Sorry I neglected to note that if you do project onto lith (or N31P or any
film that isn't "direct duplicating") from your small-format negative,
naturally you get a positive and have to contact that to get a negative.
Each generation likes to add contrast, so keep the positive flat -- no
dense highlights you can't expose through. OR, shoot in-camera
small-format positives by reversal (though the new reversal kit for T-Max
gets lower ratings than the old panatomic X). There's also
direct-positive 35mm camera film, although I believe it's very slow, like
ASA 6.
OR -- has anyone tried Ilford XP2, a chromogenic film, which when cross-
processed (E-6, as I recall) is said to give good continuous tone b&w
positives? I have it on my list, but haven't tried it yet.(My Polapan
direct positive came out bullet-proof.)
Easiest maybe and something I can recommend from personal experience is to
shoot slide film, since slides are positives. Just be sure to expose
originals fully and in not-too-contrasty scenes, so no areas are too dense
to project through. If you're projecting slides onto ortho film
(blue-sensitive only) your reds will go dark, but there seem to be few
pure reds -- it's not as a rule a GREAT impediment. Results won't be
"realistic" tone for tone, but then monochrome printing isn't "realistic"
anyway. Pan-litho film exists, but is MUCH more expensive and not very
common.
If your originals are 35 mm color negatives, you can make prints
on panalure (all-color sensitive paper) for the positive,then contact the
positive onto lith film for the negative. Etc. etc.
Clearly this is a BIG topic!
Cheers, Judy NYC