pyro developer, but which?

[Vlad Soare]

I believe ABC is rarely mentioned because it's rough by today's standards. It gives low film speed, coarse grain, a pronounced toe (even with films that don't usually have one, like TMY), it's made of three separate solutions, it must be used immediately after mixing because it's dead in half an hour, the amount of stain is very dependent on the freshness of solution B (which has a short shelf life compared to other modern developers), and it's not suited to rotary development because it oxidizes very quickly.
It works fine with large format film intended for contact printing, and I do use it, too, but it's not what I would use with 35mm, or even with medium format.

[Jay DeFehr]

I rarely read any reference to the old ABC Pyro formula. I use this. Is it out of style? Why? I don't use TMAX films.

It's not that ABC Pyro has gone out of style as much as it's been superseded, but like so many other things that have been superseded, it works just as well as it ever did, and is just as capable of making good negatives. If the problems inherent to that formula are not a problem for you, it might not be worth your time and effort to switch to a more modern developer. Problems with ABC Pyro that are addressed by more modern formulas include:

3 stock solutions that age at different rates (keeping properties), which leads to inconsistent working solution characteristics as the stock solutions age, and the general complication of making and using 3 stock solutions.

Low film speed

Coarse grain (in formats/ work flows for which grain is an issue)

Low image stain (fresh solution) and high general stain (with aged stocks)

If none of the above issues are problems for you, there's no need to consider another developer. Choice of film developer is not very important for LF workers, and any disadvantages inherent in a developer can be compensated for or worked around, to some extent.

As a point of interest, the problems with ABC Pyro are typical of the kinds of problems that led to the widespread abandonment of pyro developers in favor of MQ developers. I think those who did so threw the baby out with the bathwater. The evolution of pyro staining developers proceeded mostly along the lines of adding a secondary developer (usually metol), as in Kodak D-7. Very few staining pyro formulas actually exist. Some were formulated to be used undiluted and freshly mixed (Kodak SD-1), and others, like Morley Baer's, were variations on the ABC theme, mixing the pyro from powder for each working solution. Wimberley's WD2D can be seen as the evolution of D-7. Wimberley did away with the B solution, refined the ratio of pyro to metol, increased the bisulfite in the A solution to make up for the sulfite lost by omitting the B solution, and cut the carbonate in half, which allowed him to eliminate the restrainer. WD2D was the first pyro staining developer of its kind, and a true innovation. PMK Pyro's contribution to the evolution of pyro developers was to decrease the pH of the working solution by substituting sodium metaborate for sodium carbonate, thereby reducing the apparent grain. The next breakthrough came from Pat Gainer, who introduced the idea of using TEA as a solvent/base, and thereby permitting the formulation of single solution pyro developers. His own formula, Pyro-TEA, isn't really a formula as much as a proof of concept, and contains only pyro and TEA. As simple as this developer is, it works surprisingly well, and represents an improvement over ABC Pyro in terms of grain, consistency, shelf life, and ease of use. The addition of ascorbic acid improves the developer considerably, and the result is a developer that gives nothing away to ABC Pyro for all its improvements. This developer represents a return to first principles, and can be seen as the evolution of Kodak SD-1. SD-1 represents a developer that makes no compromises for keeping properties. It is the pyro developer in its purest form.


Kodak SD-1 Stain Developer

Water (125° F or 52° C) 500 cc
Sodium sulfite 1.4 g
Pyrogallol 2.8 g
Sodium carbonate 5.3 g

Water to make 1000 cc

Use undiluted.

SD-2 (Solo)

TEA 75ml
ascorbic acid 6.5g
pyro 13g
TEA to 100ml

Dilute 1:50- 1:100


As much as I like the idea of it, it's simplicity and faithfulness to SD-1 as a single agent pyro developer, it just doesn't do anything 510-Pyro doesn't do better. But, if you're a purist and want a single agent pyro developer, SD-2 is an excellent choice.

[onnect17]

Roadblock. TEA's viscosity is too much for a sub 60's basement. Unless I find a substitute for it TEA with a lower viscosity 510-Pyro and Pyrocat Uno have not practical use for me. Pain in the a** to mix it and a pain in the a** to use it.
I can't even imagine photoformulary could market anything like it.

[Jay DeFehr]

To mix TEA-based concentrates:

Add chemicals to 1/2 final volume of TEA at room temp, and stir. Top up to final volume with TEA, and stir again. Heat with stirring until everything dissolves. Simple. If your TEA is too viscous, just heat it a little. 510-Pyro is much simpler to mix and use than a two part developer.

[mikebarger]

Until I get the heat going in the darkroom my 510 is below 60 and I don't have any trouble using a baby medicine syringe to dispense it.

If you can't heat the TEA up to 150 to mix it, you may need to stick to powdered mixes with water.

[onnect17]

Thanks to all for your input regarding how deal with TEA's viscosity. At the end I got a small microwave for the basement and the mixing worked exactly as Jay said. I already used the 510 in several developing tests.
Armando

[Jay DeFehr]

Armando,

I'm glad you found a solution that works for you. Be sure to save some of your 510-Pyro for actual photos, that's where it really shines.

[photobymike]

The more i read, the more confused i am getting. I want a developer that i can control the dynamic range with. I want detail in the shadows and the clouds. It seems that Ken Lee and Sandy king have nailed it. I have made the move to Pyrocat HD Glycol. I am going to try it next week on tmax 100. Ken or Sandy ,it might be useful to publish a web glossy page on standard terms used in the discussions here. Something to refer to when there is confusion. I think alot of people are mistaking contrast with dynamic range. Suggested times and temps for different films would also be helpful. Its here, but scattered thru the discussions. In 40 years i have tried just about every kind of developer formula on my film. The magic bullet would be to control that dynamic range and contrast with a developer. LOL a Zone System Developer with different formula to control dynamic range...WOW...with one developer.... To be able to make different negatives for the scanner, wet darkroom, and alt process.

Which Pyro? look at the pictures of Ken Lee and Sandy King.
keep it up i am reading with much interest...

[Jay DeFehr]

Mike,

Perhaps you could define dynamic range for us? Do you mean density range? I think dynamic rage is a digital term. Or, perhaps you mean Subject Brightness Range, as in the range of illuminance in the scene that can be represented on film? I'm not sure what you mean by, "I want a developer that i can control the dynamic range with". If you mean a developer suitable for expansion and contraction development, I think any developer can do so, to varying degrees. If you want a developer to represent very long illuminance ranges, there are special developers formulated for just such needs, like the famous POTA phenidone developer, or you can adjust other developers, like Pyrocat, Hypercat, 510-Pyro, etc., to do the trick. Same goes for expansion development. Any of these developers can be used to make negatives for multiple printing processes.

[onnect17]

Mike,
There are too many non-linear functions in the middle to obtain a linear response in the negative. Pyro developers add the stain to the equation. Even if you end up with normal grain in the low density areas to almost all the grain masked in the high density parts of the negative (good thing for scanning) still is not a straight line.
In the meantime, here's a TMX 35mm shot developed in 510-Pyro. No curves in PS, just gamma, to get the light as real as possible.
Armando