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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.


Reducers. Formulas and instructions for subtracting density from completely processed film or paper.
CAMERA & DARKROOM Mar 1992 (v.14#3) pg. 49

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.
CAMERA & DARKROOM Feb 1993 (v.15#2) pg. 64

Tips on using Heath-Mitchell canoe processing trays to develop prints with a minimum amount of chemistry.
CAMERA 35 Jan-Feb 1973 (v.17#1) pg. 22

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.
CAMERA 35 Jun 1973 (v.17#5) pg. 26

Some tips on stabilization processing include coping with streaks and washing and fixing for permanence.
CAMERA 35 Feb-Mar 1974 (v.18#1) pg. 10

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.
CAMERA 35 May 1975 (v.19#3) pg. 15

The art of serendipity. Splashing hypo on an otherwise "bad" print may result in bizarre effects and interesting print. Some tips.
CAMERA 35 Nov 1979 (v.24#11) pg. 46

Tip on preventing brown stains on prints when using drum processing.
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1986 (v.7#3) pg. 2

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.
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1995 (v.16#1) pg. 12

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.
DARKROOM PHOTOGRAPHY Mar-Apr 1979 (v.1#1) pg. 11

Tip: Use warm developer to spot develop areas of a print you wish to highlight.
DARKROOM PHOTOGRAPHY Mar-Apr 1979 (v.1#1) pg. 19

How to develop RC (resin coated) papers in a stabilization processor by placing the activator solution in both trays.
DARKROOM PHOTOGRAPHY Jul-Aug 1979 (v.1#3) pg. 62

Secrets of print bleaching, a standard technique in custom labs for saving prints, time and money.
DARKROOM PHOTOGRAPHY Sep 1979 (v.1#4) pg. 66

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.
DARKROOM PHOTOGRAPHY Oct 1979 (v.1#5) pg. 12

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.
DARKROOM PHOTOGRAPHY Oct 1979 (v.1#5) pg. 64

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.
DARKROOM PHOTOGRAPHY Nov 1979 (v.1#6) pg. 32

How to view and evaluate wet prints. Includes tips on proper safelight levels.
DARKROOM PHOTOGRAPHY May-Jun 1980 (v.2#3) pg. 58

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.
DARKROOM PHOTOGRAPHY Jul-Aug 1980 (v.2#4) pg. 66

Fighting stains and fog on negatives and prints. Prevention is better and cheaper than correction.
DARKROOM PHOTOGRAPHY Sep 1980 (v.2#5) pg. 23

Strategies for permanence in black-and-white prints. How to process, mount, handle and store photographs to assure a maximum lifetime.
DARKROOM PHOTOGRAPHY Feb 1982 (v.4#2) pg. 43

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.
DARKROOM PHOTOGRAPHY Jan 1983 (v.5#1) pg. 42

How to use different combinations of paper and developer to achieve various warm or cold prints.
DARKROOM PHOTOGRAPHY Mar-Apr 1983 (v.5#3) pg. 54

No-stain insurance. Instructions on proper black-and-white print fixing and washing.
DARKROOM PHOTOGRAPHY May-Jun 1983 (v.5#4) pg. 54

Tip: Create unique "painterly" effect photographs by painting developer only on selected portions of a print which has been exposed in a conventional manner.
DARKROOM PHOTOGRAPHY Dec 1983 (v.5#8) pg. 61

How to "punch up" your black and white prints with selective bleaching.
DARKROOM PHOTOGRAPHY Mar-Apr 1984 (v.6#2) pg. 72

How to do direct positive black-and-white film and print processing using a modular chemical system from "Sprint Systems of Photography".
DARKROOM PHOTOGRAPHY Nov 1984 (v.6#7) pg. 54

Under-the-gun processing. How one photojournalist shaves valuable minutes off his processing time to meet tough deadlines.
DARKROOM PHOTOGRAPHY Oct 1985 (v.7#6) pg. 62

