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Go to http://www.covingtoninnovations.com/hc110/ and look for the header 'Curve Shape'. This explains the tendency of HC-110 to have a particular upswept curve shape that people are reporting in this thread, and it's curve with TMX is illustrated. Michael Covington observed it in practical use, and refers to tests in Schaefer's editions of the Ansel Adams guides that show this curve shape is consistent across varying dilutions with HC-110. One reason that HC-110 and Verichrome Pan were a good match was that HC-110 could increase contrast in the VP shoulder and add some additional sparkle to the highlights.
You can see this curve shape in hpulley's shot, where the snow is well below the cloud density, and there's less contrast in the mid-tones to shadows. It's simply the nature of HC-110. You can control highlight density with development adjustments, but you can't make the upswept curve go away without resorting to higher dilutions and reduced agitation development (and perhaps not too successfully with TMX). You can find that in Ansel Adams as well, The Negative, under 'Value Control in Processing', demonstrated with HC-110 and Tri-X Professional in 120.
Lee
You can see this curve shape in hpulley's shot, where the snow is well below the cloud density, and there's less contrast in the mid-tones to shadows. It's simply the nature of HC-110. You can control highlight density with development adjustments, but you can't make the upswept curve go away without resorting to higher dilutions and reduced agitation development (and perhaps not too successfully with TMX). You can find that in Ansel Adams as well, The Negative, under 'Value Control in Processing', demonstrated with HC-110 and Tri-X Professional in 120.
Lee
