Looking for info on two bath print development for FB graded paper. I'm currently using Dektol as well as Formulary Liquidol.
Two bath print development
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Two-bath or split-contrast developing for graded papers is used to achieve intermediate contrast grades not available with the paper and only one developer.
It is not really necessary for variable-contrast papers, where intermediate contrasts can be more easily achieved by adjusting filtration. That said, if you have only the stepped multi-contrast filters, and not a dichro head or the like, this technique will be useful to get contrast grades in-between the filters if needed.
The idea is to use a soft-working developer and a harder, more contrasty developer and give differing amounts of the total development time in each to get a range from very soft (using only the soft-working developer) to contrasty (using only the contrasty developer) with intermediate contrasts attained by developing part of the time in the soft developer followed by the rest of the time in the contrasty developer.
This is a technique I use often with good results.
Soft-working developers include Selectol Soft, Ansco 120 and a range of others. They usually contain only Metol as the developing agent. Harder developers include Dektol, Bromophen, D-72, Ansco 130,etc. and usually have at least two developing agents (Metol and hydroquinone or phenidone are standard formulations, Ansco 130 adds glycin).
There is also a tried-and-true multi contast developer, the Beer's Two Solution Developer, which, in essence, does the same thing as two-developers: One mixes contasty and soft-working stock solutions together to get a developer that gives the desired contrast. The down side of Beer's, for me, is that then you have one developer tailored for one print, which might not work for the next one in the session. Two developers is much more flexible, in my opinion.
My methods are as follows: Usually I mix a standard developer (like Dektol or Bromophen) and begin my printing session with just one developer. When I get to the point where I need an intermediate contrast (i.e., I have tried the softer paper grade and it is too soft or, I don't have a softer paper grade), I mix up a soft developer (usually Selectol Soft in weaker than recommended dilution, since I have a good store of that developer). Since I try to use a rather long developing time (2 1/2 to 3 minutes as standard), I have a lot of flexibility in how I divide the time between the soft and hard developers. If the print needs a lot less contrast, I begin with most of the developing time in the soft developer (the opposite if it needs just a bit less contrast). I find that 30 seconds one developer is about the minimum to get an even effect.
For example, I might develop 1.5 minutes in each developer, or 2.5 minutes in the soft and 1 minute in the hard, etc., etc. I find that it is better to extend developing times up to 3-5 minutes divided between the two developers and adjust print exposure time accordingly rather than try to work with increments smaller than 30 seconds in one developer.
The entire process is one of tweaking the developing and exposure times to achieve the desired result. Often, I will pump up the hard developer by adding sodium carbonate and/or more stock solution. The soft-working developer can be made to work softer by diluting more (with a corresponding increase in the time) and also by using a water bath as an intermediate. With this latter, one gives 30 seconds with agitation in the soft developer and transfers the print gently to a water bath, where it sits for at least two minutes. The cycle is then repeated. Depending on the paper, this can have a significant contrast-reducing effect.
If you're just starting out with this technique, you'll find it easy to get intermediate contrasts with just a tray of Dektol and one of a soft-working developer.
The technique works best with the soft-working developer first in the sequence. This allows a bit of visual assesment and prevents the hard-working developer from being carried over into the softer one and increasing its activity.
Hope this helps,
Doremus Scudder
www.DoremusScudder.com
It is not really necessary for variable-contrast papers, where intermediate contrasts can be more easily achieved by adjusting filtration. That said, if you have only the stepped multi-contrast filters, and not a dichro head or the like, this technique will be useful to get contrast grades in-between the filters if needed.
The idea is to use a soft-working developer and a harder, more contrasty developer and give differing amounts of the total development time in each to get a range from very soft (using only the soft-working developer) to contrasty (using only the contrasty developer) with intermediate contrasts attained by developing part of the time in the soft developer followed by the rest of the time in the contrasty developer.
This is a technique I use often with good results.
Soft-working developers include Selectol Soft, Ansco 120 and a range of others. They usually contain only Metol as the developing agent. Harder developers include Dektol, Bromophen, D-72, Ansco 130,etc. and usually have at least two developing agents (Metol and hydroquinone or phenidone are standard formulations, Ansco 130 adds glycin).
There is also a tried-and-true multi contast developer, the Beer's Two Solution Developer, which, in essence, does the same thing as two-developers: One mixes contasty and soft-working stock solutions together to get a developer that gives the desired contrast. The down side of Beer's, for me, is that then you have one developer tailored for one print, which might not work for the next one in the session. Two developers is much more flexible, in my opinion.
My methods are as follows: Usually I mix a standard developer (like Dektol or Bromophen) and begin my printing session with just one developer. When I get to the point where I need an intermediate contrast (i.e., I have tried the softer paper grade and it is too soft or, I don't have a softer paper grade), I mix up a soft developer (usually Selectol Soft in weaker than recommended dilution, since I have a good store of that developer). Since I try to use a rather long developing time (2 1/2 to 3 minutes as standard), I have a lot of flexibility in how I divide the time between the soft and hard developers. If the print needs a lot less contrast, I begin with most of the developing time in the soft developer (the opposite if it needs just a bit less contrast). I find that 30 seconds one developer is about the minimum to get an even effect.
