals and print ads is fast disappearing. Digital marketing for law firms has quickly become the new standard for reaching out to the public
The project, which has been in the works for more than two years, came to my attention towards the end of last year. However, since the launch page (https://af1.analogueshop.com/) has only displayed renders (i.e., not real photos of the product) and the Analogue team has acknowledged in the comments on Kosmo Foto’s article that the sample image on that page was not captured with their camera... #editorial.
I’ve included free trials for the apps and articles exclusive to GOLD subscribers on Analog.Cafe to assist you in determining if a membership is a worthwhile investment. #editorial.
This article serves as a continuation of yesterday's experiment involving pulling HP5+ to ISO 3. While the previous task was relatively straightforward, I cannot necessarily endorse attempting what I am about to discuss. Nevertheless, this resource includes all the techniques and recipes needed to recreate the experiment, along with recommended development times for HP5+ at EI 12800, 25600, and 51200.