Digital BW, The Print

>...
> I would like to ask about the processing of black and white film,
> for ultimately scanning and printing on an ink jet printer. I am
> curious as to what kinds of negatives produce the best results.
>...

I think you'll get differing opinions on this issue.  However, here is what
I've found.

As background, I used to enlarge my medium format negatives to 16x20 using
the usual Apo-Rodagon lenses, etc. that any sharpness/detail fanatic would
use.  I would use Agfapan 25 and then Tmax 100.  I developed for sharpness,
using Rodinal 1:100 and then Micro X 1:3, with very long agitation cycles to
enhance the edges.  All my shots were with my Rollei on a tripod.

I tried for some time to tame Technical Pan, but never managed to get low
contrast, wide dynamic range, smoothness and other characteristics all
together enough to compete with Agfapan and Tmax 100.

When I went digital, I found that the unsharp mask tool was great, but it
sharpened the grain also.  So, my negatives that had been developed for
sharpness now had too much grain.  I think it is easier to sharpen a
slightly soft negative than it is to lessen the grain of a grainy negative.

The good scanners today also can handle a much more contrasty negative than
the wet darkroom could.  After all, the scanners are made to handle chromes.

So, putting this all together, I now use Technical Pan, developed in Xtol
1:3 at 75 degrees f. for 18 min.  This makes a negative that is too
contrasty for the enlarger, but perfect for my Nikon 8000.  At this
contrast, the TP is more in its normal range.  So, the problems that
surfaced due to trying to make a high-contrast film suitable for the
enlarger are gone.

The bottom line is that my inkjet enlargements using this method are better
than any I could have made with the wet darkroom and my previous or
traditional processing.

Hope this gives you some ideas.

Paul
http://www.PaulRoark.com