The DARKROOM COOKBOOK, Third Edition

82 THE DARKROOM COOKBOOK
Start by adding 25.0 ml of stock solution of a high or normal contrast developer, such as D-72,
to each liter of working solution low contrast developer, such as Ansco 120 1:1.
By combining different developers, a variety of image colors can be achieved. For example,
combining D-72 with Ansco 120 will produce one image color, while using Agfa 108 and
Agfa 105 will produce a different color. The color will vary with the paper and the amount of
each developer.
The disadvantage of combining developers is that the high or normal contrast developer,
which usually contains hydroquinone, may exhaust before the low contrast developer.
This is not a problem if only a few prints are to be made from one negative, which
is often the case when using developers in this way. However, if consistency is important
for a large number of prints, it is important to make certain there is suffi cient high/
normal contrast developer in solution.
The general rule is to use a minimum of 10.0 ml of undiluted high/normal contrast developer
for each 8 � 10 inch print. This may lead to doubling, or even tripling, the initial volume. For
example, through testing you have found that 25.0 ml of D-72 in 1.0 liter of Ansco 120 1:1
produces the desired print result. That means that 4.0 liters of Ansco 120 1:1 and 100.0 ml of
D-72 should be good for at least 10 consistent prints.
Two-Tray Development A variation of this technique is to use two separate developers, usually a lowcontrast
formula, such as Ansco 120, and a high or normal contrast developer, such as Ansco
130 or Kodak D-72. Development begins in the low-contrast solution and is completed in
the high or normal contrast developer. For this application, you may wish to dilute the lowcontrast
developer as much as 1:3 or 1:4 and use the high/normal contrast developer at 1:1
or undiluted. The time in each developer can be varied, though the minimum time in the
high/normal contrast developer is usually about 15 seconds if any effect is to be had. A good
starting point would be to develop the print for 90 seconds in the low-contrast developer, and
30 seconds in the high/normal developer, although as much as a 50/50 time split may be used.
A 10-second drain between developers will help minimize cross contamination.
Water Bath Development Water bath development is a technique that allows you to split paper
grades by placing the paper in a tray of standing water in order to allow the highlights to continue
to develop. Because amidol is an exceedingly active developing agent it is considered to
be a good choice for water bath development.
The technique could not be much simpler. Use the next higher grade of paper or fi lter
than the desired fi nal contrast you want in the print. For example, if the desired contrast is
somewhere between grade 1 and grade 2, use grade 2 paper. Develop the paper using an
amidol formula then move it immediately, without draining, to a bath of fresh water. Slide
the paper under the water and let it sit without any agitation. The developing agent in the
shadow areas will quickly exhaust, while the developing agent in the thinly exposed highlight
areas will continue to work. The mid-tones will be relatively unaffected.
As with two-tray development, the time in each developer can be varied, though the minimum
time in the amidol is about 1 minute. However, too long in the water bath could result
in streaking. A good starting point would be to develop the print for 90 seconds in the amidol,
and 30 seconds in the water bath. Keep an eye on the shadow areas of the print. When they
appear to be about 80% complete, move the print to the water bath.