From: walt goettman (wgoettman@mm.wyeth.com)
Date: 04/03/00-10:19:02 AM Z
This article is from http://www.photogs.com/bwworld/index.html
B&W Workshop:
Taming Pyro
After much experimentation, the author discovers a magic formula
for this finicky but fine-grained film developer
By Peter Dinnan
Many photographers swear by it. Books have been written about it.
Its fine grain effects are legendary. Printers love to print
negatives that were processed in it. I wanted to get in on the
action, and experimented with a number of Pyro forumulas
until I created one of my own--which I'm happy to share with you.
A Quick Pyro History
Pyrogallol is an organic developing agent used for the processing
of black and white film. It has been around since the
dawn of photography and was reputed to have been used by Henry
Fox Talbot in its earlier form, gallic acid.
In the later part of the 19th century it was the developer,
primarily because of its long tonal range, preservation of subtle
highlight detail and luminous mid-tones yielding a tactile image
quality. Although this sounds like photographic paradise
there were unfortunately downsides: major loss of film speed,
uneven development, inconsistent results from the
characteristic staining, objectionable grain (minimum useable
film size 8 x 10"), and rapid oxidation, which required
somewhat hurried processing.
Because of these problems and the increasing use of other more
controllable developing agents such as hydroquinone
and metol, plus the growing popularity of ( grainy ) roll film,
pyro generally fell out of use by the 1930's. Although these
alternative developing agents lacked the outstanding image
qualities exhibited by pyro, they were easier to use. However,
pyro remained popular primarily among the West Coast large-format
fine-art photographers. notably Edward Weston.
Pyro therefore was unknown by photographers generally until the
late 1980's, when Gordon Hutchings published his
formula PMK and the accompanying Book of Pyro.
In 1998 I experimented with a number of published pyro
formulations. Unfortunately, I found they all exhibited one or more
of the traditional pyro problems. However, there was something
alluring about this magic elixir, and I decided to have a go
at creating my own formula. My goals were clear: I wanted the
characteristic pyro effects, the elimination of most if not all
of the problems (including obtaining fine grain) and quite
importantly, the ability to use it with the ease of conventional
developers. Illumitol is the result of that quest.
Illumitol Stock Solutions (mix all chemicals at 70-75F)
Solution A:
Water
750 mls
Metol
1.25 gms
Sodium Bisulfite
10. gms
Pyrogallol
40. gms
Water to
1 liter
Add a pinch of the bisulfite first
Solution B:
Water
750 mls
Sodium Carbonate : monohydrated
40. gms
Water to
1 liter
Sodium Carbonate anhydrous 35g / 1L
Method
1: Pre- soak: 3-5 minutes.
2: Development:
Dilution 1:1: 8 1 part ea A&B, 8 parts water. Test start 7 min
70F.
1:1:13 1 part ea A&B, 13 parts water. Test start 10.5min 70F.
1:1:18 1 part ea A&B, 18 parts water. Test start 14 min 70F.
Agitation Continuous, 30 or 60sec cycles, or test with the
agitation method you are currently using.
3: Stop bath: 30sec's standard indicator stop bath or if you
prefer a 1 shot diluted stop. A plain water rinse is not
necessary.
4: Fix: I use a sodium thiosulfate fix ( Ilfofix ) but a rapid
fix ( Hypam ) is a.o.k. Do NOT use a hardener as a stain will not be
possible. The magenta coating will be removed in the staining
bath so there is no need to excessively fix. Do NOT rinse
before staining.
5: Post fix staining: Solution B 1+9. 3-5mins 70F. Agitation - as
per development. Note : You will need up to 3 liters of B
solution stock (depending on the Dev dilution you settle on).
6: Wash as per normal.
IMPORTANT: Pyro is toxic. The use of gloves is recommended.
Notes
TAP WATER: I use filtered tap water ( alkaline, average ph 7.6 )
for all stock solutions and processing etc. If you currently
process satisfactory with tap water - use it. If not, use
distilled water.
