Curves mean a helluva lot once you start doing something outside the routine - color separations for
example, where you need to know not only where the linearity begins and ends, but how consistent it
is between radically different color filters, along with potentially differing exposures and their kind of
recip failure effect. I how know idea how they figured it out, but if you understand how the film works,
both speeds of TMax are remarkably consistent in this respect too. In the more ordinary world, just head over to our coastal redwoods - a film which might give wonderful results in a morning fog will be
just about useless once the sun breaks out and you end up with maybe fourteen stops of range, a task
just about impossible for any film without a steep toe unless you turn the whole thing into mushy
compensating dev. Even with TMY under such circumstances, I sometimes have to resort to supplemental unsharp masking, even with the finest VC papers. Curves mean a helluva lot in my world.