Quote Originally Posted by mobtown_4x5
Yup- these negs sure have "tamed contrast" alright, I'd say they pretty much have the shit tamed out of them all-around! I guess the author of that article must have been on to something, Ed!
Found it!!

The article was featured on the cover of the March 1989 "Darkroom Photography" (Later- "Camera and Darkroom); "How to Handle High Ratio Shooting" a.ka. ""Taming Contrast" in the table of contents - p.40, by Roy Flamm.

The introduction, in part:

"My firmly held conviction is that a photographer should not make changes in the lighting designed for the interior spaces of a building by bringing in lights. If the intention of a photographer is to be objective in architectural work, it becomes paramount that no concepts are introduced other than those of the designer. Good architectural photography is mostly good documentary photography."

He talks about contrast ratios of 2,000 to 4,000 to 1, as measured with a S.E.I spot meter (log 3.30 to 3.60).

Essentially he exposes Plus-X Pan sheet film (ISO 125) "at EIs of 12 and 25, and rarely, as low as 6". Development is listed as:

"All times given are for 68 degrees F. Developer dilution is 4 parts water to 1 part working solution.

High Contrast: EI 25 in FX-4 @ for 8-12 minutes
Very High Contrast: E.I 12 in FX-4 for 7-9 minutes

EI 25 in FX-18 for 9 minutes
EI 12 in FX-18 for 9 minutes

EI 25 in ID-68 for 10-12 minutes
EI 12 in ID-68 for 9 minutes."

He specifically lists Phenidone-Hydroquinone developers.

Hmmm: "There has been too much attention in photographic literature about retaining detail of shadows and highlights in the negative, and it is often ignored that this usually results in negatives with density scales so high as to makes them unprintable or printable only with great difficulty. It doesn't matter what density scale your negative has if it can't translate into a quality print."

Damn, but I miss that magazine.