Moersch SE20C as first bath developer in a two developing cycle

[removedacct3]

Today I started to experiment with a two-bath print developer. Moersch SE20C as first developer for the shadow areas (and the blacks) combined with ANSCO 130 as regular second bath developer. On first sight the results look very promising. I used Foma MG Classic 133 paper. It is a paper I really like for its velvet surface, its shine, the skin tones it produces and its tactile feeling. But most often I struggle to get deep blacks with this paper.

To make a long story short ... the deep blacks problem seems to be gone. I have to keep my cool; the prints are now hanging to dry. Nevertheless, if I compare the regular ANSCO print with a SE2C+ANSCO print, the difference is significant. Looking forward to see the comparison when dry.

According to the info sheet of Moersch the Catechol is responsible for the hard contrast. The info on the site left me amazed; is SE20C the only option or could a two-bath development like this one work with another hard contrast developer that contains Catechol, for example AGFA 108?

If you have any tips and tricks regarding the use of Moersch SE20C as well as the available alternatives, please make some noise.

Wolfgang Moersch Fine-Art-Printing & Photo-Chemie | Content

 

[cirwin2010]

Today I started to experiment with a two-bath print developer. Moersch SE20C as first developer for the shadow areas (and the blacks) combined with ANSCO 130 as regular second bath developer. On first sight the results look very promising. I used Foma MG Classic 133 paper. It is a paper I really like for its velvet surface, its shine, the skin tones it produces and its tactile feeling. But most often I struggle to get deep blacks with this paper.

To make a long story short ... the deep blacks problem seems to be gone. I have to keep my cool; the prints are now hanging to dry. Nevertheless, if I compare the regular ANSCO print with a SE2C+ANSCO print, the difference is significant. Looking forward to see the comparison when dry.

According to the info sheet of Moersch the Catechol is responsible for the hard contrast. The info on the site left me amazed; is SE20C the only option or could a two-bath development like this one work with another hard contrast developer that contains Catechol, for example AGFA 108?

If you have any tips and tricks regarding the use of Moersch SE20C as well as the available alternatives, please make some noise.

Wolfgang Moersch Fine-Art-Printing & Photo-Chemie | Content

I know this is an old thread, but I'm going to try to revive it anyways. I was curious about Moersch Catechol as well for use with Warmtone papers like Fomatone. But I cannot find any information about it other than what you wrote above and the product description. Have you continued using Catechol in your darkroom and do you have any other results or insight to share?

 

[koraks]

@cirwin2010 please note that the original poster of this thread has left this forum a couple of years ago. They likely won't return to respond (although they're welcome to).

 

[cirwin2010]

@cirwin2010 please note that the original poster of this thread has left this forum a couple of years ago. They likely won't return to respond (although they're welcome to).

Oh, removedacct3 isn't a username... Oops

 

[bdial]

@cirwin2010
I’ve used Moersch Catechol, on its own, and in combination with Moersch SE4 Neutral . It behaves much the way it’s been described.
That said, it’s been a while since I last worked with it, and my darkroom is half torn apart for some household renovations, so, i don’t have any good examples currently.