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Updated: Monday 22 May, 2006 21:41 (Webpage updated but not content)

CONVENTIONAL PHOTOGRAPHIC PRACTICES FOR ARCHIVAL STANDARDS

There are a number of conditions that need to me met if archival standards of work are the objective. These include the media for production of prints, associated processing requirements and storage/presentation. (NOTE: These recommendations have not changed, although members have access to a completely revised presentation)
  • The media needs to be conventional baryta fibre based paper, not media based on resin coated technology. The coating to be either Bromide (neutral to blue-black image tone) or Chloro-Bromide (warm brown-black image tone).
  • There are, of course, other processes that can be considered archival. For example, prints via the Platinum process, Bromoil Ink process and so on but here we consider the conventional silver-gelatin.
  • Processing should be via conventional print developers. There are many formulae but in general terms, the most common types are based on the less toxic Phenidone-Hydroquiinone (PQ) formulae. In our opinion, the finest image quality is to be had by using Metol Hydroquinone (MQ) formulae but there is a need to ensure adequate precautions are employed to avoid Metol poisoning, which manifests itself as a form of severe dermatitis. In general, provided print tongs are used and skin contact is avoided (or if accidental splashing occurs, that immediate washing with water is carried out) there should not be any problems in this respect, making MQ as safe as any other darkroom solution.
  • In many cases, additives can be employed to change the characteristics of image tones. For example, our Formula One (Benzotriazole based) is a powerful anti-foggant, that added to any print developer will ensure clean highlights. Additionally, if more is added, even the warm tone characteristic of Chloro-Bromide emulsions can be made neutral or even Blue-Black.
  • Formula Two enables any print developer to exhibit the characteristics of Glycin developers, without the high cost factor. Our main use for this additive, which can usefully be added in addition to Formula One, is the attainment of silvery highlights in prints, rather than the extra warm tone associated with Glycin.
  • Both additives have specific enhancements to improve images. Additionally, when later Selenium toning is used, the additives can enhance how this toner works on any image by the way they have affected the image during development.
  • We have found a development time of around minimum three minutes is recommended for the best blacks on any photographic enlarging media (including RC). A simple test to find the best combination for any enlarging paper emulsion and any developer is as follows, remembering that all work is carried out as though making a print in general darkroom operating conditions:
  • Expose a piece of paper around size 6"x4" under the enlarger for sufficient time to achieve a full black, with no negative in the carrier. In general, if your average time for exposing, say, an image projected size of approx. 10"x8" is 30 seconds, give 60 seconds to be sure.
  • Cut the piece into six pieces approx. 2" square. Mark them on their backs, using pencil, with numbers from 1 to 6 inclusive.
  • Insert piece No:6 into the developer at the start of development time. After one minute, add piece marked No:5. After the next minute, add piece No:4 - and so on. You will thus be adding piece No:1 after five minutes has elapsed.
  • Remove all pieces at the six minute mark, briefly rinse all in water, then transfer to the fixer bath and agitate well. Leave, with agitation, for two minutes in the fixer bath, then rinse them all well and dry them. Do not use a drier with cloth cover or that will become contaminated with fixer. Just wipe them surface dry and use a hair drier - or if in no hurry, leave them to dry naturally.
  • Examine and compare them when dry. Try to establish at which piece you have achieved a black that longer time does not improve upon. You now have the optimum development time for that paper and developer combination! Write it down. A good idea is to stick a small reminder on the enlarger, where it can always be found.
  • The procedure for fully processing a print to archival standard can be summarised as follows:
  • Develop as described to achieve maximum black = minimum time for maximum black, using constant agitation and ensuring the print is face-up at all times. Do not even start face down and rock the dish - do not touch the surface with either fingers or tongs to avoid surface damage. (Even better is to use a one-minute pre-development water bath)
  • Drain the print for no more than 15 seconds, including this drain time into the development total time. This is to avoid excessive air exposure, oxidation and possible brown stains on prints. Either use tongs or drain the developer from the dish into a measure - NEVER use fingers - the heat alone can cause stains and streaks due heat as developer runs down from held area. Drain from corner
  • Rinse the print in plain water, again face-up, with constant agitation for about 20 seconds, then drain for 10 seconds
  • Lower face up into the fixer bath. We would recommend a rapid fixer diluted to film strength for three minutes, with constant agitation. Drain for 10 to 20 seconds, depending on print size.
  • Rinse surface fixer off print in a separate dish using plain water. Change the water after a minute, then put on fresh water, agitate frequently during two minutes. Repeat this five more times.
  • Pour off water and pour on working strength (usually best at around 1:20 mix in weak hypo-clear) Selenium Toner solution and agitate constantly. Ideally, do this in a dish one size larger than print, to avoid excessive activity at edges. Never use a dish that has been used for development as during development, silver gets deposited on the dish surfaces and the toner will tone those, making the dish stained and of course, wasting the toner's active ingredients
  • Use warm water for the end rinses/washes and of course, during processing, use the solutions at room temperature - ensuring the room is minimum 18oC (approx. 65oF).
  • An alternative toner is Sepia - there are several formulae ranging from the smelly sulphide method to the less obnoxious but caustic Sodium Hydroxide + Thiourea one. Sepia toning is actually not 100% permanent but is actually a controlled way to deteriorate an image and is generally considered "archival" in terms of the expected life of image.
  • Many people prefer to employ a hypo eliminator before the final wash. Probably the cheapest is the Kodak hypo-clear powder, that can be made into a stock of about a quarter of the total recommended, then used 1+3 as required. Makes for easier storage. Working solutions can be kept and re-used - a litre of working bath can safely help treat around 30 prints of 20"x16" size (508x406mm) or equivalent area.

