Marco wrote:
> The b&w process needs to be *pushed* for getting a higher contrast. Kodak
> recommends HC 110, but with TP every developer should do the trick.
>
> Marco
I use TMX for copy work and develop normally.The highlights tend to
block up with over exposure.This film needs to be exposed accurately
unlike modern color neg films.Somebody recommended Panatomic-X.I haven't
seen any for sale in years.The T-Max 100 does a better job anyway.As far
as contrast goes this film will give you contrastier prints than the
originals (on #2 Polycontrast).Sometimes this is a good thing and
sometimes not.Something I have not tried but just read about in "The Art
of B&W Enlarging" by David Vestal is to make your prints a bit lower in
contrast and maybe a little darker than normal.Then bleach them in
dilute potassium ferracyanide.The results should be better than just
trying to make prints from your copy negs and adjusting contrast with
paper grades.I've been making B&W copy negs for close to 20 years and I
just learned a new technique from this book.
Lately I have been using a scanner and Photoshop on my Power Mac G3.I
think this is the way of the future so far as copying old photos goes.
I have a permanent copy stand setup at work with polarizers in front of
3200K lamps (2-1000 Watts).The camera is a Nikon F3 and has a waist
finder installed and a grid screen.It is usually used to make slides and
accurate cropping is crucial.There is color correction and a linear
polarizer on the 55mm F/2.8 macro lens.I vary the exposures depending on
the reproduction ratio I read off the lens when focused.I do not bracket
under normal circumstances.I'm not sure why but using a grey card and
the camera meter does not work.It could be that the polarizers are the
reason.A hand held meter is fooled too.I don't know how well an OM meter
would do because the OM's are my personal cameras.
These days it is easier to find somebody with a good scanner than a good
copystand set-up.
-Gene
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