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.
DARKROOM PHOTOGRAPHY Jan-Feb 1986 (v.8#1) pg. 8

Tip: Use a brief water rinse between stop bath and fixer to prolong the life of the fixer.
DARKROOM PHOTOGRAPHY Oct 1986 (v.8#6) pg. 12

Darkroom 1A. Part 3. Making prints that last.
DARKROOM PHOTOGRAPHY Nov 1986 (v.8#7) pg. 54

Tip on selective development of a print using your finger to "paint" developer onto the print.
DARKROOM PHOTOGRAPHY May-Jun 1987 (v.9#3) pg. 11

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.
DARKROOM PHOTOGRAPHY Jan-Feb 1988 (v.10#1) pg. 57
Added Info DARKROOM PHOTOGRAPHY May 1989 (v.11#5) pg. 6

Tip on computing the developing time to obtain the maximum effective black tone of any paper and developer.
DARKROOM PHOTOGRAPHY Jan 1989 (v.11#1) pg. 9

Tip on processing black-and-white prints in drums which extends the life of the chemistry.
DARKROOM PHOTOGRAPHY Jan 1989 (v.11#1) pg. 9

Gamma Photolabs. Behind the scenes at a custom black-and-white lab. Includes tips which may help your own B&W processing.
DARKROOM PHOTOGRAPHY Mar 1989 (v.11#3) pg. 26

Tip on selectively darkening a small section of a black-and-white print during the developing process.
DARKROOM PHOTOGRAPHY Sep 1989 (v.11#9) pg. 4

Tip on the need to fix B&W prints that have been bleached with potassium ferricyanide.
DARKROOM PHOTOGRAPHY Aug 1990 (v.12#8) pg. 8

Black & white image stability. A practical look at permanence (archival processing).
DARKROOM TECHNIQUES Spring 1980 (v.1#2) pg. 14
Added Info DARKROOM TECHNIQUES Oct 1980 (v.1#3) pg. 2

More on archival processing of b&w prints. Materials, chemicals and techniques are discussed in detail.
DARKROOM TECHNIQUES Oct 1980 (v.1#3) pg. 63

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.
INDUSTRIAL PHOTOGRAPHY Feb 1976 (v.25#2) pg. 24

Modernage Photo Services, a custom photolab in New York City, describes how they process black-and-white film and prints.
INDUSTRIAL PHOTOGRAPHY Feb 1984 (v.33#2) pg. 16

Double dip your problem negatives. A printing technique that solves contrast problems.
INDUSTRIAL PHOTOGRAPHY Oct 1984 (v.33#10) pg. 40

Tips from a professional laboratory for making archival prints.
INDUSTRIAL PHOTOGRAPHY Nov 1984 (v.33#11) pg. 19

In pursuit of the permanent print. Recent developments in archival processing.
INDUSTRIAL PHOTOGRAPHY Apr 1985 (v.34#4) pg. 33
Added Info INDUSTRIAL PHOTOGRAPHY Aug 1985 (v.34#8) pg. 19
Added Info INDUSTRIAL PHOTOGRAPHY Oct 1985 (v.34#10) pg. 23

Archival processing. Part 1. Procedures for producing archival prints.
INDUSTRIAL PHOTOGRAPHY Jan 1988 (v.37#1) pg. 10
Added Info INDUSTRIAL PHOTOGRAPHY Apr 1988 (v.37#4) pg. 10

Archival processing. Part 2. Practices to insure longevity in your prints.
INDUSTRIAL PHOTOGRAPHY Feb 1988 (v.37#2) pg. 10

Archival processing. Part 3. How problems caused by chemistry or environment manifest themselves in photographic prints.
INDUSTRIAL PHOTOGRAPHY Mar 1988 (v.37#3) pg. 10

Processing defects in negatives and prints. Full-page charts list the appearance of defect, possible causes, preventative procedures and remedial action to take.
INDUSTRIAL PHOTOGRAPHY Oct 1990 (v.39#10) pg. 20

