Initial Results of testing Tmax100

[Drew Wiley]

We can sort out all those kind of questions by getting more specific about developer choice. I've been working with both TMax films ever since they both came out, and use a variety of developers depending on general versus technical use. A staining pyro developer like PMK or Pyrocat makes the highlights quite cooperative. But with respect to the 100 speed version itself, due to its relatively poor edge effect (not detail capacity per se), I've resorted to a different dev tweak which significantly improves edge acutance, while at the same time, reining in the highlights a bit too. For portraiture (versus landscapes), I prefer the softer edges per se, and have stayed with pyro for TMX as well.

[Corran]

Developer is important. What actually in the scene is outside of the range (for example, water highlights in a waterfall). Printing technique (split filter printing, diffuse or condenser head, etc.) can be a factor.

The point of the OP's test is to establish a baseline, not to dial in the intricacies of the curves and papers used (note he is scanning only right now).

[Drew Wiley]

The standard advice applies here. Expose for the shadows, develop for the highlights. The baseline exposure can be affected by some developers if they are weak enough to induce a deep sag in the curve. But with most of the popular developers (D76, HC110, TMax RS, PMK, Pyrocat, Perceptol etc etc), you can expect reasonable results at full box speed due to the especially long straight line. You might still need to establish a personal ASA relative to your metering style or meter bias, and your confidence level.

[Steven Ruttenberg]

My goal is to learn the film characteristics based on 1 developer at a certain strength, temp and development time. From there learn how to manipulate development to achieve greater control. I shoot a lot of high contrast scenes as in, sunrise/sunset, extreme shadows and lights as in the Grand Canyon and more. Once I have an understanding of what Tmax can do for me, and my style of shooting and developing, I will then learn another technique such as 2 bath pyrocat or straight pyrocat or minimal agitation for certain effects. But whatever I choose after learning Tmax and Tmax developer my first goal is to become proficient at developing Tmax and using it in the field.

I can then use this skill to learn other films.

For now I scan only so my negatives are to be geared for that. Once our house is built and we have darkroom completed. I will then start looking at gearing negatives to wet process and learning that craft.

There are two people for now who's guidance I will follow. All posts so far are I formative, but like sticking to o e developer and film, I will be sticking to the two individuals who have been helping me.

Keep thread alive.

[Pere Casals]

For now I scan only so my negatives are to be geared for that.

Perhaps it would be interesting you make just a few contact copies to feel what paper is, this may open your mind about how a negative can be exposed/developed. I took bad habits when only scanning.

I don't propose a big effort, just a bulb, a filter set, a box of 25 papers, small trays and some Dektol.

If you engage 810 then contact copies are nice. It's atonishing to see one of those with a x8 magnifier, well, like inspecting the negative but reversed.


I tell this because initial pitfalls in the tonal scale on the paper may influence in the way you adjust your negative crafting, "print as soon as possible", Sexton would say, I guess.

[Steven Ruttenberg]

Once I am settled in my new place I will think about that. I have wanted to try contact printing.