  • Still water washing is fine with one print in a dish. After the initial rinse to remove surface chemicals (which are likely to be from the Selenium Toner) give six changes, of five minutes each in warm water, with just occasional rocks to the dish.
  • By the way, after rinses as described and before the Selenium toner, should be a bath of plain fixer. This ensures no staining takes place when the print goes into the Selenium toner bath. You can make this simply by dissolving a heaped desert-spoonful of fixer (Sodium Thiosulphite) powder or two heaped of crystals in a litre of water, though in this simple form, it would treat perhaps five prints 20x16 or equivalent and should not be kept. The toner is put directly on to the print after draining from this pre fix bath - do not use a rinse between of the protection from staining could be impaired.
  • After washing, squeegee off surface water. The easiest way is to lay the print on a piece of thick perspex, larger than any print you may make and stand this almost upright so you can use the squeegee to remove surface water by several down strokes. If the perspex has about 6" extra at the bottom (= longer than theprint length), you can have the bottom in a dish to catch the water, without the print being below the rim, thus making the squeegee work difficult.
  • It is an especial advantage to wipe the surface in this way if you have hard water, which can leave surface scum embedded in the gelatin during the drying process. If you do not have a suitable squeegee, use either a real or imitation chamois leather - but ensure any dressing has been well washed out first. The only problem with real ones is they need to be kept damp and can get mouldy. The imitation ones are cheap, can be allowed to dry (though rinse and squeeze before use) and work quite well.

  • How to dry? This question has vexed many a good man/woman/person - take your pick! Some paper bases tended to air dry into contorted curly shapes - this was very true of the old Ilfobrom. Strangely too, the much thicker Kodak super-doopah paper called Elite - the best grades 0,1 and 1½ on the then market! (Joke!) also dried curly, so it was not just a case of base paper thickness. For many years, I have simply clipped the print up at its corner - after removing surface water as above described - then when dry, used an ordinary domestic iron to flatten same.
  • By using a piece of conservation board, ironed to ensure thoroughly dry (it gets dirty in terms of surface appearance due the iron but will be OK) then placing the curly print face down, holding down carefully to avoid any creases. The iron is "landed" on the back of the print and moved quickly across, with hand assistance to flatten before the iron reaches each part. The face down print is quickly ironed flat - use the iron at hottest hear setting! Do not over iron - one pass should be fine.
  • The print will now curl - minus the wrinkles - inwards to the image side. Carefully straighten and place under pressure and leave for an hour. It will dry nice and flat, without edge crinkles either. I place prints between mounted prints, so the conservation board is ideal. Keeping prints, after this, in Secol acrylic protective sleeves keeps them clean, flat and protected.

Obviously, the above information covers the basics. Our workshops on advanced printing methods go into greater detail via practical printing sessions.

(NOTE: Workshops ae no longer available)

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© Brian SL Allen - 2000 ©

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