Which developer with TMax100 4x5, with these circumstances?

[evan clarke]

Since you intend to develop sheet film, and since the trip was already a non-trivial expense, it might be helpful to spend just a little more, and invest a few hundred dollars in an Infra Red Viewing Device, so that you can perform Development By Inspection. That way, no matter what developer you choose, you can monitor and control the development of every single shot.

Just this morning, I was developing some 4x5 sheets, and discovered, while in the developer, that I over-exposed one of the portraits I made, while working in a hurry at a family gathering. I cut development time a bit on those sheets, the result being an N-1 development time, and a lovely negative with full shadows and perfect high values. It will be easier to print, than an over-exposed negative.

Likewise, I found that the shadows were a little empty in another shot, so I left it in the bottom of the tray for a while without agitation: a bit of semi-stand development, so that the shadows would build up.

I did this while developing 20 other sheets, all at the same time, which some might consider a high number. When you can see what you're doing, everything goes a lot more easily.

Once, I discovered during development, that there was something wrong with the developer. Nothing was coming out. (Perhaps I made a mistake in mixing the solution. Who knows ?) So I just mixed up some more - in the dark - and proceeded. The viewing device paid for itself on that day.

Thanks for this lead, Ken. I have seen some complicated suggestions without very good endorsements. I just ordered one from Optics Plus...Evan Clarke

[Andrew O'Neill]

Likewise, I found that the shadows were a little empty in another shot, so I left it in the bottom of the tray for a while without agitation: a bit of semi-stand development, so that the shadows would build up.

That only is successful if enough exposure is given to the shadows.

[Brian Ellis]

I used D76 1-1 with TMax 100 for many years. Since you exposed at EI 100 you may have some slightly underexposed shadows in some negatives. I think an EI between 50 and 80 is more common for TMax 100 (I rated it at 50). I don't mean to worry you unnecessarily, that minor a difference is not going to be a big deal. If these negatives weren't so important I might suggest trying divided D76 or a similar form of stand development that would allow you to build up density in the shadow areas without blowing out the highlights. But given the significance of the negatives, and the fact that you apparently haven't done any testing to determine your EI and development times with this film, it's probably best to stick with something plain vanilla like D76 1-1.
Certainly a little experimentation with some exposures made at home to check on your developer and times would be in order before starting in on these negatives. Sounds like a great trip, I spent some time in Tibet a few years ago and loved it.

[Michael Mutmansky]

FX-37 or FX-39 (if you can get it). It is a speed enhancing developer, so it will handle your 100 ISO setting better than most.

Don't waste your time on DBI unless you are very familiar with it. You will be all over the map otherwise, and that's the last thing you want to do with important film.

Go out and shoot some more sheets in a close reproduction of the shooting conditions you were in, and then do some film testing with your chosen developer to determine the proper time in the soup. Then, develop away. If anything comes out less than ideal, don't blame anyone but yourself for not doing this testing before you shot the film, however.


---Michael

[Colin Corneau]

Thanks, all. I'm pretty amazed by the excellent replies, so quickly! But, having read the forums for awhile when I was overseas, I'm not surprised.

A few points:
• Yes, it is a little backwards, the way I did it. I was scrambling in preparing for the trip, though, and truth be told I'm quite new to large format photography. I've shot a bit before with the Crown, but nothing consistent or very much.
Hence, my not even knowing about shooting TMax100 at EI80 or lower. So, mea culpa on that one.

• I was shooting in Gansu Province, in northwest China. The altitude is quite high, but not as high as the Tibet SAR..this prairie shooter never had altitude problems while there.
I shot in daylight, usually light clouds but normally some blue sky showing. They were very straightforward portraits of people I encountered, usually full length. Sometimes I used a red filter if I thought it would help darken the skies.
I used my DSLR (Nikon D2Hs) to meter the scene.

• Brandon Wheat Kings do not suck. 8^)

I'd definitely do some tests, I have about a dozen sheets left from the box of 50 that I took over there. And, I'll look into the infrared viewing device -- that's a new one by me, but proof once again of the worth of a forum like this.

It might be a bit of time, but I'd love to post some results here, for sure. Many thanks!

[Don Hutton]

The only way I get full box speed with TMX is with semi stand development in Pyrocat HD 1:1:100 - 13 minutes for normal SBR... I do it in a Jobo 2500 series drum with a 2509n reel - 5 minute presoak, 20sec agitation at start and 10s at halfway.

Tmax100 has quite an abrupt toe in most developers - slight under exposure will result in no shadow detail. I think Michaels suggestions are pretty much spot on.

[Kevin Crisp]

Colin: I personally never cared for the film in HC110, though when I read the John Sexton article and tried D76 1:1 I became a fan. Xtol 1:1 has also been fine. I never had trouble getting the rated speed with my meter. I suggest that whatever you decide to use, you expose a few sheets using the same method you did on your trip and try the developer and time combination on those test shots rather than "experimenting" with images that took a lot of time and $$ to make.

[Ken Lee]

Don't waste your time on DBI unless you are very familiar with it. You will be all over the map otherwise, and that's the last thing you want to do with important film.

Excellent point, and thanks for the clarification: You wouldn't want to learn DBI on these negatives.

Even though one can see clearly in the dark with an IR device, it takes a little experience to judge when a negative is right. For one reason, the negative has not been cleared by the fixer. Until then, it has a somewhat milky appearance.

That's why I always use a timer. When there is any doubt, I stick to the prescribed time and temperature. But it gives me a warm feeling that DBI is available for occasional corrections, and to prevent scratches and other surprises.

One of the great advantages of sheet film, is that it allows us to develop each negative individually. Being able to see it, in addition to relying on our best planning, makes that a reality.

[Ed Richards]

1) I get full speed from Tmax 100 with Xtol 1:3 in a Jobo Expert Drum.

2) This is not the time to learn sheet film processing. Send the film to a good pro lab, I am sure the list folks can give you some leads. They can do some test sheets just to make sure things are working, then process the rest. Given what you have spent already, it will be cheap and fool proof.

[Colin Corneau]

I should also mention: I've previously developed HP5 sheet film using a Yankee tank (the plastic one that can take up to a dozen sheets at one go).

That would be the method I'd use for this work, once I've got the developing process worked out. Being as I'm almost as far from civilization here at home as I was when making the pictures, I always assumed I'd rely on myself to produce the images every step of the way...however, if I could be SURE of a quality lab handling the negs well, I'd be interested in knowing how to get the film to them also -- please feel free to email me the info if anyone prefers.

But, this is info I need to learn and do myself - so the advice here is very welcome.