DEV DILUTIONS : I process most film at the 1:1:18 dilution. Some
film can't handle it though and will exhibit varying
degrees of fog stain and / or aerial oxidation. It is well worth
exploring however as acutance, edge effects and finer grain (
particularity with 35mm ) are noticeably improved. The other
dilutions are suitable for all film.
FILM TESTING : Any speed sheet film is suitable and will be
grainless, yield a very smooth tonality plus superb acutance
etc. ISO 100 /125 roll film, I find ( more so than faster film )
reveals the desired pyro effects - smooth, moisture rich and
luminous tones, subtle highlight and shadow separation, edge
effects etc. TRI-X is not the best performer. Sheet film is
a.o.k but with roll film acutance and finer grain is noticeably
better with T Grain emulsions. On the other hand TMZ prints
with a small tight visible grain pattern, very good acutance and
a 3D look I find quite appealing. I have found Illumitol
tends to draw out the inherent characteristics each film
possesses and this in itself makes experimentation well worth
while.
PROCESSING : So far, Illumitol has proved suitable for trays,
daylight and deep tanks - sheet and roll - using a variety of
agitation methods. The Paterson Orbitol processor ( now
discontinued ) is also excellent. I am not sure as yet with JOBO
processors generally - I do not use one. My first tester obtains
superb results. The second, while development was
satisfactory using the expert drums, had problems with staining.
Rapid oxidation I think will not be a problem and
hopefully JOBO's generally will be a.o.k.
OXIDATION : All pyro developers work because of oxidation.
Illumitol is robust and there is no need to process
immediately the A&B solutions are brought together. Leaving the
mixed dev for a few minutes or so is a.o.k. Consistency
and habit is the key. Depending on your working methods and
processing equipment mixed dev will live for about 30
minutes.
ZONE SYSTEM : Plus and Minus developments can be obtained by time
or dilution - or a combination of both. Try 30 %
per 1 stop shift for initial testing. Illumitol yields good
emulson speed - use your current E.I.'s as a starting point.
STAINING ( 1 ) : With roll film, stained Illumitol negs are
primarily an image only stain with no ( or very little ) stain in the
unexposed film base area. Sheet film will exhibit a slightly
heavier stain in this area. I have had no problem with obtaining
a " meaty " yellowish / green stain from all film I have so far
processed.
STAINING ( 2 ) : It may not be necessary to stain Illumitol negs.
The stain is set invisibly during development and made
visible by the post fix alkaline bath. This can be confirmed by
silver bleaching ( sepia bleach o.k. ) both a stained and
non-stained neg. The result with both is yellowish / green, stain
only, equal density negs that print identically. This test will
also confirm the stain is proportional to the amount of silver
reduced. The bleached negs will print quite well. I have also
found the grain ( or lack of ) in both stained / unstained negs
to be equal. I admit however, I prefer to stain as the negs are
ascetically more appealing and a _ stop speed increase is gained.
Conclusion
Illumitol was formulated for my working methods and with my
clients in mind. Most use roll film 35mm ISO 100, 120 ISO
100 / 400 and are primarily in the business of people
photography. Unlike other pyro formulas Illumitol was formulated to
make it work for roll film and therefore it is very suitable for
sheet film users. Illumitol is now successfully in use by other
local photographer / printers and hopefully will be suitable for
photographers generally.
Realistically, there is no way I will go back to conventional
developers. ..pyro is without a doubt superior.
In my profession as a craft printer I process and print a lot of
35mm and 120 roll film. It is my experience (and
acknowledged by my clients) prints from pyro negs are noticeably
superior. Personally I believe pyro and Tabular Grain
film are a perfect marriage. Of course, I want to create interest
in Illumitol! So, if the idea of a 24in sq print (6x6cm ISO 100
neg) with superb acutance and coupled with a smooth, grainless
and luminous tonality appeals to you, I encourage you
to give it a go.
By Peter Dinnan is a darkroom technician based in New Zealand. You can
reach him at pral@paradise.net.nz.
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