Brush Development—Recommended Brush Types

Brush Development—Recommended Brush Types

I am working with a really great "brush-development" process with pyro chemistry and tray development of sheet film negatives. It offers all of the benefits of reduced agitation development with none of the unwanted problems of risking uneven development or streaking under the extreme exhaustion with tanning/staining developing agents like pyro—encouraging maximum gradation and even development. (see picture attachment)

This special non-handled brush retails for about $32.00 but I purchased it for half-price. The brush uses natural boar's hair that has just enough body and tooth, but not overly grab the negative or scratching delicate film surfaces. I find it to provide even coverage, dislodging of trapped bubbles, and to fluidly glide across the surface of sheet film with gentle tension. For very large negatives one would need a wider brush, but 5x7 negatives work well with 2" brushes and with a little practice even 8x10. Although a 3" - 4" coverage would work more easily with 8x10 format film. Having no handle (as shown) is perfect for holding near the film and tray, so that one can sense more acutely its responsiveness against the film's surface in relationship to the tray and to keep a low angle along the entire film surface. I use very thin nitrile examination gloves for protection against the chemistry and then eagerly "drink" the exhausted developer for added energy! haha!

Another great brush type is the Hake brush, pronounced "Hay-Kay"—goat hair being most common. Hake brushes are available in wider sizes as a rule and spread alternative process chemistry very well also. Like all things, it takes practice in how to gently hold the negative or optimize brush strokes during darkroom use by tray. My first thought when I started using a brush was "panic" at first, for it felt odd and my coordination was barely adequate as I tried to feel my way on the negative. Bottom-line, take your time and do several test first. I am planning to create a YouTube video of my process within the next few weeks. I'll keep you posted!

Oops... here is the picture of the brush that I referred to above.

When I did brush development, I used a hake brush and put the negative in a tray just large enough to hold it - contrary to the usual method of using one tray size larger. The tray held the negative in place well enough, and I brushed the full width and length of the tray. I alternated directions - left to right, top to bottom, right to left, bottom to top. It's a fine method and even works well with notoriously soft emulsions such as Efke. It's a fine method of developing, and I only stopped using brush when I learned to do extreme minimal agitation.
juan

For those folks on a budget or processing large format materials, these work just fine...

http://www.homedepot.com/h_d1/N-5yc...splay?langId=-1&storeId=10051&catalogId=10053

Reinhold

www.classicBWphoto.com

I've simply used a very soft synthetic brush (2 inch wide) to develop fibre based photos (never done negatives). I think synthetic might be an advantage over hog hair in not retaining to much chemicals in the brush's hairs, as natural fibres are probably much more absorbent and porous.

And sometimes hog hair brushes can be extremely stiff, not to mention losing hairs...

Follow-up thoughts:

Appreciated feedback: John T. on Large Format Photography Forum mentioned — Great information, except Hake is pronounced Ha (as in ha ha) Ke (as in the spanish pronunciation "que")

I suspect he is right on the pronunciation of Hake, but I'll leave that up to others to determine. John is a good resource.

My thought on brush or foam is really a matter of personal preference, and I would certainly not argue too much with one method being superior—find what works with the budget and is of most interest, then put it to work.

What I would say, is that scratching should not be a problem with a quality brush or foam. I especially like the natural hair brushes when wetted with paint media, so that is why I migrated to the natural hair approach and happened to have a little more money in my pocket that day—feeling rich I suppose! Also the nap is different and the drag across the surface differs somewhat, but by all means use what makes sense and be willing to experiment.

Materials behave very differently when wet and surface tension is minimal between the surfaces with a good natural hair brush, but the tension is just enough to draw off the exhausted developer as a silky glide with full and gentle exchange. Also, a quality brush is generally hand trimmed at the tip so when wet it will not be prickly but smooth and supple. Brushes made from artificial hairs do not form a "belly" as well as natural hair, which is where most of the liquid is held within the brush (think mid-section of the brush). A brush will either have a seamed ferrule or preferably a seamless ferrule. The ferrule is the metal ring that holds the paint brush hairs in place and is secured to the handle with crimping. The beauty of a quality natural hair brush is how it behaves when wet for it will absorb as beautiful as it applies fresh developer.

