High ISO

[Ivophoto]

I used to work with Fuji NPH and for night shots I used a aperture of f8 and exposed about 4 minutes. As long as highlights were kept out of the frame, the results were often stunning. Playing with a blue filtered speed light made it complete.

[Rob C]

I used to work with Fuji NPH and for night shots I used a aperture of f8 and exposed about 4 minutes. As long as highlights were kept out of the frame, the results were often stunning. Playing with a blue filtered speed light made it complete.

And why not? As long as you expose enough you shouldn't have a problem with the shadows.

[Ivophoto]

And why not? As long as you expose enough you shouldn't have a problem with the shadows.

Yep

And the nice thing was to walk over the scene and flash left and right. Thanks to the slowness of the film only the flashed area appeared on the negative and not the operator.

[Ivophoto]

There's another problem: some people have always believed that they magically up the ASA of film by exposing at a higher rating. They never do. They get an underexposed latent image. All they do with pushed processing is overdevelop the highlights and add nothing to the shadows other than push them into higher contrast. You don't record what the film can't sense. You can only screw with what it has caught, and generally not very nicely.

If blocked highlights are your thing, empty shadows turn you on, then way to go!

If my memory is correct.
C41 is different. I pushed it not by longer development but developed at a higher temperature

[Rob C]

If my memory is correct.
C41 is different. I pushed it not by longer development but developed at a higher temperature

All the colour work I did was at the maker's recommended speed and times and temps. The one thing we wanted from colour darkrooms was consistency to a known standard. The most colour negative I dealt with was when I worked in engineering; out in commercial life it was almost exclusively transparency work. It made no sense to run my own colour line. The few times I had to offer prints were terrible experiences for me because, as I'd pretty much run the engineering company's colour department on my own, I knew that commercial labs worked to a thin margin, and would not go that extra colour filtration test beyond their budget, whatever that was.

I detested working with external suppliers of photographic services, but when it came to big prints, there was no alternative for me.