Originally Posted by
Drew Wiley
It's not so easy to get balanced exposures; the filters differ. You either have to fiddle with the aperture and risk differences of depth of field between exposures, or risk getting into recip failure territory. Add to this the even bigger fact that the gamma of a film can significantly vary between these hard contrast filters, esp at long exp times.
Then that has to be corrected by independent development of each. That is why I recommend TMX100. If you get the exposures right, you can develop all three sheets together for the same time and get matching contrast. But the point is to get the signature of a very long contrast scale, which can be manipulated later. That is why tricolor exposures did such wonderful things for still life shots when they were dye transfer printed. You need a film with a very long straight line to begin with. But TMX also was engineered with special characteristics to begin with which make it suitable for tricolor work, essentially replacing Super-XX yet even more convenient, with much finer grain.
Most people aren't aware of that fact today.
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