The DARKROOM COOKBOOK, Third Edition

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Printing Methods and Techniques 95 chosen time at each one. Process the test strip in your normal way and after a short wash, dry, in either a microwave oven or with a hair dryer. The maximum pre-fl ash exposure is the one before the step that shows tone. All further exposure tests, as well as the fi nal print, should be pre-fl ashed prior to the image forming light exposure. Controlled Fogging When faced with a particularly diffi cult high-contrast negative, where the highlights appear to be completely burned out, I use controlled fogging to help print in the detail. Fogging actually puts tone on the paper whereas fl ashing simply eliminates the inertia. A correctly pre- or post-fl ashed and developed sheet of photographic paper will show no trace of tone, but a pre-fogged sheet will clearly have an even grey tone. How then can we fog paper and retain delicate highlight detail and not end up with a degraded, fl at image? How to Calculate the Fogging Exposure To determine the post-fog exposure I fi rst make the image-forming exposure on a test strip size piece of photographic paper ensuring that the paper is placed across the area that requires post fogging. Next, I cover part of the highlight area with a piece of card to ensure that it receives no fogging exposure—this is used as a reference area after the test is developed. Using my Paper Flasher, I then expose the test strip to white light in increments of say three seconds—you will need to experiment with different times depending on the size print you are making. Develop the test strip, examine it to determine the post-fog step that provides the information you require in the image then compare with the adjacent area not fl ashed to see the full effect of the fogging. Having worked out the required exposures using test strips, it is essential that the fi nal print is made in exactly the same sequence. Editor’s note: Visit Les’ website www.lesmcleanphotography.com and access the articles section to see a complete description of this process including before and after illustrations.
96 THE DARKROOM COOKBOOK White Sand Dunes, New Mexico, 1998. © 2008 Les McLean. All rights reserved. Courtesy of the artist.
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The Darkroom Cookbook
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The DARKROOM COOKBOOK Third Edition
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Dedication This book is dedicated t
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Table of Contents PREFACE ix ACKNOW
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Preface The Darkroom Cookbook is ba
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Preface xi Which brings us to the q
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Acknowledgments There are two husba
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Introduction Today everybody seems
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Introduction xvii coating your own
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Contributing Photographers Bruce Ba
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Contributing Photographers xxi Gord
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Contributing Photographers xxiii Jo
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List of Formulas Many of the formul
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Push-Processing Formulas 230 47. Di
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Amidol Paper Developer 261 105. Ami
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Selenium Toners 294 162. Dassonvill
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Planning a Darkroom Art does not de
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Planning a Darkroom 3 Core® availa
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Planning a Darkroom 5 available as
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Placement of Equipment and Workfl o
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Planning a Darkroom 9 Floors call f
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Planning a Darkroom 11 for modern e
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How Safe Is Your Safelight? Richard
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Equipment People are under the illu
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Equipment 17 customary models. It i
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Developers One developing agent is
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Developers 21 quantity of metol to
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Developers 23 pH Scale The pH scale
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Developers 25 Anhydrous, having no
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Potassium Iodide Developers 27 Alth
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Ascorbic Acid: Developing Agent or
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Developers 31 Alicia De Larocha, so
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Film Development It is the photogra
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Film Development 35 ● Conventiona
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Film Development 37 include Efke IR
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Film Development 39 cycle per minut
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Film Development 41 minimum. Howeve
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Film Development 43 fi rst 60 secon
Page 78 and 79: Film Development 45 Not long after
Page 80 and 81: Film Development 47 These disadvant
Page 82 and 83: REPLENISHMENT OF DEVELOPERS Film De
Page 84 and 85: Film Development 51 Flower Composit
Page 86 and 87: Film Development 53 Yvette at the C
Page 88 and 89: Monobath Film Developing 55 possibl
Page 90 and 91: Washing Monobath Film Developing 57
Page 92 and 93: Pyrogallol and Pyrocatechin 59 in A
Page 94 and 95: Pyrogallol and Pyrocatechin 61 Edwa
Page 96 and 97: Pyrogallol and Pyrocatechin 63 A la
Page 98 and 99: Crystal Springs #659, 2002. © 2008
Page 100 and 101: Broken Vase, 2002. © 2008 Gordon H
Page 102 and 103: Pyrogallol and Pyrocatechin 69 Test
Page 104 and 105: Print Developers They say my print
Page 106 and 107: Print Developers 73 when a limited
Page 108 and 109: Print Developers 75 Brett Weston &
Page 110 and 111: Printing Methods and Techniques Tak
Page 112 and 113: Printing Methods and Techniques 79
Page 114 and 115: Cold Tones (Blue-black) Printing Me
Page 116 and 117: Manipulating Exposure and Developme
Page 120 and 121: #2-5041, 1996. © 2008 Henry Gilpin
Page 122 and 123: Four French Tulips, Carmel, Califor
Page 126 and 127: Sequoias and Sunburst, 1976. © 200
Page 130 and 131: Rescuing Thin Shadows Saïd Nuseibe
Page 136 and 137: Stop Baths and Fixers Surely, it is
Page 138 and 139: Stops Baths and Fixers 105 concentr
Page 140 and 141: Stops Baths and Fixers 107 determin
Page 142 and 143: Toning Prints There is a road from
Page 144 and 145: TONER TEST STRIPS Toning Prints 111
Page 146 and 147: Toning Prints 113 gold toning for c
Page 148 and 149: Toning Prints 115 The sepia/sulfi d
Page 150 and 151: Multiple Toning Toning Prints 117 I
Page 152 and 153: Toning Prints 119 and selenium �
Page 154 and 155: K49 Jellyfi sh, 2008. © 2008 Ryuij
Page 156 and 157: Photographic Reduction and Intensif
Page 166 and 167: Pitman Arm, 2000. © 2008 Jay Dusar
Page 168 and 169: SAFELIGHT Development by inspection
Page 170 and 171: PYRO AND DEVELOPMENT BY INSPECTION
Page 172 and 173: leak light. What is important is th
Page 174 and 175: Procedure for Reversal Processing R
Page 176 and 177: Reversal Processing and Enlarged Ne
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Procedure for Making an Enlarged Ne
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Printing Out Processes You must alw
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Printing Out Processes 149 Caution:
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Printing Out Processes 151 over the
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Printing Out Processes 153 Sleeples
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Printing Out Processes 155 Add the
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Printing Out Processes 157 Camera O
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Safety in Handling Photographic Che
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Safety in Handling Photographic Che
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Chemicals Photography, in the fi na
