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Last Updated
03/31/2019
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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION. |
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PHOTOGRAPHIC PRINT PROCESSING sa PHOTOCHEMISTRY sa PHOTOGRAPHIC PRINT DEVELOPER sa PHOTOGRAPHIC PRINT DRYING sa PHOTOGRAPHIC PRINT PROCESSING (COLOR) sa PHOTOGRAPHIC PRINT TONING sa PHOTOGRAPHIC PRINT WASHING sa PHOTOGRAPHIC PROCESSING EQUIPMENT xx PHOTOGRAPHIC PRINT MAKING xx TRANSPARENCY PRINT MAKING Reducers. Formulas and instructions for subtracting density from completely processed film or paper. Selective Latent Image Manipulation Techniques (SLIMTs). A unique way to control constrast and speed when making both b&w and color prints. The process is based on bleaching the latent image before development. Tips on using Heath-Mitchell canoe processing trays to develop prints with a minimum amount of chemistry. How to tray process Ektamatic SC, Kodak's variable-contrast paper designed for stabilization processing. A look at the unique and desirable properties of this paper which competes favorably with Kodak's Polycontrast Rapid. Some tips on stabilization processing include coping with streaks and washing and fixing for permanence. Overly dense areas of a print can be selectively retarded by moving a print from the developer just before the desired density is reached, and painting stop bath on the area to be retarded, while allowing the balance of the print to develop normally. Can be repeated several times, as needed. The art of serendipity. Splashing hypo on an otherwise "bad" print may result in bizarre effects and interesting print. Some tips. Tip on preventing brown stains on prints when using drum processing. Factors which control the "color" or image tone in a black-and-white print are explained. The mathematical relationship between development time and temperature examined. Ideas for devising a black-and-white reversal process for making prints on conventional enlarging paper from positive motion picture film. Print contrast vs. print development time. Role of development time in determining black-and-white print contrast is studied. Variable contrast control from graded black-and-white papers. This new "Sterry Method" works by bleaching the latent image prior to development. Effect of lower temperatures on print washing time and fixing time. Developing b&w prints longer to lower their contrast. How to mimic the Ilford "Archival Processing Sequence" using less-expensive fixers. How to use the water-bath development method to process a print which has extreme highlights and extreme dark areas in the same print. Tip: Use warm developer to spot develop areas of a print you wish to highlight. How to develop RC (resin coated) papers in a stabilization processor by placing the activator solution in both trays. Secrets of print bleaching, a standard technique in custom labs for saving prints, time and money. Tip: Metal bands around bleaching brushes may cause a discoloration and stain on prints. Switch to a non-metalic type of brush and use the process described in this article to remove the stain from earlier prints. A cure for the burn-in blues. Use a commercial lab trick called "local print development" to deal with small highlight areas that are really tedious to burn-in. A guide to "fine-tuned" print development. Two-baths and precision developers can help you gain fine-tuned control over contrast and give you prints with a rich tonal range. Includes formula for the Beers precision developer. How to view and evaluate wet prints. Includes tips on proper safelight levels. How to get deep black images on today's printing papers which may contain less silver than before. Either changing papers to a higher grade or using the two-bath developer method may solve the problem. Fighting stains and fog on negatives and prints. Prevention is better and cheaper than correction. Strategies for permanence in black-and-white prints. How to process, mount, handle and store photographs to assure a maximum lifetime. Rx for portfolios. How Steve Simmons produces matched sets of b&w prints for exhibition and sale. Includes Ansco 130 print developer formulas and a record-keeping system that allows repeatable results. How to use different combinations of paper and developer to achieve various warm or cold prints. No-stain insurance. Instructions on proper black-and-white print fixing and washing. Tip: Create unique "painterly" effect photographs by painting developer only on selected portions of a print which has been exposed in a conventional manner. How to "punch up" your black and white prints with selective bleaching. How to do direct positive black-and-white film and print processing using a modular chemical system from "Sprint Systems of Photography". Under-the-gun processing. How one photojournalist shaves valuable minutes off his processing time to meet tough deadlines. Tip: How to quickly process up to four 8x10 B&W prints in a color print processing drum using just 1.5 ounces of chemistry. Tip: Use a brief water rinse between stop bath and fixer to prolong the life of the fixer. Darkroom 1A. Part 3. Making prints that last. Tip on selective development of a print using your finger to "paint" developer onto the print. Print surface etching. Use etch-bleaching to remove parts of the photo emulsion of an exposed and developed print, and thereby alter both its general tonality and the appearance of its surface. Can be followed with either metallic toning or hand coloring. Tip on computing the developing time to obtain the maximum effective black tone of any paper and developer. Tip on processing black-and-white prints in drums which extends the life of the chemistry. Gamma Photolabs. Behind the scenes at a custom black-and-white lab. Includes tips which may help your own B&W processing. Tip on selectively darkening a small section of a black-and-white print during the developing process. Tip on the need to fix B&W prints that have been bleached with potassium ferricyanide. Black & white image stability. A practical look at permanence (archival