Of course, in times of competition for the highest possible resolution and sharpness, it is madness to handle a coarse-grained film, but we often do things that make others shake their heads. And so we use the graininess as a means to portray the open-air museum Molfsee near Kiel in an emotional context to his epoch.
After all, the earlier black and white films were quite grainy and the printed pictures in the newspapers even rasterized. So what do we want to do more than spread the nostalgia charm of this exhibition?
Especially in sunlight, this experiment is a real challenge. Despite dimming down to aperture 16 and despite the use of an orange filter, exposure times of 1/8000 seconds may be required. This can only be done with dense gray filters to extend the exposure times to 1/1000 second or to expose the film to its actual sensitivity of about ISO 1250 or ISO 1600.
With the images shown here, we have stayed at the nominal sensitivity of ISO 3200, which is also processed without pull development at Open Eyes in Hamburg. If you would like to have the film developed by default at My Filmlab, it should be exposed with ISO 1250 – 1600. Basically, it is worthwhile to use a technical laboratory (we have listed below) and to specify the sensitivity at which this film was used. However, as in all laboratories, pull or push developments are possible there, as Ilford states that this film can be exposed to quality losses of up to ISO 25,000. Then grain and contrast grow immeasurably. But that would be manageable with a corresponding Feinstkornentwickler again. However, if you use this film with a lower sensitivity, then grain and contrast are reduced.
In our example, the grain is pleasantly present, we just do not stand on crisp images that look like a graphic and sometimes hurt in the eyes. In this case, we love the softness of the motifs associated with graininess and the high contrast that is created indoors with no artificial lighting when the sun is shining outside. Then the shadow is sometimes impenetrable black, the lights are well drawn and the edges are very clear.
But even in pure outdoor shots transported the Ilford Delta 3200 a nostalgic reportage style. Generally we use an orange filter, so a great contrast is maintained. In the outdoor area use for the exposure simply an average value, the dark areas have an amazing drawing despite the grain, so you can see all the details. In return, the white motif elements do not freak out. The Ilford Delta shows here an amazing dynamic range, or a great contrast sensitivity for this sensitivity.
All in all, we are very pleasantly surprised at the performance of such a highly sensitive film and we will go back, but maybe at night.