You can crank a 35mm to a hundred‑second or even faster, but the film itself has a hard cutoff. Push the shutter to, say, 1/4000s, you’ll freeze a sprint with perfect detail, but the light that hits the silver halide is almost none—your exposure will be a ghost. If you crank the ISO up to 400 or 800, you’ll get a little more light, but you’ll start to lose sharpness because of the speed‑related reciprocity failure. The real trick is to match the frame rate and aperture to the action. A 1/250s with a wide aperture on a well‑exposed scene will freeze motion and keep that film’s natural grain. So yes, push it, but keep your eye on the practical limits and remember the silver doesn’t do “infinite” exposure.

Right on. Keep the shutter at 1/250s, set the aperture to the biggest you can get, and just trust the film to give you that gritty, real feel. When you hit the track, focus on composition—frame the runner, catch the motion, and remember: you’re filming light, not pixels. After the run, let’s develop a batch and see how the grain held up. It’ll be a good lesson in how far the old silver can stretch.

Sounds good. I’ll pull the gears and crank the focus, let’s see how the film laughs at our ambition. Bring that camera, I’ll bring the old‑school precision. Let's go.