Tray developing problem - 8x10

[TimeShare]

I have been having ongoing issues with tray developing my 8x10 negatives.

First, using a tray with a grooved bottom which seemed to cause lines to form on the negative where the grooves in the tray are located.

I then switched to a flat bottom tray but my most recent negative seems to have a "hot spot" in the middle of the negative.

Can an experienced eye out there lend a hand or offer some suggestions ?

Thanks !

Negative with lines (grooved tray) ...
99822

Negative with hotspot in middle (Flat bottom tray) ...

99823

[MIke Sherck]

What is your film, developer, and technique (agitation, temperature, etc.?) What trays are you using?

I've never seen a central hotspot as a result of development before. Not saying it can't happen, just that I've never managed to make that particular mistake before.

Mike

[TimeShare]

What is your film, developer, and technique (agitation, temperature, etc.?) What trays are you using?

I've never seen a central hotspot as a result of development before. Not saying it can't happen, just that I've never managed to make that particular mistake before.

Mike

Well I have made a few mistakes Mike ... LOL ... and thank you for your interest.

I have been using Arista EDU Ultra 100 film (Foma) which I develop in HC-110 B or H and sometimes D-76 1:1.

For HC-110, I agitate for 1st 30 seconds and then 5 light rocks of the tray on every 30 second interval.

For D-76, I agitate for 1st minute with 10 light rocks of the tray on every minute.

I develop one negative at a time with emulsion face up in tray and try to ensure the negative is well immersed in the developer.

Temp is always at 20'C.

When I was using the tray with grooves, my assumption was that the grooves where causing some type of turbulence and there was a lack of development where the grooves are located or the grooves were causing some type of a buildup.

[Jon Shiu]

You may want to try brush development. Gives more even development.


Jon

[Regular Rod]

Are developing emulsion side down or up?

RR

[TimeShare]

Are developing emulsion side down or up?

RR

I develop emulsion side up, what is strange is that when I develop my 4x5 negatives in the same grooved tray, I didn't get any lines or uneven development happening.

[TimeShare]

You may want to try brush development. Gives more even development.


Jon

Brush developing ??? I am not familiar with that technique Jon.

[Jon Shiu]

It's a way of agitating the developer in tray development. Essentially the negative is face up on the bottom of the smooth tray and you use a wide foam brush to gently brush the surface, one swath at a time. Then you turn the tray, or film 90 degrees and brush again, etc. Wear gloves as you will be getting your hands in the developer. Forgot to say, use your normal depth of developer.

Jon

[Light Guru]

what is strange is that when I develop my 4x5 negatives in the same grooved tray, I didn't get any lines or uneven development happening.

This statement makes me wonder what size tray you are using. Are you using a 8x10 tray to develop 8x10 negatives? I have always heard it recommended to use a tray one size larger then the negative you are developing.

[TimeShare]

It's a way of agitating the developer in tray development. Essentially the negative is face up on the bottom of the smooth tray and you use a wide foam brush to gently brush the surface, one swath at a time. Then you turn the tray, or film 90 degrees and brush again, etc. Wear gloves as you will be getting your hands in the developer.

Jon

Interesting, I may have to try that !

[TimeShare]

Interesting, I may have to try that !

I was using an 8x10 tray but I made sure the negative was well immersed and used a decent degree of agitation. The flat bottom tray I switched to is now much larger, lines have disappeared but now I got the uneven development spot in the middle.

[Vaughn]

One should use the next size tray up from the negative size. Otherwise the edges of the neg will get more development due to wash-back against the sides of the tray (more agitation at the sides of the tray than in the middle...thus prints will be darker in the center than the sides.) This will happen with good agitation methods and deep trays.

The grooves in the first example might be caused by the anti-halation layer not being evenly removed -- it is removed easier over the grooves than where the film is against the flat part of the tray. It has happened to me.

[TimeShare]

One should use the next size tray up from the negative size. Otherwise the edges of the neg will get more development due to wash-back against the sides of the tray (more agitation at the sides of the tray than in the middle...thus prints will be darker in the center than the sides.) This will happen with good agitation methods and deep trays.

The grooves in the first example might be caused by the anti-halation layer not being evenly removed -- it is removed easier over the grooves than where the film is against the flat part of the tray. It has happened to me.

Thanks Vaughn, someone else also suggested a larger tray as they had experienced a similar problem with the anti-halation layer so i'll have to take you up on your suggestion.

