It's a tradeoff.
well--it sounds like you've given up on it--it is certainly possible. You can also fix those with too much dmin with a post-bleach. You may be interested in how Steiglitz made his lantern slides--post bleaching, toning, etc. He was a REAL perfectionist.
There's a million ways to do it depending only on the creativity of the person doing it--hypo in the developer isn't the only way. That's all I'm saying. They hypo in developer process was optimized for motion picture high speed processing--quite the opposit to slow speed home processing.
Everyone seems to gravitate towards the one solution that "everyone else" is doing and misses the other methods--which may be better or more suited to the application at hand. Free your mind--lose the prejudices, and you shall see that there is ALWAYS more than one way to do something.
There are some good points discussed here.
When I bench a film, I get as close as I can with a non hypo'ed developer. This goes as far as using a 1:1 mixture of dektol. I get it close, and then start adding various levels of hypo. This is also why I use a stock solution of hypo and only add it at development time; the optimum levels are different with each film and I don't like to stick with one film. The thing is, hypo is a general solvent. It will remove and lower your dmax too. The right amount is important and not developing enough is counter productive. using a weaker developer (like rodinal, d76, ..etc) will yield "thin chromes" or be too fogged or just too expensive on developer use.
Sometimes I use a selenium toner for a final bath. This helps thicken the image when you can't build up enough silver. Most traditional processes to "fix" negs still apply.
Ideally, you want a developer with ph 10 or greater to give you the activity you need. What you need to develop negs well is not what you need to develop chromes well. I have been playing with some concoctions targeting this. So far it's good, but dektol seems to get the best results for me.
I'll give you this, the solvant developers DO give finer grain--but they always appear "fuzzier" as a result to me--like they have resolution but somehow gain blurriness---it's apparent sharpness I guess at the micro livel--the more contrast (the bigger the dmax difference) the sharper it appears. But that's just me I guess. to each his own. Projecting images is different from light table viewing. I'm doing big sheets for light table viewing.
projecting slides or movie film you can get away with losing a lot of dmax since there is more of a limit on dmax in projection--you can have something looking too light on a lighttable but it looks perfect projected.
Like I said--it's all in the application. But I do see the people automatically gravitate towards "the book" which was basically written for cine film. People seem to want to follow the recipe as if it's the ONLY recipe that can work becase someone put it in print at one time.
it reminds me of when I was in high school. They had a couple of video games outside the lunchhall. One one was a pacman game. I once saw a dude hit the coin box and get a free credit. I watched him a few times, the way he held the coin box with one hand and banged it with the other. I tried and tried a few times but every time the machine would reset itself from that whack. Finally, I got "the trick" of where to hit it and how to brace it to keep the machine from resetting itself. The problem is that for me to hit it, I would cut my wrist on the push button for the coin return. So I had a solution--I had a boyscout knife that I used the butt of to do the hitting with--more controllable and no pain on the hand.
next day I was whacking credit after credit and getting very good at playing the game since they were all for free...people saw me. These same people had tried to bang the credits with their hands and failed at first, just like I did. So now they saw me doing it...and they saw the knife....
the next day EVERYONE had a pocketknife and was hitting the game. The paint around the coin box was all smashed away and there were tiny dents in it. Everyone was hitting it with their knives but still the game was resetting itself.
The people figured "it can't be that this guy has any special talent--the SECRET is the knife"...and they kept hitting it and failing. But they kept trying and trying and never got anywhere because they didn't understand how to hold the coin box to keep the game from resetting itself--it was a mixture of things that was "the secret" but everyone wanted the ONE thing that made it work.
reminds me of hypo in developer...everyone think's it's "the secret"...it ain't.
@johnielvis: what a great story! I agree with you 100%.
It's still weird that some people get different results with exactly the same set ups, distilled water, etc. I mean for example processing of Fomapan reversal : I cannot get a transparent base without use of KSCN, although many forumers all over the world can (there are others who can't, as well). This stays a mystery. The problem has a solution, but well, what's the reason for such differences if really all factors are fixed ? Besides, KSCN doesn't necessary cause loss of density, or ''quality'' (whatever that means to you), it depends on the concentration used. Images speak for itselves (even though telecine is crappy) : Fomapan R100, exposed 100ASA processed in Dokumol 1+9, 5g/L KSCN, 20C, 13 min : https://vimeo.com/68006498
Will try Eukobrom for less contrast, I guess.
dude, that movie looks way overexposed....fo sho not enough blacks--I don't think I saw but one or two shadows that looked as dark as the sides of the screen. Is it that the whites are "muddy"...if so, then that is overexposure--I had the problem too when increasing exposure trying to get pure clear--you cant get pure clear...put the high values block up and look terrible-dull-muddy
Tonite I've made another attempt in my never-ending quest.
This time I've reduced the Pq Universal to 1+9, 9 minutes, Kodak style inversions, 20°C, plus 0,3g/300ml hypo.
Bleach and clear as usual.
Then Iron Out 2 teaspoons in 300ml distilled water for 6 minutes.
Then Kodak Rapid Selenium Toner 10ml/300ml for 10 minutes.
Fomapan 100 classic reacts to this with a light chocholate red brown hue, very interesting. It's not red, it's not warm toned.
The selenium toner has counteracted the light image caused by the hypo and added much contrast. The DMax is finally there, can't get better than this. I must project the images to have the final say.
To me it looks just fine, there are no burnt highlights (except one overexposed scene in the snow) and the blacks are black, to me. Anyway, the results are better by far with KSCN than without, so I don't have much choice...
PS : if you look at the thumbnail of the video, the part on the guy, under the bag, on his back, is as black as the sides :p
maybe it's my monitor then--it's just a laptop---can't see any detail at all in the whites--light colored clothes look pure white with no detail on my monitor.