Advice on monochrome process

I'm looking for comments on the following tentative archival
monochrome sheet film (4x5) and paper processing routines to see if
there are any issues or improvements I can make. For now I will
standardize on T-Max 100 developed in water-jacked trays (I realize
temperature and consistent technique are critical), and for paper I
will normally use fiber-based Oriental grade 2 developed in Dektol.
I've surfed and read and besides a headache I found lots of opinions,
including this 1987 article by John Sexton on Tmax 100 processed at
75F, where he gives processing tips:

http://largeformatphotography.info/a...xton-tmax.html

I still have to determine my personal film speed/development time but
I have John Sexton's time/temp in here for now in case someone has an
opinion on the dilution/time/temp for normal development.


Processing T-Max 100 sheet film, normal development

Water presoak 1-3 minutes @ ~75F
Developer: T-MaxRS 1:15, 13 minutes @75F
Water Rinse 30 seconds
Fixer: TF-4 Rapid Fixer 5-6 minutes @~70F
Water Rinse (necessary?)
Kodak Hypo Clearing stock 1:4 3 minutes ~70F
Water Rinse (necessary?)
Archival Wash in Zone VI washer 15 minutes
Kokak Photo Flo ¼ cap in 16oz. distilled water


Processing fiber base paper with Selenium toning

Dektol 1:3 2½ minutes @ 70F
Water Rinse 30 seconds
Fixer 1: TF-4 Rapid Fix 1 minute ~70F
Water rinse 2 minutes
Cold water storage
Fixer 2: TF-4 1 minutes ~70F
Kodak Rapid Selenium 3-5 minutes ~75F -temp?
(1 part selenium:4 parts Hypo clearing working solutin) - too weak?
Kodak Hypo Clearing stock 1:4 3 minutes ~70
Water rinse 3 minutes
Archival Wash in Zone VI washer 60 minutes

I'm not sure about the rapid fixer as opposed to Hypo going into the
selenium. I appreciate any feedback because as you know there are
lots of methods and things may have changed since the 30 year old
Ansel Adams and Fred Picker books were published!

Mark

Use stop bath.

Use acid rapid fixer.


Mark wrote:
I'm looking for comments on the following tentative archival
monochrome sheet film (4x5) and paper processing routines to see if
there are any issues or improvements I can make. For now I will
standardize on T-Max 100 developed in water-jacked trays (I realize
temperature and consistent technique are critical), and for paper I
will normally use fiber-based Oriental grade 2 developed in Dektol.
I've surfed and read and besides a headache I found lots of opinions,
including this 1987 article by John Sexton on Tmax 100 processed at
75F, where he gives processing tips:

http://largeformatphotography.info/a...xton-tmax.html

I still have to determine my personal film speed/development time but
I have John Sexton's time/temp in here for now in case someone has an
opinion on the dilution/time/temp for normal development.


Processing T-Max 100 sheet film, normal development

Water presoak 1-3 minutes @ ~75F
Developer: T-MaxRS 1:15, 13 minutes @75F
Water Rinse 30 seconds
Fixer: TF-4 Rapid Fixer 5-6 minutes @~70F
Water Rinse (necessary?)
Kodak Hypo Clearing stock 1:4 3 minutes ~70F
Water Rinse (necessary?)
Archival Wash in Zone VI washer 15 minutes
Kokak Photo Flo ¼ cap in 16oz. distilled water


Processing fiber base paper with Selenium toning

Dektol 1:3 2½ minutes @ 70F
Water Rinse 30 seconds
Fixer 1: TF-4 Rapid Fix 1 minute ~70F
Water rinse 2 minutes
Cold water storage
Fixer 2: TF-4 1 minutes ~70F
Kodak Rapid Selenium 3-5 minutes ~75F -temp?
(1 part selenium:4 parts Hypo clearing working solutin) - too weak?
Kodak Hypo Clearing stock 1:4 3 minutes ~70
Water rinse 3 minutes
Archival Wash in Zone VI washer 60 minutes

I'm not sure about the rapid fixer as opposed to Hypo going into the
selenium. I appreciate any feedback because as you know there are
lots of methods and things may have changed since the 30 year old
Ansel Adams and Fred Picker books were published!

Mark

Thanks UC. Which rapid fixer would you recommend, and why acid rapid
fixer? Does the PH of the fixer have bearing on the selenium?



On 6 Feb 2006 12:32:47 -0800, "UC" wrote:

Use stop bath.

Use acid rapid fixer.

Mark wrote:
Thanks UC. Which rapid fixer would you recommend, and why acid rapid
fixer? Does the PH of the fixer have bearing on the selenium?