[TimeShare]

One should use the next size tray up from the negative size. Otherwise the edges of the neg will get more development due to wash-back against the sides of the tray (more agitation at the sides of the tray than in the middle...thus prints will be darker in the center than the sides.) This will happen with good agitation methods and deep trays.

The grooves in the first example might be caused by the anti-halation layer not being evenly removed -- it is removed easier over the grooves than where the film is against the flat part of the tray. It has happened to me.

Now that I think of it ... if you look at the second negative I posted, the negative is developed throughout even in the middle of the negative where the cloudy patch is. It looks as if some type of residue has been left on the negative which must be remnants of the anti-halation layer

[tgtaylor]

Well, while I don't have extensive tray developing 8x10 negatives (I usually rotary process them), I have not experienced the problems that you are experiencing. I develop each negative separately in Patterson "10X8" trays which are slightly larger than the negative using a Pyro developer 1:1:100, or 500mL of H20, 5mL of each of Part A and Part B of the Pyro. I do presoak the negative in H20 and then transfer it to the tray containing the developer using the soaking tray for the "stop". The agitation called for by this developer is typical - 5 seconds every 30 seconds - and every 2d cycle of rocking the tray I instead lift the negative out of the tray and let it drain and then submerge it back into the developer. I picked this up from Bruce barenbaum (sp) book "The Art of Photography," or something like that, in developing prints and it made sense to me so I also incorporate that when tray developing film.

Thomas

[Vaughn]

Now that I think of it ... if you look at the second negative I posted, the negative is developed throughout even in the middle of the negative where the cloudy patch is. It looks as if some type of residue has been left on the negative which must be remnants of the anti-halation layer

FWIW...I have developed sheet film (4x5, 5x7, 8x10 and 11x14) in trays for around 25+ years. I switched to Jobo Expert drums about 5 years ago. But even with the drums I wash in trays. I noticed the same problem you showed with the first image. I washed the prints by putting one 8x10 neg in an 8x10 tray and letting it sit there, then emptying the tray and refilling it ever once in awhile. I had problems getting rid of the anti-halation layer...bad problems. I think both sides of the negatives have a gelatin layer -- it keeps the negs from curling, and the negs' back side against the drum did not get enough liquid behind it to remove the anti-hahaltion layer during pre-rinse, dev and fixing -- and the hardener in the fix hardened the gelatin layer before the anti-halation chemicals could be totally removed, making it hard to remove in the wash. Switching to a non-hardening fix solved the problem.

[TimeShare]

Well, while I don't have extensive tray developing 8x10 negatives (I usually rotary process them), I have not experienced the problems that you are experiencing. I develop each negative separately in Patterson "10X8" trays which are slightly larger than the negative using a Pyro developer 1:1:100, or 500mL of H20, 5mL of each of Part A and Part B of the Pyro. I do presoak the negative in H20 and then transfer it to the tray containing the developer using the soaking tray for the "stop". The agitation called for by this developer is typical - 5 seconds every 30 seconds - and every 2d cycle of rocking the tray I instead lift the negative out of the tray and let it drain and then submerge it back into the developer. I picked this up from Bruce barenbaum (sp) book "The Art of Photography," or something like that, in developing prints and it made sense to me so I also incorporate that when tray developing film.

Thomas

Thanks for the tip Thomas

[TimeShare]

FWIW...I have developed sheet film (4x5, 5x7, 8x10 and 11x14) in trays for around 25+ years. I switched to Jobo Expert drums about 5 years ago. But even with the drums I wash in trays. I noticed the same problem you showed with the first image. I washed the prints by putting one 8x10 neg in an 8x10 tray and letting it sit there, then emptying the tray and refilling it ever once in awhile. I had problems getting rid of the anti-halation layer...bad problems. I think both sides of the negatives have a gelatin layer -- it keeps the negs from curling, and the negs' back side against the drum did not get enough liquid behind it to remove the anti-hahaltion layer during pre-rinse, dev and fixing -- and the hardener in the fix hardened the gelatin layer before the anti-halation chemicals could be totally removed, making it hard to remove in the wash. Switching to a non-hardening fix solved the problem.

Wow ... I am interested in your comment about a non-hardening fix as I have always used Ilford rapid fix but I just switched to kodafix which is a fast acting hardening fix. The switch to kodafix coincides with when I started to develop my 8x10 negatives ... hmmmmmm !

[Vaughn]

I use Kodak Rapid fix without the Part B -- the hardener.

[TimeShare]

I use Kodak Rapid fix without the Part B -- the hardener.

