Archival print processes

[stephen_vaughan3]

I would welcome your comments on archival printing. What techniques do

you use? Processing sequence/times etc. Particularly the sequence of

fix/hypo clear/wash/tone/wash..........

Thank

[ed b.]

I have an article that attempts to address all the issues involved in

archival processing at <a

href=http://unblinkingeye.com/Articles/Archival/archival.html>

http://unblinkingeye.com/Articles/Archival/archival.html</a>.

 

<p>

 

My personal procedure is to utilize two baths of rapid fix (film

strength) for 30 to 45 seconds each, a 5-minute wash, followed by 3

minutes in hypo clearing agent with agitation (or 10 minutes without

agitation), then a 45 minute wash. At the end of my printing session,

I tone, usually in selenium toner at 1+15. Sometimes I use brown

toner. After toning in either selenium or brown toner, the print gets

3 minutes in hypo clearing agent, with agitation, followed by a two

hour wash (I turn the prints 180 degrees halfway through the wash).

(Brown-toned prints get an additional hardener bath before washing.)

The length of washing time was determined for my washer by testing

with Kodak HT-2.

 

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The wash time required will vary depending upon your water quality,

water temperature, washer efficiency, etc. I have never had trouble

with long wash times using fiber based papers, though some people are

horrified at the length of my wash times (sometimes I go to a movie

in the afternoon and the prints remain in the wash for 4 hours).

 

<p>

 

If you wish to tone immediately after fixing, I recommend going

directly from the fix to the selenium toner with no intervening baths

or washes--this prevents inconsistencies in toning. If you wish to

use HCL after fixing, then give a thorough wash before toning.

[john_hicks]

The usual develop and stop, then two 30-second baths in film-strength rapid fixer (no hardener), 10 minutes in a 2.5% sodium sulfite HCA, then into the wash tank.

 

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If I'm going to tone the prints immediately I let 'em sit in the wash until I'm finished printing and ready to tone; if not I give them a full hour wash.

 

<p>

 

I give complete toning in Kodak selenium toner 1:4, then 10 minutes in HCA and the full wash.

[dean_lastoria]

Dumb question on this one, but it is OK to go directly from fixer to

selenium?

Thanks

Dean

[dhananjay_n]

Its OK to go from fixer to toner if there is no acid in your paper,

else staining results. Thus, the use of an alkaline fixer is

preferred (not to mention the fact that alkaline fixer is supposed to

wash out more easily). Cheers, DJ.

[pete_caluori]

Greetings,

 

<p>

 

I too use a two bath, film strength fix, but I've switched from Kodak

Rapid Fix to Photographer's Formulary TF-4 and I no longer use an

acidic stop, just plain water. All processing is at 24C and I fix 30-

45 seconds in each bath.

 

<p>

 

For selenium toned prints, I give a quick rinse in water, then right

into selenium. Another quick rinse in water, then 5 minutes in Heico

Perma Wash followed by 1 hour in an archival washer. As Ed pointed

out, time in the washer will be determined by washer efficiency and

water quality. Soft water requires much longer wash times. I

determined my time using HT-2. Selenium can be reused and

replenished as needed.

 

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For Brown/Sepia toned (sulfur based toners) prints. I give the same

quick rinse in water, 5 min in Perma Wash, 45 min to an hour in the

archival washer, then the toning bath, followed by 1 hour in the

archival washer. I haven't tried using hardener in the fix as Kodak

recommends, but then I don't usually use sulfur based toners.

Staining could result if prints are not fully washed before placing

them in a sulfur based toner.

 

<p>

 

Regards,

[pemongillo]

I have never had success going straight from the fix into selenium, I

get stains. I use your basic Kodak Fix and have to give the prints 4

minutes in HCA before going into the selenium to avoid stains. Is

Kodak Fix an acid based fix ? What would not be an acid based fix ?

