I'll add one more possibility: Bleach and redevelop the negative in a staining developer. I do this all the time to up contrast on weak negatives. The procedure is to use a rehalogenating bleach of potassium ferricyanide and potassium bromide. Bleach the negative to completion and then redevelop it in a staining developer like PMK or Pyrocat. The silver image is redeveloped along with the stain image that adds extra contrast. Everything can be done in room light.
Best,
Doremus
The pyro technique would be more ideal with graded papers, but it should work well with VC papers. Depending on the film, PMK tends to produce a mask that has a greenish element to it, and also inherently seems to produce a long shoulder. Neither of those characteristics are necessarily ideal for this process, but there are other staining developer options which might work better. One is WD2H, which is designed specifically for expansion.
The process can also be repeated, which further increases contrast. I've never tried it, but it should work well.
At the risk of hijacking the thread: Since we're debunking myths here, I think the old, "pyro stain produces less contrast on VC papers" myth should go too. Maybe there's a graduated contrast effect with no filter, but think about it a minute, a green stain under magenta light passes even less light than a neutral-colored negative would. If anything, there should be more contrast in the denser areas of the negative with the stain than without it. The effect is, since magenta light has no green component, to pass blue only, but even less of it.
Try this mental experiment: take a #2 contrast filter and make a print. Make the same print with a # 5 filter (it'll be contrastier). Then sandwich the #2 filter (representing pyro stain) together with a #5 filter and make a print. It's going to end up matching the print made with just the #5 filter but will take more exposure.
Strong magenta filtration with a pyro stain should result in the same, or even more, contrast as a negative without stain. The problem is, there is no easy way to design a test to show this. VC papers don't respond the same way as graded papers, stained negs don't have the same distribution of tones as non-stained, etc.
I used to believe that the stain had a contrast-reducing effect and went round and round about it with Nicholas Linden till he finally convinced me that there is no way to definitively show that this is true.
Best,
Doremus
Dokumol at 1+4 dilution?
I just bought a box of the Ilford Classic FB paper, and am liking the results so far. I have a few images for which I'd like to get an abnormally high, very graphic contrast. Grade 5 isn't doing it. I'm using a Leica Focomat and Dokumol developer, so that should already be pretty hard. I'm looking for the quickest and easiest way to squeeze out an extra grade or so.
I've read on here about benzotriazole. Would that work with this particular developer and paper? I've also tried bleaching, but I can never quite get the bleach to confine its action to the highlights. I've used straight PF on a partly washed print, and the shadows came up as well. Maybe too much TF-4 left in the paper? I'd rather spike the developer, as it is much simpler, if it will work.
Thanks!
The description of Dokumol is more akin to a developer that produces great gradation. You might wish to seek out a paper developer with stronger contrast.
Dokumol at 1 + 6 is a very contrasty and hard working developer. With most fibre papers you will get the best results developing between 3.5 - 4.5 minutes.
If that does not give you enough contrast you can try progressively adding small amounts of Caustic Soda to the Dokumol. HOWEVER, you need to be extremely careful using Caustic Soda as it is corrosive.
Bests,
David.
www.dsallen.de
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