Well ... I think i finally figured this freaking thing out thanks to a suggestion from a kind friend on Ipernity ... With the lights on, I took a sheet of 8x10 film and watch the anti-halation layer come off the film in water.

I was amazed at how much agitation it took to get rid of the green residue coming from the film. it took way more agitation and a longer amount of agitation than just a simple pre-soak for 2 minutes, which is what I usually do.

I think because my agitation was limited, the anti-halation was still contaminating my developer and fixing process and residue was being left behind on my negative.

Your above suggestions of using a larger tray and more liquid will help for sure.

Time to shoot some more 8x10 and test the theory applied in the light to a full developing session.

Stay tuned & many thanks for everyones kind help & suggestions !!!!

[MIke Sherck]

If its any help, I pre-soak emulsion side down for three minutes and process film in oversized trays, also emulsion side down. The pre-soak water comes out a lovely emerald green! I also believe that the anti-halation layer is your culprit and note that a longer fix and final wash may help. With Tmax film I have noticed that some of its notoriously stubborn A-H layer even stains the wash-aid a faint pink!

Mike

[Tony Lakin]

I have not read all the replies thoroughly but it occured to me that you could be using a tray heater to keep your developer at your working temperature, with a ribbed tray the dev in the groove could get locally warmer than elsewhere, in a flat bottomed tray I could imagine there being a hot spot in the centre, I am probably way off with this theory but believe to be a possibility.

[James Morris]

Don't use gentle agitation -- it was a mistake I made initially with tray developing. Try lifting each side of the tray up to about an inch, then dropping it. You want to be able to hear the negative hit each side of the tray. Use a tray one size larger than the negative size, and use plenty of developer. e.g. 1.5L for an 8x10 sheet.

You can also try agitating by lifting the negative out of the tray and letting it drain, then slipping it back in. Agitate every 30 seconds to start with.

[John Olsen]

Don't use gentle agitation -- it was a mistake I made initially with tray developing. Try lifting each side of the tray up to about an inch, then dropping it. You want to be able to hear the negative hit each side of the tray. Use a tray one size larger than the negative size, and use plenty of developer. e.g. 1.5L for an 8x10 sheet.

You can also try agitating by lifting the negative out of the tray and letting it drain, then slipping it back in. Agitate every 30 seconds to start with.

I agree with James, having suffered from nonuniform development with tray rocking. I lift and drain once a minute and give the tray two firm sloshes just after I've slid the film back in. I prewet face-down and develop face up (referring to the film here, not me). Good luck.

[Maris Rusis]

This is how I get even development in a tray. I use a Rubbermaid washing up tray for sheet film development. It's a fraction over 8x10 size, sculpted bottom, rounded corners, and six inches (no splash, no spill) deep.

Agitation is a slippery variable so I decided on continuous agitation for all films. It also gives me something to do because some of those dark minutes and hours can drag. The agitation sequence goes like this:

Slide the film quickly into the developer face up.

Lift the front edge of the tray until a wave of developer travels to the back. Lower the front edge and wait for the wave to return to the front. You can feel the wave because the tray sends the changing force to your finger tips.

Now do the same with the right edge of the tray, then the back edge, then the left edge, then return to the front. Keep going until the development time is up. If you are really fussy turn the tray through 180 degrees half way through development.

This system gives me perfect, even, scratch-free results for all films. The down-side is a one-sheet-at a-time system that means slow work, occasional tedium, and effortful labour. But I don't care. Large format photography is like travelling first class cabin and I'm not going to carry a 4x5 or 8x10 all day and then botch film development because I was desperate to finish early.

[TimeShare]

This is how I get even development in a tray. I use a Rubbermaid washing up tray for sheet film development. It's a fraction over 8x10 size, sculpted bottom, rounded corners, and six inches (no splash, no spill) deep.

Agitation is a slippery variable so I decided on continuous agitation for all films. It also gives me something to do because some of those dark minutes and hours can drag. The agitation sequence goes like this:

Slide the film quickly into the developer face up.

Lift the front edge of the tray until a wave of developer travels to the back. Lower the front edge and wait for the wave to return to the front. You can feel the wave because the tray sends the changing force to your finger tips.

Now do the same with the right edge of the tray, then the back edge, then the left edge, then return to the front. Keep going until the development time is up. If you are really fussy turn the tray through 180 degrees half way through development.