processing). More on archival processing of b&w prints. Materials, chemicals and techniques are discussed in detail. Go from camera exposure to multiple prints in under 10 minutes. Combine Polaroid's positive/negative film with stabilization processing of prints. Numerous tips included in article. Modernage Photo Services, a custom photolab in New York City, describes how they process black-and-white film and prints. Double dip your problem negatives. A printing technique that solves contrast problems. Tips from a professional laboratory for making archival prints. In pursuit of the permanent print. Recent developments in archival processing. Archival processing. Part 1. Procedures for producing archival prints. Archival processing. Part 2. Practices to insure longevity in your prints. Archival processing. Part 3. How problems caused by chemistry or environment manifest themselves in photographic prints. Processing defects in negatives and prints. Full-page charts list the appearance of defect, possible causes, preventative procedures and remedial action to take. Techniques used by professional printers for overall or local reduction of prints using ferricyanide. Tips on using local treatments and chemicals during development to perk up density in a small section of a print. Why and how black-and-white prints fade away and what you can do to prevent it. Tips on archival processing. Controlling black-and-white print development time and temperature calibration. Potassium ferricyanide bleaching of black-and-white prints. Step-by-step instructions. Unusual black-and-white print development processes. (1) Thiosulfate solarization. (2) Chromoskedasic pseudosolarization. (3) Silver mirror printing. Tips on using water as an alternative to the acetic acid stop bath in print processing. Interesting prints can be made by spraying an exposed print with developer instead of developing in a tray. Fine-tune your print contrast by using a two-bath print developing process. Uses Kodak Selectol-Soft along with Kodak Dektol or Ethol LPD. Using the Phillips Testing Kit #1 and other tips to help guarantee that you are processing archival-quality black-and-white film and prints. How to establish a working development time (one permitting you to print your black-and-white negatives on a normal grade of paper with near-perfect results) after you have determined your effective film speed. School of photography. Part 6. Basic black-and-white darkroom techniques. The immortal print. Archival printing techniques. Improving enlargement prints by removing those white spot and dark spot blemishes by the process of bleaching and etching prints. Proper fixing, washing, and storage of prints for archival permanence. Use local bleaching of prints, using potassium ferricyanide, to remove unwanted background images. Using bleach to correct tonal value of photos or to remove unwanted background tone. Tips on coping with high contrast negatives when exposure must be made in bright sunlight, harsh contrast situations. Chemical reduction, deliberate overexposure/underdevelopment and changing paper grades discussed. Tips on using Aeroprint Spray can processing chemicals. Process your paper properly. A review of basic procedures for making high quality prints and tips for eliminating the goofs. Basic print making. The magical art of print bleaching. The Hattersley class. Creative darkroom techniques. Control print contrast with your developer. Higher developer dillution and temperature control techniques. Try these easy tests to be sure that your black & white prints are really permanent. Hypo tests and print tests using prepared test chemicals. How to process stabilization paper using tray processing. It can have some benefits. Suggestions and tips on proper use of stabilization paper processing. Some "oddball" tips include (1) using DuPont image control solution with Kodak papers and (2) using Kodak Rapid Selenium toner. The Hattersley class for beginners. How to bleach your prints. Methods for saving dark prints and improving good ones. Tips on rapid processing of film and making prints quickly, such as may be necessary in "news" photography. Great news for stabilization printers. How to process conventional papers with stabilization equipment. Combine tray development in Dektol with stablilzing (fixing) in the machine to increase overall available contrast. David Vestal's Photo workbook. Handout #10. Fixing, washing and drying prints on regular (non-RC) paper. Process for permanence. How to fix, wash, and dry fiber-base black-and-white prints so they'll last longer than you do. How common sense processing procedures can help you make good-quality black-and-white prints. Tips on using stabilization processing for fast, high-quality fiber-base prints. Save time by using 30-second fixer. Tips on how and when to use the 30-second fix approach. Printing with fiber-base paper. How to process, wash and dry fiber-base prints. Are you a darkroom slob? Check these points to find out if your printing habits need changing. Tip: Use split development for making better prints from contrasty negatives. How to do local bleaching of black-and-white enlargements. Use a stabilization processor for quick prints you can fix later. Part 2. Don't stop with "standard" stabilization processing. Try these ideas. Black-and-white photofinishing is now reemerging. How to choose a lab that will do justice to your images. Tip on using a stamp-moistening tube to dispense developer when doing "local development" of black-and-white prints. Processing big b&w prints (24"x30") in a small darkroom. Tips on darkroom layout and processing methods. Finding a quality black-and-white processing lab. Some tips. Print tone and color. An explanation of how various b&w papers and developers combine to create the desired tonal separation and print color. Working the vision. Bleaching techniques for black-and-white prints. Bleach etch. An alternative process for striking images. When applied to photo prints, it eats away all the shadow detail and leaves only gelatin where the highlights are. | |||||||||
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