Film Grain and Image Aesthetics

Grain is present in all film, but as grain size relates directly to film speed, the rule is: when going for the finest grain choose the slowest film speed possible and, conversely, when looking to enhance grain choose a high-speed film. The "possible" in the low grain rule takes lighting conditions and whether or not you're working with a tripod into consideration.

This grainy rendition was created by exposing Tri-X 400 at ISO1600 and "push-processing" (extending development time) the film using D-76 at full strength (no dilution). This resulted in a dense negative that was then printed using a #3 grade paper. The background was extensively "burned in" during printing. Torrey Pines Beach, 1988, Tri-X 400 exposed and push processed to ISO1600.

        

Today there are both “normal” (random grain placement) and T (for tabular) grain films. Tabular means the grains are “cloned” to be consistent throughout the emulsion. While this may seem academic, T grain films have a “smoother” look overall when printed, while “normal” grain films have a more “photographic” look associated with them. For example, you can get Tri-X 400 or T-Max 400, the latter having grain structure that is somewhat smaller and more light efficient than the grains found in the older emulsion formulations. While these T-grain films do offer finer grain in equivalent speeds when compared to the older formulations, the faster T-grain films are still grainier than slower T-grain films.

Some photographers do everything possible to reduce grain in their images--they shoot with the slowest speed films; they keep developing times to a minimum; they enlarge on low-contrast papers; and use so-called "fine-grain" developers. (Use of these developers usually means the loss of a portion of the speed at which you rate the film.)

Other photographers go the opposite route, and do whatever possible to enhance grain for graphic effects. You can boost grain by shooting with the fastest film available; by overdeveloping film (within reason); and by printing on high-contrast papers (or multi-contrast papers that allow you to change the grade by filtering the enlarger light: for example, a magenta filter for higher contrast.). Another way to enhance or smooth grain is to choose between a condenser or "diffusion" enlarger, the latter yielding a smoother grain look. As the visual effect of grain is linked to the degree of enlargement (magnification), some photographers either enlarge their prints to huge sizes, or take small portions of the frame and enlarge that section (cropping) to increase the image magnification even further.

Smooth grain images result from using a moderate speed film or inherently fine-grain film like T-Max, developing for lessened time, being careful not to overexpose, and printing on a #2 or lower grain using a diffusion head enlarger. This scene was photographed in 1989 on T-Max 400 with exposure biased towards the highlights. The film was developed in T-Max developer at 30 seconds less than the recommended developing time with 1-minute agitation intervals.

Most photographers do not get obsessed with grain, as long as it doesn't get in the way of visual communication. There is a school, however, that expresses the opinion that grain is an inherent characteristic of the "photographic" image, and that emphasizing grain, or not being too concerned when grain becomes evident, stamps an image as eminently "photographic." Grain is also used by photographers to add a nostalgic, mysterious or even ominous note to an image.

The best way to discover ways to enhance or diminish grain is to test various film/exposure/development combinations. For example, shoot a few rolls of Tri-X and do a “ringaround” of exposure, changing ISO and even exposure compensation as you shoot. (In other words, make images in low and moderate contrast light, both of the same scene, and bracket both ISO and settings, say by one to two stops of exposure and setting ISO at 200, 400 and 800 ISO.) Do this with a few rolls and develop one in a fine grain developer (which, as mentioned will have you rating Tri-X 400 at maybe 200 or 320) and one in a more active developer such as D-76, diluting 1:1 and 1:2 with water.

After development make contact sheets and then pick a few images that are over, under and well exposed. Enlarge a few frames to a minimum of 8x10", and use a loupe to help “predict” the resultant look of the grain on future frames shot at the same settings.

Once you have done this, make notes for your future field work. These notes will become your “grain” diary and will help you make choices for various subjects, scenes, and settings, and create just the right degree of expressive grain for your work. That way you will “stamp” or embed each roll of film, making the frame an “original” that truly records your mood and aesthetics of the moment you snapped the shutter.

Note: Pushing (through development) and rating ISO 400 film at ISO 1000 and above will certainly yield more grain. You can also punch up grain by developing any film in a highly-active developer, such as a paper print developer, for about 1.5 minutes. This will yield a very dense, but printable, negative that has "popping" grain.

The Photo Darkroom: Considering an Effective Enlargement Size

A negative can be printed in any number of ways: you can make contact (same size) prints, or reduce or enlarge as you see fit. How big, or small you make a print depends upon a number of factors, including negative sharpness, subject matter, and the end use of the print itself. Also, you're not limited to the original proportions of the negative in the printed image: although you start out with a rectangular or square format you can crop as you see fit and change a horizontal to a vertical, or turn a 4x5 negative into a 4x10 composition.

The first step is to determine just how much enlargement a given negative can take. Place your selected negative in the carrier and bring the enlarger up to the desired height. Check image sharpness--if the image becomes unsharp, lower the enlarger height until it becomes sharper. The next step is to consider grain. Naturally, the bigger the enlargement, the more the appearance of grain. If you have a fairly grainy rendition at 8x10 you can bet that the grain will really pop as you go bigger. It may be hard to see grain by eyeballing it on the easel: a better path is to use a reflecting magnifier placed on the easel to get a better look. Personally, I don't find grain objectionable, but if you do it will certainly become a major factor in determining enlargement size. Grain can be deemphasized somewhat by printing on a lower contrast grade paper or using a diffusion enlarger head (as opposed to a condenser head, which tends to enhance contrast, thus grain).

This crop was made from a medium format negative (2&1/4" square) to yield an 8x20" print. Making larger size prints from medium format or large format negatives pose less of a  problem when it comes to sharpness and grain. This "panorama" crop best served the image.

The main consideration in enlargement size should be the subject of the picture itself. In some cases, the power of the image will overcome any of these considerations. Generally, some images lend themselves to big prints; others call for a more intimate approach. This is a personal matter. However, don't think that a picture has to be big in order to have impact. If you find that you always need to make big prints to make a big impression you should rethink your subject matter and question your motivation. An image should stand on its own, regardless of size. All a big print does is make the viewer stand back a bit more to study it. If it's a solid image it will make it even in 5x7 size. As to size and price, as one sage photographer told me, “Pictures are not pork chops and should not be sold by the pound.”

If you're printing for a gallery show let your subject matter be your guide. Too many people feel they have to go really big for a show, but it just isn't necessary. I've seen very effective and beautiful 5x7 prints hung for a show: the more intimate presentation can work wonders. Then again, 16x20 prints can be real knockouts. All I can say is do what's comfortable and fitting.

Of course, the negative size from which you're printing will have an important effect on how large the print can be made. Making a 16x20-inch print from a 4x5 negative requires much less enlargement than does the same size print from a 35mm negative, which translates to higher sharpness and less grain. In general, you'll be hard pressed to match print quality between 35mm and large format negatives, especially if both are shot of the same scene. Of course, both formats have their purpose.

Last but not least, film speed and quality have an effect on how big you can go and still have an effective print. Some films are simply sharper and finer-grained than others. And, how you expose and develop the negative will also have a profound influence on enlargement quality. A poorly handled negative will never yield anything approaching one that's been well exposed and processed.