This system gives me perfect, even, scratch-free results for all films. The down-side is a one-sheet-at a-time system that means slow work, occasional tedium, and effortful labour. But I don't care. Large format photography is like travelling first class cabin and I'm not going to carry a 4x5 or 8x10 all day and then botch film development because I was desperate to finish early.

I don't mind doing one sheet at a time for 8x10 after all the work you put into lugging an 8x10 camera around ! Just loaded about 18 sheets of 8x10 so will have to experiment with the adjustments to my developing workflow and see how it goes.

[TimeShare]

If its any help, I pre-soak emulsion side down for three minutes and process film in oversized trays, also emulsion side down. The pre-soak water comes out a lovely emerald green! I also believe that the anti-halation layer is your culprit and note that a longer fix and final wash may help. With Tmax film I have noticed that some of its notoriously stubborn A-H layer even stains the wash-aid a faint pink!

Mike

"Eureka" ... I finally got a cleanly developed 8x10 negative. The culprit ... the anti-halation backing or layer on the Arista EDU Ultra film.

100577

I left the lights on and tested how long it would take to remove the anti-halation layer from a sheet of 8x10 Arista EDU Ultra.

I couldn't believe how much dye came off the film and how long and how much I had to agitate the film to remove the layer completely. From now on, when using this film, I will make sure I give the film a healthy pre-soak in water to remove the layer.

This negative is not as sharp as I had hoped however as it was a windy day and with a 1 second exposure, the overall crispness of the image was effected.

f32 @ 1sec + ND Filter

Kodak Eastman No.2 View Camera + Ilex Paragon 12" (305mm) f6.3 + Arista EDU Ultra 100 @ 25 iso + D-76 1:1 @ 8 minutes

[Light Guru]

"Eureka" ... I finally got a cleanly developed 8x10 negative. The culprit ... the anti-halation backing or layer on the Arista EDU Ultra film.

I left the lights on and tested how long it would take to remove the anti-halation layer from a sheet of 8x10 Arista EDU Ultra.

I couldn't believe how much dye came off the film and how long and how much I had to agitate the film to remove the layer completely. From now on, when using this film, I will make sure I give the film a healthy pre-soak in water to remove the layer.

And how long did you presoak?

When I use Arista EDU Ultra 4x5 I presoak for a minute and its fine.

[ROL]

You weren't pre-soaking?!? DOH!

2 1/2 minutes with agitation every 30 secs is a good general pre-soak practice for sheet film. Stubborn anti-halation, ala TMAX films, generally comes out in the wash.

[AtlantaTerry]

Back in the '70s and '80s there was a company making developing trays that were curved and that had curved sides. The idea was that you would rock the tray and the developer would (mostly) remain inside due to the curved sides.

I wonder if one of those would be better for processing large sheet film?

[TimeShare]

I presoaked for about 5 minutes with intervals of agitation.

[TimeShare]

You weren't pre-soaking?!? DOH!

2 1/2 minutes with agitation every 30 secs is a good general pre-soak practice for sheet film. Stubborn anti-halation, ala TMAX films, generally comes out in the wash.

LOL ... I do normally presoak but it was for minimal time and agitation, after see the layer come off with the lights on and watching the amount of time and agitation I had to use, I quickly realized that for 8x10 sheet film, I had to change my presoak technique

[Jon Shiu]

Why does the anti-halation dye have to come out in the pre-soak. What difference does it make to development if it comes out in the fix/wash?

Jon

[AtlantaTerry]

Jon,

Yes I wondered the same thing. I never pre-soak, I just start developing. The 4x5 film is in Kodak #4A hangers.

[TimeShare]

Why does the anti-halation dye have to come out in the pre-soak. What difference does it make to development if it comes out in the fix/wash?

Jon

It didn't seem to effect my developing with my 4x5 negatives but for some reason with this particular film (Arista EDU or rebranded Foma) if I did not give it a good presoak, the dye would deposit or remain on parts of the negative even when rising the negative with water between the developing and fixing stage.

Once I gave the 8x10 negative a hearty presoak, the problem went away. Just my personal experience with this film.

[Vaughn]

It didn't seem to effect my developing with my 4x5 negatives but for some reason with this particular film (Arista EDU or rebranded Foma) if I did not give it a good presoak, the dye would deposit or remain on parts of the negative even when rising the negative with water between the developing and fixing stage.

Once I gave the 8x10 negative a hearty presoak, the problem went away. Just my personal experience with this film.

TS -- did you use a fixer with or without a hardener?