The natural hair brush may drop a couple stray hairs at first, but will offer more gradual distribution than the synthetic brush. A good brush will not continually loose hair but will actually become better with use. I've never had a problem this way. For a synthetic brush a good fine art varnish brush can work, or a Sceptre Gold (sable synthetic blend) or Cotman (golden taklon). For a natural brush a Hake brush (white goat or boar) works well. Resources: http://www.winsornewton.com or http://www.danielsmith.com or http://www.utrechtart.com/

Most importantly when in the darkroom don't panic when you begin the film developing process, (agitate initially in the tray then begin the strokes) Don't become paranoid that you're missing a spot, because you won't. Relax (grab a beer or your favorite drink) and think methodically as possible, but most importantly intuitively. Have fun!

Your absolutely right about the minimal solution volume required. I became curiously aware of this when using my one shot pyro solution and seeing first hand the efficient coverage gained by the brush method. Here are some additional thoughts that I hope provide some thoroughness and practical application.

TRAY CONSTRUCTION & SET UP:
I've included a few snapshot pics to illustrate my very basic tray set-up. The 8x10 tray pictured is clean, but well used and stained from frequent use over the years. I've divided the tray into two sections for 5x7 negatives and I have a separate tray for 8x10 use, and another tray with four divisions for 4x5 negatives. I would normally have two gloves on and no watch as seen in the attached photos. I have included a pic of the spiral wrap material which was cut to size and used for the tray divider. I simply used an epoxy glue (in this case, Liquid Nails adhesive worked well). What I like about the spiral wrap is that it allows some flow of liquid through the spiral material while keeping negatives separate from each other. One can really customize this material for it bends and can be cut to any size.

PROCESS METHOD:
In terms of processing technique, I don't really worry about precise rate of speed or the counting strokes, but establish an acceptable pace with consistency. I just set a countdown timer for 8 minutes with my Tri-X in 72ºF dev. solution and slowly and gently (systematically) brush from left to right two complete times over the negative, then move over to the other negative on the other side of the tray and repeat the same process. During this time the opposite negative is resting in the solution as the developer works toward exhaustion. Then I go back to the other negative and continue until my time is up. I also enjoy a metronome which I use for many things. I find this method immensely creative and satisfying which is one of my chef ways of encouraging consistent and repeatable processes. If one enjoys something they are prone to do it again, and to do so with dedication, as a habit that serves them well.

FINAL OBSERVATIONS & TIDBITS:
If one assumes a 6-12 minute development period with most developers and film, sufficient passes and coverage over the negative are almost assured with uniform development. Some photographers will brush in different directions (cross strokes) which is fine, but I find that brushing parallel and toward myself works well with one hand free to gently maneuver or navigate the brush over the film. My free hand is never head on the film in one place for long and is always applied gently if at all. One finds improved dexterity with repeated experience.

While I generally use TXP 320 or FP-4 Plus film, even using the very soft emulsion of Efke film will not scratch this way. I find scratches to occur far more easily when the film is "sloshing" around the tray hitting everything during general methods of agitation or when floating around loosely along with other negatives during careless rinsing. (scuffing each other) Thus, the value of common sense and perfected use of repeatable "good" habits.

By brushing the film properly one will almost assure no air bubbles being trapped and extremely even development, unlike what can be a problem with general tray agitation if not done with care. Don't get me wrong... normal tray agitation is just fine, and some photographers might want to do a combination of agitation and brushing as well.

I am sure others have different or better methods, but this has worked well for me. I am currently doing this method almost nightly for a commissioned historical documentary photographic project involving the relationship of historic architecture and urban culture in Seattle, Washington. So I am taking great care in my work and place full trust in this method, particularly once one has a little practice in place.

Mark Booth said:

I am sure others have different or better methods, but this has worked well for me. I am currently doing this method almost nightly for a commissioned historical documentary photographic project involving the relationship of historic architecture and urban culture in Seattle, Washington. So I am taking great care in my work and place full trust in this method, particularly once one has a little practice in place.

Click to expand...

Nice description Mark, also good the instructional photos. A similar setup can be used for developing prints. Just be aware that developing prints, may take up to 5-6 minutes of brushing to get a decently even development on fibre papers (probably also depending on your brush's width).

How much fluid volume do you need when brush developing? Are you immersing the sheet in the solution and just using the brush to agitate, or are you dipping the brush in the developer and effectively "dry-brushing" the chemistry on to the sheet of film?

TheFlyingCamera said:

How much fluid volume do you need when brush developing? Are you immersing the sheet in the solution and just using the brush to agitate, or are you dipping the brush in the developer and effectively "dry-brushing" the chemistry on to the sheet of film?

Click to expand...

