Haaa! It is just an Omega D2 with teal colored Aristo grid and a Zone VI cold light stabilizer.And that's how we finally discover Bill has a new ultracold light secret enlarger.
That’s a great question. I developed for a variety of times between 4 minutes 1:1 and 48 minutes stock. 48 minutes was the longest I ever tried and it results in a 200 speed ( by looking at where the curve crosses 0.10 above base+fog. )Bill several of us are wondering about the 48 mins you mention in #17. Can you help us on this time and how it was arrived at?
Thanks
pentaxuser
Hello Drew,The problem with 76 1:1 and TMax is that it produces a sag in the middle of the curve, and hence a relatively longer upswept toe instead of the intended steep toe. So to get better deep shadow gradation, you either need to get the exposure higher up the curve with a bit more exposure via lower ASA rating, or switch to a more compatible developer. The original version of TMax could be finicky about overexposure, however, and the curve could shoulder off prematurely. Staining pyro developers helped that. Subsequent tweaks to the emulsion, along with today's excellent VC papers, have made life easier.
Plus X was engineered for the studio portrait trade, and was classified as an "all toe" film with a very long upswept curve favoring highlight reproduction at the expense of shadows. Developers like D23 went along well with that kind of application. Kodak, introducing TMax, planned it as a silver bullet film due to its versatility under different kinds of development - replacing Super-XX for long straight line applications like color separations using certain developers, replacing Plus X Pan using a different development style, replacing Tri-X for photojournalistic purposes in a middle of the road sense. But it was hard to teach old dogs new tricks, and the very versatility of TMax equated to greater fussiness if you weren't aware of the necessity for quite specific development recommendations which many weren't accustomed to. That's still the case.
Supposedly iso 80 in D76.
I have found total happiness with TMX only in Ilfosol-3. The only developer giving it enough grit.
I guess you use 16 minutes for diffusion or cold light enlargers... Maybe 13 will be better in my case...My standard time for TMX 100 in Perceptol 1:3 in hand inversion roll film tanks at 68F is 16 minutes, Kodak-style inversion method every 30 seconds. But as I already stated, I myself don't like 1:3 for the faster TMY400. Nor do I like it for the roughly analogous Delta 100 Ilford product. But with 100 speed TMax, the 1:3 dilution brings significantly better acutance than D76.
I have zero experience with Ilfosol 3. But it appears to be largely high-energy mix of sodium carbonate and hydroquinone.
I'm not seeking "grit", whatever that means, but just enough grain growth to deliver a distinct improvement in TMX edge acutance, which perceptol 1:3 gives me, along with a bit of taming of the highlights. Pyro is a better in the latter category.
But I suppose I should try Ilfosol 3 sometime just out of curiosity. I prefer powders due to better storage life, though traditional old HC-110 stored well seemingly forever in syrup concentrate fashion; I don't know about the newer version of it.
I have zero experience with Ilfosol 3. But it appears to be largely high-energy mix of sodium carbonate and hydroquinone.
I'm not seeking "grit", whatever that means, but just enough grain growth to deliver a distinct improvement in TMX edge acutance
Makes sense: I got 64 for 1+1, so with a bit more sulfite 50 seems right.I develop TMX100-4x5 in a rotary tube for 7min with D76 stock. I shoot at EI 50. I came to this after a film test with a stauffer wedge. For N-1 I develop for 5:30.
I print on Kentmere VC fine lustre.
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