Jon Shiu -- I found with developing in Job Expert Drums, that due to the film back touching the drum, the anti-halation layer was slow to be removed...even with a long pre-rinse. My guess was that the gelatin on the back of the film was hardened before all the anti-halation layer could be removed...thus some stayed on the film. Switching to a non-hardening fix seemed to cure the problem. Increasing pre-rinse time by itself did not solve it.

This is my best guess, and more than willing to be proven mistaken. I am just glad the my change to a non-hardening fix solved my problem (everything else in my processing had stayed the same.) Ilford Film, FP4+, FYI.

PS -- on my negatives, the backside of the negative has an obvious 'deposit' on it

[ROL]

Why does the anti-halation dye have to come out in the pre-soak. What difference does it make to development if it comes out in the fix/wash?

Jon

Right, it shouldn't affect development at all. But the OP seemed to be more stuck on some kind density differences that showed up during enlarging–contacting-scanning (...he was unspecific about his positive process) due to uneven removal of the coatings. My first thought upon looking at the posted pix is that it is almost certainly uneven development, and here's where I would have offered my standard advice, except that it would have been redundant, having already conferred by another poster: Don't skimp on developer and use a tray at least one size larger than the film to prevent turbulence and developer drag from the sides of the tray.

[mandoman7]

Haven't read the whole thread, but didn't notice any mention of "flash testing" which is fairly crucial to determining if your development is nice and smooth across the whole negative. You can process a number of negatives and believe that you are getting good results until you run that test and find that things are not optimal. Just saying...
When I was doing a lot of tray developing I found that various methods produced decidedly different results in my quest for even tones in the skies. One observation that came to light was that the sloshing of developer over the edges can produce accelerated development/density in those outside edges of the negative relative to the middle of the negative where the motion was less dramatic. Just like the sprocket marks that happen with over aggressive agitation of reels in tanks. It seems like I see a fair amount of it in the posts on this forum, where there's a kind of splotchiness in the skies. It drove me crazy after a while, maybe I'm seeing it where its not there now.:)

[mdm]

Me too, it drives me crazy. The only way I could fix it was with a jobo print drum. But my whole plate negatives are tray developed and xray film is specially prone.

[TimeShare]

The longer presoak has help for sure ! Major difference.

100859

[TimeShare]

Crazy to see I has similar problems when I originally posted this thread back in 2012. I've been away from large format way too long. Fast forward to 2021 and I'm trying to get back in the game.

Tray developed this last negative and come up with this result which produced black blotches through the middle of the negative. Light leak ? Uneven developing ?211330

[Jim Noel]

Looks like light leaks to me.

[Doremus Scudder]

Time to check for pinholes in your bellows and light leaks around the lensboard.

Doremus

[Kevin Crisp]

Use an 11x14 tray and let the negative move all over the play during agitation and this problem will be gone.

Restaurant supply stores have clear plastic lettuce trays that are great for developing 8x10 film.

[Maris Rusis]

Crazy to see I has similar problems when I originally posted this thread back in 2012. I've been away from large format way too long. Fast forward to 2021 and I'm trying to get back in the game.

Tray developed this last negative and come up with this result which produced black blotches through the middle of the negative. Light leak ? Uneven developing ?211330

Is that a positive with black blotches? Then the negative has clear patches caused something that prevented light or developer getting to those patches. But what?

[Michael Kadillak]

Use an 11x14 tray and let the negative move all over the play during agitation and this problem will be gone.

Restaurant supply stores have clear plastic lettuce trays that are great for developing 8x10 film.

Agree with Kevin. In an 11x14 tray the next tray developing process you conduct add an unexposed sheet of film to the mix to either confirm or take the light leak question out of play. I would limit the number of sheets you process to be no more than four.

[TimeShare]

That’s what I had originally thought but took a high powered light source and placed it in the bellows in the dark to see if I could see any leaks and couldn’t detect any. I’ll have to do another check just to make sure !

[TimeShare]

My current tray is about 11x14 but has slightly rounded corners, I’m wondering if due to the rounded edges the rocking of the developer creates some type of uneven development in the middle.

The image I posted is a negative scan.

I’m thinking of trying brush development and stand development as two options to test for better consistency.

[Michael Kadillak]

That’s what I had originally thought but took a high powered light source and placed it in the bellows in the dark to see if I could see any leaks and couldn’t detect any. I’ll have to do another check just to make sure !

Spend about 10 minutes in the dark to let your eyes acclimate to the condition before you check for light leaks. All of my trays have rounded corners. Only stainless ones (the minority of trays used) have square corners so that is not an issue. Tray development works perfectly so don't give up on it. Persistence pays.

