TMZ at 1600 ASA
You make very nice use of the wide angle here, as the deformation actually adds to the feeling of depth.
I do have the impression that your light meter was fooled by the stage lighting, as certain parts appear a bit underexposed (not that it disturbes much).
I too think the 1600 ASA is not the film of choice for such an extreme tonal range. An 'overexposed' CN400 would have brought both lights and spectators here.
like it! and i can almost "hear" it, too...
I need time to think about what is different about other idea than mine. I never used B&W film with C-41 develop process. I like to do all myself. But...
Now I have tested, not the CN400, but the Ilford XP-2. I test it with densitometer:
with daylight, the sensibility is 400ASA
with halogen/3200K, the sensibility is only 200ASA.
So we can try to imagin the result, in the theatre, we will not see details in the shadow.
Maybe you can explain me how you use the film, and how you develo
Interesting that sensitivity drops at artificial light. I never use tungsten light only shot daylight or electronic flash. The CN400 is extremly flexible it goes down to 50 ASA at standard C41 process and shows great shadow details. Maybe you'll give the Portra BW a try? It has another spectrals sensitivity and is softer.
Don't know much about the XP2 but mbru65 produces great results with it.
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