I use and recommend Kodak Rapid Fixer. Never use plain hypo! Acid stop
bath is necessary to preserve the acidity of the fixer (which breaks
down when developer is allowed to contaminate it) and to prevent
dichroic fog forming on the film. You really should use stop bath, and
if you do, you must use acid fixer. I tried using water stop bath and
ended up with problems, so I went back to acid stop and the problems
disappeared. I use PermaWash for hypo clearing. After washing, the film
or paper should be as neutral ph as the water it was washed in.





On 6 Feb 2006 12:32:47 -0800, "UC" wrote:

Use stop bath.

Use acid rapid fixer.

Mark wrote:

Processing fiber base paper
Dekto 1:3
Water rinse
Fixer 1: TF-4 Rapid Fix; Mark


Consider a hold after the developer rather than twixt
fix 1 and fix 2.
As long as the print is neutral to alkaline when it hits
the KRST all is OK. Both S. and A. Thiosulfates,
unadulterated, are near neutral. Dan

Ok, so I would use Kodak Rapid Fixer (without adding any of the
hardener I assume) for film and paper.

For film, are the water rinses before and after the hypo clearing
agent necessary?

For paper, I'm wondering about the prints sitting in cold water
storage after being fixed once but not yet washed well. It would be
nice to store prints at that point though and finish up at the end of
the session.

I read somewhere that for Selenium toning you shouldn't dilute more
than 1:9 for full archival affect. I think the 1:9 mentioned is with
clearing agent working solution

Mark





On 6 Feb 2006 14:04:16 -0800, "UC" wrote:


Mark wrote:
Thanks UC. Which rapid fixer would you recommend, and why acid rapid
fixer? Does the PH of the fixer have bearing on the selenium?

I use and recommend Kodak Rapid Fixer. Never use plain hypo! Acid stop
bath is necessary to preserve the acidity of the fixer (which breaks
down when developer is allowed to contaminate it) and to prevent
dichroic fog forming on the film. You really should use stop bath, and
if you do, you must use acid fixer. I tried using water stop bath and
ended up with problems, so I went back to acid stop and the problems
disappeared. I use PermaWash for hypo clearing. After washing, the film
or paper should be as neutral ph as the water it was washed in.





On 6 Feb 2006 12:32:47 -0800, "UC" wrote:

Use stop bath.

Use acid rapid fixer.

Mark spake thus:

For film, are the water rinses before and after the hypo clearing
agent necessary?

No, but they don't hurt. I rinse to make sure I get all that evil hypo out.


--
If the United States government, with all its capacity to collect
and interpret information, did not see Hamas doing very well in the
Palestinian election in the wake of these other Islamist victories,
then it is either willfully blind or totally incompetent—-
and neither possibility is a very comforting thought.

- Rami G. Khouri, editor at large of the Beirut-based _Daily Star_

I'd love to hold the prints after developing, but you know the room
lights would come on. Are you saying the prints are safe after
stopping, or do you have a 'wet' paper safe?!



On 6 Feb 2006 14:21:33 -0800, wrote:

Mark wrote:

Processing fiber base paper
Dekto 1:3
Water rinse
Fixer 1: TF-4 Rapid Fix; Mark


Consider a hold after the developer rather than twixt
fix 1 and fix 2.
As long as the print is neutral to alkaline when it hits
the KRST all is OK. Both S. and A. Thiosulfates,
unadulterated, are near neutral. Dan

In article ,
Mark wrote:


For paper, I'm wondering about the prints sitting in cold water
storage after being fixed once but not yet washed well. It would be
nice to store prints at that point though and finish up at the end of
the session.

I always do that up to 6-7 hours no problems, however for certain papers
leaving them sit overnight is a concern, frilled edges and overly
softened emulsions. I have seen emulsions come off in extreme soaking.


I read somewhere that for Selenium toning you shouldn't dilute more
than 1:9 for full archival affect. I think the 1:9 mentioned is with
clearing agent working solution

1 to 9 will certainly create a change in color-for alot of papers
depending on how long you tone. Michael A Smith
whom I know- professes that 1+64 is fine for Azo papers, I generally use
1+32 for minimal toning on FB papers of most types. This is one area
where it has a lot to do with personal taste, and although toning does
protect the image- washing adequately should mean you don't have to tone
the image. But lets just say its good practice. You can always tone a
print after the fact- twice fixed & washed one hour and then tone and
rewash another hour.


--
"To announce that there must be no criticism of the President,
or that we are to stand by the President, right or wrong,
is not only unpatriotic and servile, but is morally treasonable
to the American public."--Theodore Roosevelt, May 7, 1918

greg_____photo(dot)com

Thanks UC. Which rapid fixer would you recommend, and why acid rapid
fixer? Does the PH of the fixer have bearing on the selenium?


UC only recommends his personal process, film, developer, etc.

TF-4 is a fine fixer and, to my knowledge, allows you to go directly from
fix to KSRT. See the technical articles at www.heylloyd.com

You also might want to post your original message to www.apug.org