[TimeShare]

Spend about 10 minutes in the dark to let your eyes acclimate to the condition before you check for light leaks. All of my trays have rounded corners. Only stainless ones (the minority of trays used) have square corners so that is not an issue. Tray development works perfectly so don't give up on it. Persistence pays.

Persistence and Patience ! Frustrating when you think you've shot a great scene and the negative doesn't turn out. May have to resort to some paper negatives while I work this out.

Back to looking for light leaks ... thanks for the tip !

[Vaughn]

I'm with you, Maris. If that is snow, then it is a positive (also a black rebate), the black 'splotches' are thin areas on the negative. Poor aggitation in the developer tray with the negative emulsion down? Areas touching the bottom of the tray might have gotten under-developed.

[TimeShare]

I'm with you, Maris. If that is snow, then it is a positive (also a black rebate), the black 'splotches' are thin areas on the negative. Poor aggitation in the developer tray with the negative emulsion down? Areas touching the bottom of the tray might have gotten under-developed.


I always develop with emulsion side up and yes, the image I posted was he positive as he white areas are snow.

[Michael Kadillak]

Persistence and Patience ! Frustrating when you think you've shot a great scene and the negative doesn't turn out. May have to resort to some paper negatives while I work this out.

Back to looking for light leaks ... thanks for the tip !

At the same time you are doing your camera bellows check and getting your eyes acclimated to the dark, put a film holder in the back of the camera and check the film holder to camera back interface by shining a light from the lens board opening into the back of the camera. If light can get out of this area, light can also get in. Can't hurt.

[TimeShare]

At the same time you are doing your camera bellows check and getting your eyes acclimated to the dark, put a film holder in the back of the camera and check the film holder to camera back interface by shining a light from the lens board opening into the back of the camera. If light can get out of this area, light can also get in. Can't hurt.

Absolutely ... full camera interrogation coming up !

[TimeShare]

Some success ... tray developed using brush development. I picked up a foam brush to experiment with brush development on a test negative.

Seems to have resulted in even development throughout with no "hot spots" or undeveloped areas.

I'll be ordering some Hake brushes for future development versus the foam.

Ansco 8x10 + Kodak Wide Field Ektar 250mm @ f6.3 @ 1/50, Arista EDU Ultra 100 @ 50 iso developed in HC-110 H @ 9 mins with 1st minute brush agitation & brush agitation on each minute.

Bit of a dull day to shoot but just trying to figure this new lens & camera out & test shallow DOF.

211373

[Michael Kadillak]

Some success ... tray developed using brush development. I picked up a foam brush to experiment with brush development on a test negative.

Seems to have resulted in even development throughout with no "hot spots" or undeveloped areas.

I'll be ordering some Hake brushes for future development versus the foam.

Ansco 8x10 + Kodak Wide Field Ektar 250mm @ f6.3 @ 1/50, Arista EDU Ultra 100 @ 50 iso developed in HC-110 H @ 9 mins with 1st minute brush agitation & brush agitation on each minute.

Bit of a dull day to shoot but just trying to figure this new lens & camera out & test shallow DOF.

211373

So you can safely conclude that you do not have a bellows light leak and your film holder to camera interface is also not light compromised. A step in the right direction.

Never tried brush development. From an outsiders perspective only doing one sheet at a time would involve a real commitment to the darkroom. This is where tray development shines. Being able to process 4-6 negatives at a time greatly increases ones efficiency in the darkroom. Personally, I would rather spend as little time as possible and the darkroom and allow myself more time in the field and would push through to figure out tray processing. Just one more tool in your tool box.

[Willie]

Since learning brush development a few years ago I have never had a scratched negative. Every now and then with the shuffle method of more than one at a time I would get scratches, scrapes and/or nicks. Even being careful I would get them. The one at at time solved that one for me and the brush has made for very even development across the negative. Cut the uneven skies out completely.

[TimeShare]

Since learning brush development a few years ago I have never had a scratched negative. Every now and then with the shuffle method of more than one at a time I would get scratches, scrapes and/or nicks. Even being careful I would get them. The one at at time solved that one for me and the brush has made for very even development across the negative. Cut the uneven skies out completely.

Thanks Willie, for 4x5 negatives, I tend to develop multiple sheets at once but for 8x10, I only shoot a few negatives at a time so developing one negative at a time serves me well especially if each negative is shot in different lighting conditions.