Developer Dilutions & Development times

[thefizz]

I understand that changing developer dilutions will result in warmer or cooler prints.

When doing this, am I correct in altering the exposure time and developing at my normal time? or should developing time also change?

Peter

 

[Stephanie Brim]

Your development time will change depending on developer and dilution.

Well, wait. I would assume, though, that if you altered your exposure enough that it's possible that you could develop at the same times. However...I'd recommend lengthening the development instead.

 

[reellis67]

Someone will certain chime in here and provide detailed info, but my understanding is that you get warmer tone prints from underdevelopment, and cooler tones from totally development, but these are just slight changes and exposure remains the same.

In order to get warm toned prints you can use any or all of these; warm tone developer, warm tone paper, or a sepia or brown toner. To get cool prints; cool tone developer, cool tone paper (RC only I believe), or a gold toner.

There are a lot of details missing in my descriptions because there are so many variables. If you have something specific in mind and can't get more info from searching past threads let us know.

- Randy

 

[Neal]

Dear Peter,

Modern papers are designed to be developed to completion. Adding exposure to compensate is very much like pulling a print from the developer to "save" it. I would find a time that is long enough so that an extra 30-60 seconds wouldn't make a significant difference.

Neal Wydra

 

[don sigl]

Creating warmer prints using development involves reducing the action of the developer. This is done by dilution and/or modifying the formula to eliminate reducing agents that affect tonality. The first one usually to go is hydroquinone. Many of the older formulas will eliminate the hydroquinone and increase the amount of restrainer (KBr). In an MQ developer this leaves only metol to do all the reducing work.
The result is warmer tones, BUT in many cases you will need to increase exposure. In some cases these developers will call for a doubling of exposure. Another side affect is the reduction of contrast. Sometimes significantly. This can easily be demonstrated in the Ansel Adams version of Ansco 130 (A glycin/Hydroquinone developer) where he withheld the hydroquinone as a separate solution, adding it in small amounts to increase contrast. The more Hydroquinone added, the more contrast and the cooler the tones in the print.

Regards,

 

[thefizz]

I use Ilford MGFB with their standard developer at 1:9 for 2 minutes. If I wanted a warmer tone I can mix it at say 1:20. As this is weaker, do I expose longer and develope longer or just change one of these variables?

 

[nalle52]

I print on Bergger CB-2 paper in Ansco 130, if I dilute 1+5 instead of normal
1+1 I get a warmer tone, exposure time gets longer, but I still develop for 3min. I think its important what combination of paper/developer you are using.
Graded warm tone paper shift more to warm.

 

[MarkS]

There are so many variables here that you'll have to do your own tests to find out. Choose an image you like, because you're going to make a lot of prints of it. Be sure and write exp/dev/dilution/time on the back of each print before you process it.

 

[Lowell Huff]

If it is warm tones that interest you, look into LITH PRINTING.

 

[Ole]

There's quite a big difference between lith prints and warm prints. A warm-tone print has a nice even tone, while in lith prints the colour tone changes with density. At least sometimes.

 

[pentaxuser]

I've seen some lith prints in Lee Frost's latest book on B&W photography. He is quite a fan and had a chapter on it in the book. However none had the look of warm prints as I understand the word. If anything they had a pinkish look. Quite attractive for some shots but not warm as in brown/chocolate which is what the originator seems to be looking for.

pentaxuser

 

[Ole]

The actual tone of a lith print depends on the paper, the exposure, the developer, the dilution, the age of the developer, the fixer, any toning, and probably also the price of fish in Ouagadogou. Some are brown, some orange, some pink.

I know of only two ways to guess in advance how it will turn out: One is to try it yourself, the other is to buy Tim Rudman's book. The second is cheaper in the long run, but a lot less fun.