The DARKROOM COOKBOOK, Third Edition

200 THE DARKROOM COOKBOOK
A third reason is pride of craftsmanship. While our vision is our art, translating our
vision to a print is our craft and when we pass a print on to someone, a friend, a collector,
a museum, pride dictates that it possess the highest standards of quality. This to me is the
most important reason for archival processing.
It has been shown in accelerated aging tests that the problem is rarely due to poor
processing alone. The negatives and prints of photographers working in the 19th century
were not processed to today’s archival standards and many of them are still held in collections
with little or no deterioration. The problem it seems is not in processing or choice of
mount board, it is one of environmental pollutants and storage, two variables we photographers
have no control over.
Regardless of our best intentions once a print leaves our hands it may not last a day.
It can be folded or torn. Coffee or worse can be spilt on it. It can be exhibited in an offi ce
overlooking a busy street with sunlight streaming in through the window.
So what do we do? The best we can . . . based on our collective photographic knowledge
gained both through experience and accelerated aging tests.
The following procedure is the one I use and is only one of several. It will help to produce
prints that are archival by a photographer’s defi nition. In any event, you would be well served
to remember the opening quote when attempting to create archival prints and negatives.
SELENIUM TONING FOR ARCHIVAL PRINTS
Begin by using wide borders when making prints, at least 1/2 inch all around. This is
because residual chemicals are more likely to enter the edges of the print and can be diffi -
cult to remove even with washing. Wide borders can be effectively trimmed off removing the
chemicals.
1. After development, place the print in running water for 1 minute—do not use an acid
stop bath.
2. Fix the print in alkaline fi xer without hardener for one minute with continuous agitation.
Do not overuse the fi xer, generally you should be able to fi x 100 8 � 10 inch
prints per 4.0 liters/gallon (25 per liter/quart).
3. Drain and fi x the print in a second fresh alkaline fi xer without hardener for two minutes
with continuous agitation. Use this fi xer to replace the fi rst fi xer when the fi rst fi xer
reaches exhaustion.
4. Rinse the prints for three minutes in running water to extend the capacity of the selenium
toner.
5. Selenium tone for 5 minutes. The dilution will vary depending on the paper. The fi rst
time you work with a new paper test the fi rst print in a dilution of 1:19. Have an identical
wet but untoned print to compare against. If a color shift occurs try a 1:29 dilution,
then 1:39 if necessary. Color shifts will usually be observed at about the 3 minute
mark.
6. After toning immerse the print for 5 full minutes in hypo clearing agent with continuous
agitation. If available use Berg Bath as it is the only HCA which will also remove
residual selenide which may still be on the paper.