The latter thing is what I have done with fibre based papers. Don't know about negatives, because I haven't done it. Let's see what the others have to say that have done it, but I guess the answer will be the same method... "dip-and-brush", considering Mark's remark seemingly in that direction.

Marco B said:

Nice description Mark, also good the instructional photos. A similar setup can be used for developing prints. Just be aware that developing prints, may take up to 5-6 minutes of brushing to get a decently even development on fibre papers (probably also depending on your brush's width).

Click to expand...

Great question!

The amount of liquid will of course depend upon the tray and negative size. In actuality, you will find that less solution is needed than for typical agitation, BUT (during the first few times) start out as normal with your tray developer solution, and cut down on the volume once you get use to the process and see the efficiency for yourself and what will work for your personal style and method. Eventually, most people cut back solution volume significantly once control is established and a method in place. The idea eventually is to just have enough solution to cover the negative and to keep your brush wet. This method is much more forgiving that what one might envision.... just do it and have fun!

Immerse the negative in the developer solution and agitate like normal for the first 30 seconds or 1 minute, then simply transition from agitation to brushing —begin "painting" the negative with uniform strokes as I've described in my previous post. You'll find that brushing the negative at first will feel weird and you'll probably think... "What the heck am I doing... this can't work"? But relax, and just keep your head... you'll continue with the brushing slowly and methodically during the entire duration of development time, then transition to a stop bath or (water bath) and then a fixing and rinsing session as normal.

Because in this method you're not "agitating" the film as you normally would, you'll find that it will become easier to control any potential for overdevelopment of the highlights and to nurse-up the shadow detail very nicely due to better isolated control and efficiency this method (with a little practice of cource). Don't worry about missing a spot with the brush, because as you repeat the process you are VERY likely to hit the area the second time around with not much delay. In your mind, you'll think all is lost if things don't go smoothly... but just get back into the groove and continue the pattern. The brush will do the work, and the development method is so thorough that during a normal processing duration you'll achieve balanced and thorough development far more easily than thought.

The key is to not make it hard... but just test it a few times and give it a chance. Now that I have the process down fairly well, I can't see myself going back to the "normal" agitation method at anytime. My control is vastly enhanced and I feel intrinsically connected to the negative as like a fine art "painter" experiences each brush stroke on canvass. It's extremely rewarding for one feels more connected at a micro level with the process.

Start with your normal developing times and adjust +/- as needed. As I find time, I plan to create a YouTube video instruction within the next month or so. So, stay tuned for a better illustration of the process in the near future.

I was asked about clarifying some processing procedures. Here are a few observations which might help clarify my approach.

I submerge my negatives and begin with initial agitation, but I would suppose that one would not have to do this per se. My theory is that obtaining a good base of coverage and even development is important during the initial minute much like one does in the printing process with paper. Then I transition quickly to brush development with the first goal of removing any air bubbles and establishing a rhythm of brushing that works for me.

First Goal: Establish good handling control by initial agitation method (platform for brush development) and boosting self confidence. One must "settle into" the workflow and be assured of good initial development. Good handling is always about habit, but sometimes we forget about the importance of synchronizing and a harmonious process in the art of photography. Herein we might glean from the ideals of both Adams and Mortensen in their valuable methodologies.

Second Goal: Transition to fine tuning the film processing experience through brush development method, knowing that good initial control is already established, one can now simply enjoy their time in the tactile process. Depending on film type and one's set-up, one can use development by inspection with brush development, or just keeping it simple with normal darkroom processing procedures in total darkness.

Of course, whether one is inclined to use D-76 or D-23 in its classic use, or to pursue a pyro formula, or Amidol water bath development, Etc. the use of brush development has great merit to consider for all developer types. For example: Orthochromatic type films seem to greatly benefit from highly diluted developers and allow for red light inspection which are ideal combinations for also using the brush development method. Also, Jay De Fehr has mentioned elsewhere that developers commonly used for semi-stand development techniques, can benefit greatly using brush development during extended intervals of agitation or brushing method instead.

Brush development gives new meaning to "painting with light" as photographers!

A helpful link for outstanding selection of artist brushes and specialty art supplies is:
Dead Link Removed

From Yasutomo Hake brushes to Winsor Newton specialty brushes, NY Central Art Supply has one of the most extensive lines of artist supplies anywhere. Those photographers who work with alternative processes will enjoy this resource as well!

I realize that Home Depot may provide just as good solutions for certain things, but sometimes (if you're like me) I enjoy treating myself to something very special and it's nice to know where to go in such cases.

Hope this helps!