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Chemicals 165 In this 3rd edition o
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Chemicals 167 ethylenediaminetetraa
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Pharmacopoeia The artist lives to e
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Pharmacopoeia 171 Glacial acetic ac
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Pharmacopoeia 173 Uses: Preservativ
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Pharmacopoeia 175 ALUM, POTASSIUM S
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Pharmacopoeia 177 AMMONIUM THIOSULF
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BROMIDE (see Potassium bromide) Pha
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Appearance: Greenish crystalline sc
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HYPO (see Sodium Thiosulfate) Pharm
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Pharmacopoeia 185 working. Tropical
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Pharmacopoeia 187 Uses: To precipit
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Pharmacopoeia 189 Uses: As a preser
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SODA (see Sodium carbonate) Pharmac
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Pharmacopoeia 193 Notes: Caustic al
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Pharmacopoeia 195 SODIUM SULFITE Sy
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Proofi ng for Maximum Black The cam
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Archival Print Procedure Appendix 1
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Archival Print Procedure 201 7. At
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Formulas FILM DEVELOPERS Developmen
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SOLUTION B Water at 110F/43C, 750.0
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SOLUTION B Water at 110F/43C, 750.0
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SOLUTION B Formulas 209 Water at 90
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Dilution B Distilled water at 125F/
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4 minutes: water without agitation.
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Metol, 3.0 g Sodium sulfi te, 45.0
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Borax, granular, 7.0 g Boric acid,
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Formulas 219 Use as you would XTOL.
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SOLUTION A Water at 125F/52C, 750.0
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SOLUTION A Water at 125F/52C, 750.0
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Stock Solution B Water at 125F/52C,
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Formulas 227 Sodium hydroxide, 17.6
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FORMULA #45 Keelan’s Monobath (H.
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The development times at 68F/20C ar
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Pyro, 28.0 g Sodium sulfi te, 100.0
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Formulas 235 NOTE 1: To help preser
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SOLUTION B Distilled water, 750.0 m
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Sodium sulfi te, 90.0 g Water to ma
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Metol, 12.0 g Sodium sulfi te, 90.0
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Developing time and procedures are
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FORMULA #69 Blue-Black Developer Fo
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Formulas 247 Benzotriazole, 0.2 g G
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FORMULA #78 Gevaert G.253 Soft-Port
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Hydroquinone, 10.0 g Water to make
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Sodium carbonate, monohydrate, 138.
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Sodium sulfi te, 23.0 g *Potassium
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Formulas 257 and then processed fol
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Normal exposure should be determine
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Pyro, 4.4 g Sodium carbonate, monoh
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FORMULA #108 Amidol Teaspoon Formul
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Amidol, 16.0 g 10% potassium bromid
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Formulas 267 Add a suffi cient amou
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FORMULA #123 Acid Hypo (J. Ghislain
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Formulas 271 When the above is thor
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Formulas 273 FILM: Film should be c
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TONERS Formulas 275 ● Different p
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Formulas 277 Add 16 drops of concen
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With stirring add: Thiourea, 1.0 g
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Formulas 281 This solution should b
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SOLUTION A *Potassium bichromate, 5
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Prepare the bleaching bath as follo
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Formulas 287 Using the Toner: Print
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*Glacial acetic acid, 5.0 ml Water
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Formulas 291 the solubility of the
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FORMULA #158 Kodak GP-2 (Thanks to
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Formulas 295 Dissolve the sodium su
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Formulas 297 As with Kodak Rapid Se
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Formulas 299 After treatment in the
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FORMULA #169 Flattening Reducer For
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Formulas 303 To use, take 2 parts o
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NEGATIVE INTENSIFIERS FORMULA #176
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STOCK SOLUTION #4 Metol, 6.5 g Sodi
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Formulas 309 Add 30.0 ml of Solutio
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Keep hands in Solution A for a few
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Distilled water, 180.0 ml Potassium
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FORMULA #194 Kodak SH-5 Formulas 31
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FORMULA #197 Kodak TC-3 Stain Remov
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Formulas 319 Development time is 8-
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Sodium metabisulfi te, 10.0 g Boric
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Conversion Tables DIRECT EQUIVALENT
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Direct equivalents (Continued) Conv
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0.7 � 10 0.8 � 11.7 0.9 � 13
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225 ml � 7.2 fl oz 250 ml � 8 f
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Sodium Carbonate Conversion Table C
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Conversion Tables 333 always possib
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TABLE 5 Film Development Temperatur
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Material Sources 337 RH Designs (St
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Azo Forum, www.michaelandpaula.com/
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Bibliography 341 James, T.H. The Th
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Index A ABC Pyro formula, 231-232,
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C Cabinets, darkroom planning, 9 Ca
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fi ne-grain, 44, 211-214 general-pu
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Filters and safelights, 10-11 in th
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In-cassette processing developing,
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Panchromatic paper, and safelights,
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and development by inspection, 137
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Strong ammonium thiosulfate reducer
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Weston amidol developers, formulas,
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