[dhananjay_n]

Kodak fixers F5 and F6 contain acids - I think f% contains boric and

F6 contains acetic. TF3 and TF4 are alkaline fixes - I think TF4 is

available pre-mixed from the formulary. The so-called "plain fix" is

another (I think it appears in Ansel Adam's "The Print" - a

thiosulfate and sulfite soup). Most fixers contain acid. In

antiquity, fixers used hardeners to toughen the emulsion, which was

very sensitive and easy to damage. Hardeners demand an acidic

environment. Another reason given for acid in fixers is that the acid

serves to halt development (in case a stop bath was not used or did

not sufficiently halt development). Modern emulsions are reasonably

tough and the hardener can often be dispensed with. Advantages cited

for using alkaline fixers is that they do not bleach the image,

thereby reducing dangers of overfixing and wash out of the emulsion

much more easily. Cheers, DJ.

[dk_thompson]

Hey...the reg. kodak fix sorta depends on whether it's the powdered

form, or the liquid Kodafix that comes in one container (not rapid fix

A & B)....the powdered form is just sodium thiosulfate I believe, with

a hardener...the kodafix liquid is like rapid fix (ammonium

thiosulfate)w/ hardener....

When I fiber print, I often use two reg. paper strength fix baths made

up

of Rapid Fix A (no hardener).....I go straight from the second bath

into the

selenium as well....as long as there's still some fix left on the

print surface, it seems to be okay, although I have had staining

problems with certain brands of paper as well....in these cases, I

used to use a slight Kodalk bath prior to the toner, or I'd use a reg.

"hypo" sodium thiosulfate (only) fixer for the second bath...or if

all else failed, I'd just wash 'em good first, then tone, then

rewash....

 

<p>

 

I've also done the Ilford sequences as well, but after doing the HT-2

tests for my washer setup, it really didn't seem to save me that much

in wash water flow, or time in the end...of course, only time will

tell in the longterm (hahaha...)...but if you read the latest IPI

studies, a little bit of retained hypo seems to be the new theory

now....anyways, I'd mix the selenium in with permawash, then gang all

the finished prints up in a deep-hypo tray ( a deep Cesco lite tray)

and run a tray siphon to exchange this water out....I'd do a short

pre-wash and then transfer them back one by one into a tray of fresh

permawash...then finally into a vertical washer, and wash for about 45

minutes or so....I figured out flow rates for my water panel, and have

the washer equipped with an aerator as well...to cut back on the

airbells that can cling to the print surface in the winter

time....every 15 minutes, I rotate & shuffle the prints in their

compartments as well...because I did residual fix tests all over the

print surfaces & found some uneven washing patterns....(sigh)....the

final prints are dried face up on nylon screens...hope this helps...

[joe_lipka2]

So far, you have received some very sound and worthwhile comments from

some knowledgeable members of our forum. This comment will not carry

on in that vein. May I have some fun here? Archival processing

techniques are constantly discussed, debated and argued among

photographers. We all have our own variations on what constitutes the

best scheme for archival processing. Sadly, none of us will be around

to see if our photographic masterpieces will be tonally intact in the

twenty sixth century. So, we will not know which approach is correct,

or whether it even matters. So in that light, let me discuss my views

on archival processing.

 

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Definition: Archival prints last longer than your interest in the

image.

 

<p>

 

You should archivally process your prints if:

 

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MoMA and the Getty ask you to exhibit your prints.

The AIPAD has a reception in your honor at their annual meeting.

Your ability outstrips your ego.

You have received multiple NEA or Guggenheim Grants.

John Sexton asks you questions.

There is room in your darkroom for the fifty-gallon fixer tank.

Your darkroom assistant doesn't want overtime pay for the extra

washing time.

 

<p>

 

So after a little chuckle, follow the advice given by the wonderful

folks here, and your prints will last a very long time.

 

<p>

 

Remember, photography should be fun.

[aaron_nelson]

You go Joe!

Have fun with your photography, and fuck-all to future generations who might

want to buy one of your fading images. I think Rembrandt and Da Vinci were

lucky enough to use a fairly stable medium, but if you're really interested in

posterity, maybe you should use stone in a vacuum.

�sorry if i sound snide, just having a little fun

�Aaron

[dan_smith]

Try printing in carbon, platinum or palladium. These are considered to be some of the most 'archival' methods of photographic printing.<div></div>