[pure-silver] Re: Yellow edges

  • From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
  • To: <pure-silver@xxxxxxxxxxxxx>
  • Date: Tue, 24 May 2005 07:09:56 -0700

----- Original Message ----- 
From: "Justin F. Knotzke" <jknotzke@xxxxxxxxx>
To: <pure-silver@xxxxxxxxxxxxx>
Sent: Tuesday, May 24, 2005 6:29 AM
Subject: [pure-silver] Re: Yellow edges


> On 5/24/05, DarkroomMagic <info@xxxxxxxxxxxxxxxx> wrote:
>
>> 2. Exposure to white light before fixing was complete.
>
>   Ooh. I do that. All the time. I often flick the lights 
> on as soon
> as the paper hits the fixer. I've been doing that for a 
> year or so
> with no real problems. But yesterday, as I stated, I 
> forgot the stop..
>
>   Ok, next batch, I will do Richard's test and I will make 
> sure to
> not flick the lights on before the fixing is finished..
>
>   Thanks for the reply.. I think that might be it.
>
>   J
>
>
> --=20
> Justin F. Knotzke
> jknotzke@xxxxxxxxx
> http://www.shampoo.ca

   Turning on the lights too soon in threory can cause some 
photolytic silver to be produced. I think in practice, with 
normal room light, this would be insignificant. Acid fixer 
inactivates the developer nearly instantly and also 
desensitizes the remaining emulsion. Its probably safe from 
a fogging standpoint to turn the lights on a few seconds 
after putting the print into the fixing bath although the 
rule of good practice is not to turn them on until fixing is 
halfway complete.
  Without some testing its impossible to say what exactly 
went wrong but my best guess is a combination of the lack of 
an acid stop bath and exhausted fixing bath.
  Most B&W fixing baths are acid even if they do not contain 
a hardener. The usual acid fixing bath has a very good 
buffer system to maintain the pH even with the carryover of 
substantial developer. Also, acid fixing baths _must_ have 
an excess of sulfite to prevent decomposition of the 
thiosulfate by the acid. The sulfite also serves to prevent 
staining from developer reaction products from carried over 
developer. Most of the standard fixing baths derive from 
formulas dating from the mid 1930's, a time when it was 
common practice to use water rinses or no bath at all 
between developer and fixer. The baths were designed to 
withstand substantial carryover of active developer without 
the pH window moving out of the range where the hardener was 
effective or the production of staining. It is still bad 
practice not to use a stop bath but the fixing baths 
generally will withtand it.
   Capacity of single fixing baths to produce archival 
fixing is very limited. Fixing of the undeveloped silver 
halide is a process that makes it water soluble. Much of it 
comes out in the fixing bath, some in subsequent washing. 
The fixing process actually goes through several steps, each 
producing a more soluble complex than the last. It takes a 
substantial amount of free thiosulfate ions to completely 
complex a silver halide ion so that it will wash out. In 
incompletely fixed emulsion some of the silver-thiosulfate 
complex is such that it is still insoluble or else so 
tightly bound to the emulsion or image silver than it won't 
come out in washing. The residual complexes will eventually 
decompose causing staining and may attack the image silver. 
This sometimes takes years. Fixing baths can fix enough to 
make prints or film stable for many years but not for 
archival standards. A two bath fixing system insures that 
the second bath will have enough free thiosulfate in it to 
complete the fixing process. The capacity of a two bath 
system to fix archivally is from four to ten times that of a 
single bath.
  The only real test of fixing is to test a film or print 
using a Sodium Sulfide test solution, or, with some 
limitations, the Selenium toner test solution.

---
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx 

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