Designing T-Max Films: TMX speed; In response to David Williams' request

[Milpool]

Yes, I know, but I was being whimsical in light of Drew's willingness to share. Also MicroHyman-X just doesn't have the same ring ...

Ok I’ll give you that one.

And if you add a few grams/l of chlororesorcinol you go from Wileydol to Wileydol-X.

 

[albireo]

Indeed. With a hybrid "darkroom," just shoot color and convert to B&W.

Utter nonsense, sorry. No offense, but one can tell you don't know much about hybrid film photography.

 

[MattKing]

Utter nonsense, sorry. No offense, but one can tell you don't know much about hybrid film photography.

FWIW, I have several friends who do something like what @Paul Verizzo is suggesting.
They shout digital colour.
They edit digitally the resultant files, taking advantage of the ability to control separately the different colours.
They convert to black and white.
They edit further, with the goal of preparing a digital negative.
They use the digital negative to make traditional/alternative process prints in the dim room.

 

[Peter Schrager]

Well, very little is on a level playing field by the time it reaches the web. All kinds of scanning and manipulation artifacts are potentially involved. And magnifying some tiny portion might not lend the general impression at all. And it's really difficult to make subtle contrast prints come across well over the web, where an almost etched quality might be present, but impossible to see unless the whole images has its contrast artificially boosted in order to see the effect on a substandard medium (the web). I learned that lesson long ago. It's not that I haven't tried it.

Same goes for subtle hues where color images are involved. The web is by design a blunt axe. Sure, everyone can make a box of Crayons look vivid and bright. That's why film ads and reviews always seem to have them; but highly nuanced color is another matter entirely. I learned that lesson too. Two-thirds of my work, both color and b&w, didn't adapt to the web well. And if you look at people who rather routinely print subtly, like Robert Adams, a print which looks magnificent on the wall comes out downright blaaah over the web. Enhance it, and it's not the same thing at all.

While I do love Robert Adam's work i was so disappointed in his printing at a major show in D.C. the prints look fabulous in his books..go figure!

 

[Lachlan Young]

While I do love Robert Adam's work i was so disappointed in his printing at a major show in D.C. the prints look fabulous in his books..go figure!

You wouldn't be the first to have made that comment - and I think people often don't realise that good duo/tri/quadtone offset can do things that might be trickier to do with darkroom printing without some abilities in extended techniques. That said, most aspects of the Robert-Adams-in-book-format aesthetic are not terrifically difficult to achieve with darkroom printing and a little care & attention.

 

[albireo]

FWIW, I have several friends who do something like what @Paul Verizzo is suggesting.
They shout digital colour.
They edit digitally the resultant files, taking advantage of the ability to control separately the different colours.
They convert to black and white.
They edit further, with the goal of preparing a digital negative.
They use the digital negative to make traditional/alternative process prints in the dim room.

That sounds like an interesting use case Matt - I would love to see some results!

I had a simpler 'hybrid' workflow in mind earlier though. I too have a few friends who shoot black and white film, but in my case they'll scan their film and publish their black and white scans online, or have them printed through an online service, and they choose to use black and white film (rather than colour film followed by conversion) because of one or more of the following

• there's a lot of high quality black and white film around that's cheaper than colour film of equivalent quality
• many people prefer to compose a picture in full awareness that there is a black and white, and not colour, roll in the camera (otherwise they'd seek an often drastically different type of picture/composition/subject)
• many characteristics of black and white film (grain structure, distribution, spectral response, D/E curve given a certain developer pairing) are fully delivered in a well controlled hybrid chain, and have a strong, repeatable visual impact on the final product. Some hybrid film users seek these features and will select different black and white film based on needs.

Given that the topic at hand was XP2+. XP2+ in C41 is a wonderful product that has no equals, and its uniqueness comes across EVEN when scanning it - if one exposes and develops with method. I personally would be unable to simulate the look XP2+ gives me by messing around with a roll of Gold or Ektar.

 

[DREW WILEY]

Well, Peter, my own experience has been the opposite - my book version of Robert Adams has miserable reproductions. In terms of press limited edition prints, all depends.
There was a local ultra-press outfit that could do an incredible job - at an incredibly high price. But with lesser techniques, like inkjet, its very difficult if not impossible to replicate subtle nuances of toning etc. - if just black black ink, well, some do it rather well these days.

I haven't followed R. Adams work enough to know if there was a shift in his materials or attitude or available materials along the line, or even if someone else did some of his printing. The actual silver prints I saw were wonderfully subtle understatements which would have gone sheer bellyflop over the web. That was really the point I was making.

 

[MattKing]

That sounds like an interesting use case Matt - I would love to see some results!

I'll try to get one friend in particular to share something.

I also have friends who work mostly in the digital realm, who also prefer to use digital colour capture initially, even though their intention is to create a final monochrome image. The editing options available prior to conversion to monochrome are apparently superior.