Ian,
I am very surprised with your DDX dilution. I use Ilford D100 and DDX at 1+9 for a SBR of 14/15. For a normal SBR of 7, I use a 1+6 or 1+7 dilution with a constant agitation in tube.
Hope it helps you !
Ian,
I am very surprised with your DDX dilution. I use Ilford D100 and DDX at 1+9 for a SBR of 14/15. For a normal SBR of 7, I use a 1+6 or 1+7 dilution with a constant agitation in tube.
Hope it helps you !
In similar or even worse situations I have used two-bath developing with good success, and Windisch' compensating pyrocatechin developer for the extreme cases - also successfully.
D-23 for 3 minutes followed with a borax afterbath pulled a EV 3 to EV 17 range nicely together without getting the midtones too flat - although I have seen better midtones.
Hi
I would recomand the Gigabitfilm from germany makes about 11 F stops. Its the best film for largest contrast.
www.gigabitfilm.de
Good luck!
There are some numbers here from Clay Harmon for developing TMY in Pyrocat-HD to capture ranges of up to 13 stops (and a suggestion in the article of getting 18 stops (!) out of Fortepan 400). His numbers are targetted at higher density ranges for Pt/Pd printing, but you could use them as a start.
Jeff
I'd try a zone 2 pre-exposure with divided D-23 give an extra 1 stop exposure. I carry a piece of white pexiglass just for the purpose of pre-exposure. I just hold it up to the lense and meter it set my exposure for Z2 and expose with the pexi in front of the lense.
Ian,
You are describing a situation that I have encountered frequently in photographing the American Tobacco Factory in Durham NC (see www.mpr-photography.com). I use T-100 exposed at 80 and place shadows on high Zone IV or even V. I then develop the film as Bruce Barnbaum describes in his Photographic Arts 3rd edition book. I use XTOL diluted 1+3 and agitate continuously for 45 seconds, let stand another 45 seconds to 1.5 mins. (1.5-to-2.5 mins.), and then quickly put the film into 1+5 dilution and develop for another 6-to-8 mins. with intermittant agitation (time in the dilute developer can vary according to how much density in the high tones is desired). The initial development gives the shadows the boost they need, and the highlights then develop slowly in the more dilute developer. This is very similar to the water bath development described by Adams, but it gives more shadow detail. You may still have to burn highlights, but it becomes much more manageable.
I have also tried this in Gainer's HC110P variant of ascorbic acid developer. Both give excellent grain and fine control over development. Be sure to use distilled water for XTOL.
Regards,
Mike
Mike,
when I develop by inspection I can see that the highlights are the first parts of the negative to develop, so how does using a more concentrated developer initially, build shadow density in the negative?
If you find it, read John Sexton's approach to high contrast situations with TMX 100: highly diluted TMAX -RS, in tray with "slosher" partitions (Summitek product), agitate every 2-3 minutes.
Hans Berkhout
www.gelsilver.blogspot.ca
Ian:
As a BTZS student and user, I plugged your data into my computer and here's what came up. Assuming a normal developing out paper with an scale of 1.1, typical flare from lens and bellows (just work with me here) using TMX 100 with your EV readings and zone placements, the computer says you have a subject brightness range of 13.5 and should develop the film to a CI of approximately .25. with DI#13 developer (created by Phil Davis for TMX under these brightness range:
http://www.viewcamerastore.com/product_info.php?cPath=33_66&products_id=603
at 1:9 for 6 minutes and 34 seconds at 70 degrees in BTZS tubes. You can use this as a baseline for tray development, but the key is a developer matched to what you want on the film.
Non analogue process such as suggested above should work, but if you want to use silver paper and TMX in the darkroom, the above should get you started. Good luck.
Mike
“You can’t have everything. Where would you put it?”
Ian:
Not enough coffee: you need to expose the film at F22 for 27.2 seconds. If you want different times or f stops, email me. Thanks.
Mike
“You can’t have everything. Where would you put it?”
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