Re: [Leica] T-max horror

[Alan Brown <abrown@ncsi.net>]

>I have found that the degree of agitation was very important, and
>eventually follwed kodak advice (arm extended, two or three twists of the
>wrist only) and got better results. However, to me it is too contrasty and
>difficult to print without losing highlight detail (but then I'm fairly
>useless in the darkroom). I need something more forgiving and am now
>comparing Tri-x and Fuji Neopan.
>
>From: "Patrick R. McKee" <photonewsnetwork@ameri-com.com>
>Date: Wed, 18 Mar 1998 19:56:31 -0500
>Subject: Re: [Leica] black and white beginner questions
>
>Marc,
>Why is T-Max   a horror in the darkroom? I was thinking of doing some b^w
>again.
>Thanks,
>Pat
>PNN
>prm@photonewsnetwork.com

The contrast of any film such as T-Max 400 is very dependent upon the
developing time.  The longer you develop the film, the contrastier the
negative becomes.  The shorter the developing time, the negative becomes
less contrasty.  Of course, there are limits to this.  The old adage,
"Expose for the shadows and develop for the highlights," is sound advice.
So many people have complained about the T-Max films blowing out the
highlights, but this is very controlable by shortening the developing time.

In my experience (a great deal, but certainly don't know enough yet), the
times from Kodak are simply too long.  Try shortening the time by 10 or 15%
and see what happens.  It also depends upon the type of enlarger with which
you are printing.  Condenser enlargers give more contrast and diffusion
less, all other things being equal.

I regularly expose TMX at EI 50 and TMY at EI 200.  This not only gives me
more information in the shadows, but the shadow areas LOOK better when
printed.  I also develop the film less time than recommended so that the
highlights are very printable.

If I remember correctly, Kodak recommends that if you are using a condenser
enlarger, add a stop of exposure (ie, ISO 200 instead of 400) and develop
20% less.  This info is under an asterisk in the changing contrast section
of their bulletin on these films.

Regards,

Alan Brown