For example, I might develop 1.5 minutes in each developer, or 2.5 minutes in the soft and 1 minute in the hard, etc., etc. I find that it is better to extend developing times up to 3-5 minutes divided between the two developers and adjust print exposure time accordingly rather than try to work with increments smaller than 30 seconds in one developer.
The entire process is one of tweaking the developing and exposure times to achieve the desired result. Often, I will pump up the hard developer by adding sodium carbonate and/or more stock solution. The soft-working developer can be made to work softer by diluting more (with a corresponding increase in the time) and also by using a water bath as an intermediate. With this latter, one gives 30 seconds with agitation in the soft developer and transfers the print gently to a water bath, where it sits for at least two minutes. The cycle is then repeated. Depending on the paper, this can have a significant contrast-reducing effect.
If you're just starting out with this technique, you'll find it easy to get intermediate contrasts with just a tray of Dektol and one of a soft-working developer.
The technique works best with the soft-working developer first in the sequence. This allows a bit of visual assesment and prevents the hard-working developer from being carried over into the softer one and increasing its activity.
Hope this helps,
Doremus Scudder
www.DoremusScudder.com
You can easily get "in between" contrast grades with MC filters if you do split grade printing. Only two filters are needed; a soft (#0 or thereabouts) and a hard one (#5). You can even do that with coloured gel filters, like green and blue.
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There are plenty of techniques for adjusting the contrast of fixed grade papers that are just as valid today as they were back when there was no VC paper.
One point that I would like to make is that many photographers that I have taught have the bad habit of developing prints for two minutes or less or ’snatching’ the print when they think that they have the correct density. In general, you should seriously consider developing for a minimum of 3 minutes and, with soft working developers, consider extending this further.
Dr. Beers works really well and is a great for making subtle changes.
If you regularly require increased contrast, use TETENAL Dokumol at a dilution between 1 + 4 to 1 + 6.
For softer results you can try:
Bests,
David.
Please note my website is still down but a version can be found here: http://dsallen.carpentier-galerie.de
One point that I would like to make is that many photographers that I have taught have the bad habit of developing prints for two minutes or less or ’snatching’ the print when they think that they have the correct density. In general, you should seriously consider developing for a minimum of 3 minutes and, with soft working developers, consider extending this further.
Dr. Beers works really well and is a great for making subtle changes.
If you regularly require increased contrast, use TETENAL Dokumol at a dilution between 1 + 4 to 1 + 6.
For softer results you can try:
- any general purpose paper at a higher dilution
- taking the print out of the developer halfway through your usual development time and place it into a plain water bath for two minutes with gentle agitation and then return to the developer for the rest of your standard development time
- pre-flash your sheet of paper before making the print - or, even better and more useful, pre-flash only the highlight areas
Bests,
David.
Please note my website is still down but a version can be found here: http://dsallen.carpentier-galerie.de
Yes indeed! Another reason why two-bath development doesn't get used so much these days. It's really a technique for tweaking fixed-grade papers. Those who still use fixed grade papers (myself included, since I have a stash of some now-discontinued good-old papers) find two-bath development and many other techniques helpful. If you're just using VC paper, maybe it's just unnecessary.
Doremus
I am missing the warmwater- bath technique following the normal development in the case of missing tones in the highlights.
The paper soaked from the first bath will slightly further develop in the highlights.
And eventually one could count a normal development followed by Farmer's reduction a kind of twobath?
Printing way too dark and bleaching back the lights is a process full of control and brings the contrast - partially or overall - to where it should be.
Yes, of course.
But while making paper positives with VC papers and there struggling against the hard contrast behaviour of the paper these old but wonderful techniques are very helpful to me.
In an artistic sense or as a rescue technique for misleaded negatives I don't want to miss a hard Lith developer and a smooth developer like Centrabrom combined in a twobath technique.
Very useable with VC papers buthere advantages probably don't count because the contrast mainly is given by the different developers.
Mr. Moersch's twobath technique called Polychrome and using Lith plus Siena developers is well working with lithable VC papers, too.
That's another option using twobath and VC paper.
Best,
Reginald
The paper soaked from the first bath will slightly further develop in the highlights.
And eventually one could count a normal development followed by Farmer's reduction a kind of twobath?
Printing way too dark and bleaching back the lights is a process full of control and brings the contrast - partially or overall - to where it should be.
Yes, of course.
But while making paper positives with VC papers and there struggling against the hard contrast behaviour of the paper these old but wonderful techniques are very helpful to me.
In an artistic sense or as a rescue technique for misleaded negatives I don't want to miss a hard Lith developer and a smooth developer like Centrabrom combined in a twobath technique.
Very useable with VC papers buthere advantages probably don't count because the contrast mainly is given by the different developers.
Mr. Moersch's twobath technique called Polychrome and using Lith plus Siena developers is well working with lithable VC papers, too.
That's another option using twobath and VC paper.
Best,
Reginald
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