Techniques used by professional printers for overall or local reduction of prints using ferricyanide.
MODERN PHOTOGRAPHY Nov 1969 (v.33#11) pg. 54

Tips on using local treatments and chemicals during development to perk up density in a small section of a print.
MODERN PHOTOGRAPHY Mar 1973 (v.37#3) pg. 60

Why and how black-and-white prints fade away and what you can do to prevent it. Tips on archival processing.
MODERN PHOTOGRAPHY Jul 1983 (v.47#7) pg. 92

Controlling black-and-white print development time and temperature calibration.
PHOTO TECHNIQUES Sep-Oct 1996 (v.17#5) pg. 57

Potassium ferricyanide bleaching of black-and-white prints. Step-by-step instructions.
PHOTO TECHNIQUES Nov-Dec 1996 (v.17#6) pg. 62

Unusual black-and-white print development processes. (1) Thiosulfate solarization. (2) Chromoskedasic pseudosolarization. (3) Silver mirror printing.
PHOTO TECHNIQUES Jan-Feb 1999 (v.20#1) pg. 32
Added Info PHOTO TECHNIQUES Jul-Aug 1999 (v.20#4) pg. 11 (Improved Silver mirror method)

Tips on using water as an alternative to the acetic acid stop bath in print processing.
PHOTO TECHNIQUES Mar-Apr 1999 (v.20#2) pg. 46

Interesting prints can be made by spraying an exposed print with developer instead of developing in a tray.
PHOTOGRAPHIC Jul 1979 (v.8#3) pg. 6

Fine-tune your print contrast by using a two-bath print developing process. Uses Kodak Selectol-Soft along with Kodak Dektol or Ethol LPD.
PHOTOGRAPHIC Nov 1980 (v.9#7) pg. 52

Using the Phillips Testing Kit #1 and other tips to help guarantee that you are processing archival-quality black-and-white film and prints.
PHOTOGRAPHIC Dec 1981 (v.10#8) pg. 9

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.
PHOTOGRAPHIC May 1985 (v.14#1) pg. 18

School of photography. Part 6. Basic black-and-white darkroom techniques.
PHOTOGRAPHIC Oct 1994 (v.23#6) pg. 63

The immortal print. Archival printing techniques.
PHOTOMETHODS Jul 1985 (v.28#7) pg. 36

Improving enlargement prints by removing those white spot and dark spot blemishes by the process of bleaching and etching prints.
POPULAR PHOTOGRAPHY Dec 1966 (v.59#6) pg. 22

Proper fixing, washing, and storage of prints for archival permanence.
POPULAR PHOTOGRAPHY Apr 1969 (v.64#4) pg. 67

Use local bleaching of prints, using potassium ferricyanide, to remove unwanted background images.
POPULAR PHOTOGRAPHY Jun 1969 (v.64#6) pg. 26

Using bleach to correct tonal value of photos or to remove unwanted background tone.
POPULAR PHOTOGRAPHY Oct 1969 (v.65#4) pg. 102

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.
POPULAR PHOTOGRAPHY Sep 1972 (v.71#3) pg. 18

Tips on using Aeroprint Spray can processing chemicals.
POPULAR PHOTOGRAPHY Nov 1972 (v.71#5) pg. 56

Process your paper properly. A review of basic procedures for making high quality prints and tips for eliminating the goofs.
POPULAR PHOTOGRAPHY Dec 1972 (v.71#6) pg. 102

Basic print making. The magical art of print bleaching.
POPULAR PHOTOGRAPHY Jul 1974 (v.75#1) pg. 82

The Hattersley class. Creative darkroom techniques. Control print contrast with your developer. Higher developer dillution and temperature control techniques.
POPULAR PHOTOGRAPHY Jan 1975 (v.76#1) pg. 124

