U of S | Mailing List Archive | alt-photo-process-l | Re: Shooting long range negs?

Re: Shooting long range negs?

Pyro would be one way to go, but I got good results using a standard PQ universal developer (such as Ilford PQ Universal) rather than a film developer. You want a long scale negative with low fog, and in my experience you got best results from negs that had a noticeably higher max density than I used for palladium or platinum.

The camera film I found easiest to work with was Ilford Ortho, which has the advantage that you could easily develop by inspection. Of course there are occasions when you need a film that is sensitive to red, but photographers managed without that for quite a long time! If you do need a pan film I'd second the suggestion of Ilford FP4 and Kodak TriX.

Another advantage of the PQ (generally used at 1+19) is that developing times are fairly short, typically I think around 6 minutes at around 20C. When developing by inspection long times get rather boring.

The other developer I used which gave excellent negs was amidol, but I wouldn't suggest trying that - the PQ is much easier to work with.


Peter Marshall - Photographer, Writer: NUJ
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BOB KISS wrote:
I also agree with Sandy to use a pyro developer. I have had
excellent results with Tri-X 8X10 film developed in PMK for
platinum/palladium printing which needs nearly as much but not quite as much
density range as salted paper. With this combination, I get excellent
smooth highlights and good deep open shadows on my PT/PD prints. Pyro negs have the added attraction of still being printable with
silver gelatin even when developed to contrasts necessary for alt processes.

-----Original Message-----
From: Sandy King [mailto:sanking@clemson.edu] Sent: Thursday, August 09, 2007 11:00 AM
To: alt-photo-process-l@usask.ca
Subject: Re: Shooting long range negs?


I don't know Fomapan 200 but Kodak TXP is not a good film for salted paper. You would be much better off with TMAX-400 or Ilford FP4+.

Also, I would suggest the use of a staining developer as the stain will give a big boost to the overall contrast of your negatives since stain density blocks UV light.

Chris Anderson's comments about sizing and fog are very appropriate. Salted paper is very sensitive to both and results can be very ugly if you don't pay attention to detail.

Sandy King

At 6:06 PM +1000 8/9/07, Ross Chambers wrote:

Dear Folk,

I'm trying to achieve salted prints from 5x7 camera negatives.
I'm a little hampered by regular lack of access to a densitometer
(occasional access is not impossible -- I just don't want to strain the
friendship until I feel more confident of results) so I'm eyeballing them

best I can using the step wedge on the light box comparison method.

I would appreciate recommendations on the filmstocks / developers that I
have available (I've used Fomapan 200 and Kodak 320TXP; Xtol and D76 thus
far with results which printed OK on Ilford MG IV VC at grades 2 - 0, but
are still flat, but not totally hopeless, on salted paper).

I'm paying regard to John Barnier's recommendation to extend processing

by 30%.

I have also Arista Ultra Edu 100 and APHS Litho (Jim Galli's evil

neither of which I have tried.

My developers option is D76, Xtol, HC110, Rodinal and a bunch of raw

I haven't tried my preciously hoarded Arches Platine yet, I'm using some
cheap Canson 100 and realise that this could contribute to the short
contrast range.

What would any of you successful salt printers grab off my shelf to set out
for a printable negative?

Thanks - Ross

Ross Chambers
Blue Mountains
New South Wales