[pure-silver] Re: PMK and MCS
- From: Lloyd Erlick <lloyd@xxxxxxxxxxxx>
- To: pure-silver@xxxxxxxxxxxxx
- Date: Sun, 30 Apr 2006 14:23:26 -0400
At 02:36 AM 4/30/2006 , Chris Woodhouse wrote:
...
>In prior years I have posted experimental results of using classic and
>alkali based processes and their effect on fibre based washing efficiency. I
>have tried 3 different alkali fixers with the same positive results:
>
>In brief, I found that prints processed in a plain water stop bath and an
>alkali fixer washed in the same time as an acid fixed print that had been
>soaked in hypoclear. Used in conjunction with hypoclear, further
>improvements to the wash time were experienced. (Residual Thiosulfate was
>tested with freshly made HT2 solution against a calibrated chart.)
>
>In addition with alkali fixers, you can go straight from fixer to selenium
>toning without issue. I noticed Selenium toner takes a nose dive and
>precipitates grey sludge after acid based fixing, unless extensive washing
>of the fixed print is undertaken first.
April 30, 2006, from Lloyd Erlick,
My experience is exactly the same as yours. I've been using a mildly
alkaline fixer for years (it's the one included in the Appendix to The
Print by Ansel Adams. It's called 'plain fixer'.)
My reason for experimenting with fixers was that I hated the smells I
sometimes got in the darkroom. All nasty gases depended on the presence of
acid, except for ammonia in selenium toner. So I stopped using any acid
anywhere in my process, and the air is much better.
A nice side-effect was the change in the way selenium toner behaved. It no
longer threw the dark precipitate. My toner is years old, and close to
water-clear.
It's easy to control the ammonia by covering the tray with cardboard or
plastic.
Most of my prints are made on Ilford Warmtone FB.
regards,
--le
________________________________
Lloyd Erlick Portraits, Toronto.
website: www.heylloyd.com
telephone: 416-686-0326
email: portrait@xxxxxxxxxxxx
________________________________
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