Try these easy tests to be sure that your black & white prints are really permanent. Hypo tests and print tests using prepared test chemicals.
POPULAR PHOTOGRAPHY Feb 1975 (v.76#2) pg. 48

How to process stabilization paper using tray processing. It can have some benefits.
POPULAR PHOTOGRAPHY Jul 1975 (v.77#1) pg. 30

Suggestions and tips on proper use of stabilization paper processing.
POPULAR PHOTOGRAPHY Jan 1976 (v.78#1) pg. 32

Some "oddball" tips include (1) using DuPont image control solution with Kodak papers and (2) using Kodak Rapid Selenium toner.
POPULAR PHOTOGRAPHY Oct 1976 (v.79#4) pg. 52

The Hattersley class for beginners. How to bleach your prints. Methods for saving dark prints and improving good ones.
POPULAR PHOTOGRAPHY Dec 1976 (v.79#6) pg. 132

Tips on rapid processing of film and making prints quickly, such as may be necessary in "news" photography.
POPULAR PHOTOGRAPHY Jan 1977 (v.80#1) pg. 42

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.
POPULAR PHOTOGRAPHY Apr 1977 (v.80#4) pg. 92

David Vestal's Photo workbook. Handout #10. Fixing, washing and drying prints on regular (non-RC) paper.
POPULAR PHOTOGRAPHY Feb 1978 (v.82#2) pg. 77

Process for permanence. How to fix, wash, and dry fiber-base black-and-white prints so they'll last longer than you do.
POPULAR PHOTOGRAPHY Mar 1979 (v.84#3) pg. 126

How common sense processing procedures can help you make good-quality black-and-white prints.
POPULAR PHOTOGRAPHY Nov 1979 (v.85#5) pg. 46

Tips on using stabilization processing for fast, high-quality fiber-base prints.
POPULAR PHOTOGRAPHY Aug 1980 (v.87#2) pg. 70

Save time by using 30-second fixer. Tips on how and when to use the 30-second fix approach.
POPULAR PHOTOGRAPHY Jan 1981 (v.88#1) pg. 54

Printing with fiber-base paper. How to process, wash and dry fiber-base prints.
POPULAR PHOTOGRAPHY May 1982 (v.89#5) pg. 85

Are you a darkroom slob? Check these points to find out if your printing habits need changing.
POPULAR PHOTOGRAPHY Aug 1983 (v.90#8) pg. 182

Tip: Use split development for making better prints from contrasty negatives.
POPULAR PHOTOGRAPHY Oct 1985 (v.92#10) pg. 20

How to do local bleaching of black-and-white enlargements.
POPULAR PHOTOGRAPHY Jan 1986 (v.93#1) pg. 19

Use a stabilization processor for quick prints you can fix later. Part 2. Don't stop with "standard" stabilization processing. Try these ideas.
POPULAR PHOTOGRAPHY Oct 1986 (v.93#10) pg. 16

Black-and-white photofinishing is now reemerging. How to choose a lab that will do justice to your images.
POPULAR PHOTOGRAPHY Sep 1987 (v.94#9) pg. 62

Tip on using a stamp-moistening tube to dispense developer when doing "local development" of black-and-white prints.
PROFESSIONAL PHOTOGRAPHER #2135 Apr 1990 (v.117) pg. 80

Processing big b&w prints (24"x30") in a small darkroom. Tips on darkroom layout and processing methods.
RANGEFINDER Jun 1994 (v.43#6) pg. 40

Finding a quality black-and-white processing lab. Some tips.
RANGEFINDER Jul 1994 (v.43#7) pg. 52

Print tone and color. An explanation of how various b&w papers and developers combine to create the desired tonal separation and print color.
SHUTTERBUG #293 Feb 1995 (v.24#4) pg. 64

Working the vision. Bleaching techniques for black-and-white prints.
SHUTTERBUG #330 Mar 1998 (v.27#5) pg. 120

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.
SHUTTERBUG #337 Oct 1998 (v.27#12) pg. 30