John Layton
10-Dec-2015, 12:19
I have an idea for processing large prints (30x40 and 40x60inch) that I’d like to run by others on this forum.
In a nutshell, the print would remain taped to a larger sheet of plexiglass, for the entirety of the exposure/development/washing/drying cycle.
I’d use a thin, strong, waterproof tape, and with this secure, around its entire perimeter, a blank sheet of photographic paper to a larger sheet of plexiglass, then place this in a large (home made) easel for the exposure (home made horizontal enlarger).
After exposure, the entire plexiglass/paper assembly would be removed from the easel, then propped up over a thin trough (in the darkroom sink), which is slightly tilted to empty into an open (one gallon?) container, which for the first step is filled with water for a pre-soak. The plexiglass/paper, thus upended with its bottom in the tilted trough, would itself be tilted slightly backwards - so that the pre-soak water (and following solutions) could be cascaded smoothly over the print, and find its way back into the gallon container - where it could be either pumped back up to the top of the print (small recirculating pump) or simply dipped and poured over the print using a smaller (16 oz?) container… repeatedly for the length of a given step.
After the pre-soak, a fresh open container of developer would replace the container of water at the low end of the trough, at which time a continuous pouring of developer so that it cascades over the print and back into the trough/container would commence and continue for the appropriate interval. Other solutions would follow in a similar fashion. Thus only one trough would be necessary for everything but the final wash.
After the final fix, the entire plexiglass/print assembly would then be slid into an oversized tray of wash water - and this water would be changed at a sufficient number of intervals to allow for a thorough wash. This large tray of water would also act to offer water savings, as the flow of wash water does not need to be continuous.
After a complete washing, the print, still taped to the plexiglass, would be carefully squeegeed, after which the plexiglass/print assembly would be either propped up or left flat until the print itself is thoroughly dry, after which the print could, finally, be carefully detached. (Alternately, the washed print could be subject to further toning and washing as deemed necessary/desirable…prior to drying).
The advantages I see of the above method are several. For one, it would require a relatively small amount of sink space, as well as a reasonably small amount of chemistry. Oxidation rates would likely be bit higher than if I’d simply used open trays, multiple troughs, or a large tube - but not enough, in my opinion, to negatively affect the thorough processing of a given print. Furthermore, the risk of folding or otherwise creasing of the print would be minimized…possibly to the point of its no longer being an issue - which would be…amazing! I am certain that all here who process large prints (larger than, say, 16x20), are well aware of the dangers and frustrations of creasing and folding, and devising a way to mitigate this, while also solving issues of space and amounts of chemistry, would, I think, offer a compelling case for the use of this method.
The most critical aspect (and my most pressing question) of the above process, assuming fresh chemistry could be “cascaded” over the paper in a manner which ensures evenness, would, I think, relate to the rate of absorption of liquids into the paper itself. In other words, with the paper having been taped to the plexiglass substrate for the entirety of the process - from initial exposure, to processing/washing, to the end of the drying cycle, could I assume that I could adequately apply each solution and then neutralize its presence with each following step….so that each step could be truly effective, and so I could ensure that the resulting finished print would indeed be archival?
My apologies for the length of this post…and any comments would be most welcome. Thanks!
In a nutshell, the print would remain taped to a larger sheet of plexiglass, for the entirety of the exposure/development/washing/drying cycle.
I’d use a thin, strong, waterproof tape, and with this secure, around its entire perimeter, a blank sheet of photographic paper to a larger sheet of plexiglass, then place this in a large (home made) easel for the exposure (home made horizontal enlarger).
After exposure, the entire plexiglass/paper assembly would be removed from the easel, then propped up over a thin trough (in the darkroom sink), which is slightly tilted to empty into an open (one gallon?) container, which for the first step is filled with water for a pre-soak. The plexiglass/paper, thus upended with its bottom in the tilted trough, would itself be tilted slightly backwards - so that the pre-soak water (and following solutions) could be cascaded smoothly over the print, and find its way back into the gallon container - where it could be either pumped back up to the top of the print (small recirculating pump) or simply dipped and poured over the print using a smaller (16 oz?) container… repeatedly for the length of a given step.
After the pre-soak, a fresh open container of developer would replace the container of water at the low end of the trough, at which time a continuous pouring of developer so that it cascades over the print and back into the trough/container would commence and continue for the appropriate interval. Other solutions would follow in a similar fashion. Thus only one trough would be necessary for everything but the final wash.
After the final fix, the entire plexiglass/print assembly would then be slid into an oversized tray of wash water - and this water would be changed at a sufficient number of intervals to allow for a thorough wash. This large tray of water would also act to offer water savings, as the flow of wash water does not need to be continuous.
After a complete washing, the print, still taped to the plexiglass, would be carefully squeegeed, after which the plexiglass/print assembly would be either propped up or left flat until the print itself is thoroughly dry, after which the print could, finally, be carefully detached. (Alternately, the washed print could be subject to further toning and washing as deemed necessary/desirable…prior to drying).
The advantages I see of the above method are several. For one, it would require a relatively small amount of sink space, as well as a reasonably small amount of chemistry. Oxidation rates would likely be bit higher than if I’d simply used open trays, multiple troughs, or a large tube - but not enough, in my opinion, to negatively affect the thorough processing of a given print. Furthermore, the risk of folding or otherwise creasing of the print would be minimized…possibly to the point of its no longer being an issue - which would be…amazing! I am certain that all here who process large prints (larger than, say, 16x20), are well aware of the dangers and frustrations of creasing and folding, and devising a way to mitigate this, while also solving issues of space and amounts of chemistry, would, I think, offer a compelling case for the use of this method.
The most critical aspect (and my most pressing question) of the above process, assuming fresh chemistry could be “cascaded” over the paper in a manner which ensures evenness, would, I think, relate to the rate of absorption of liquids into the paper itself. In other words, with the paper having been taped to the plexiglass substrate for the entirety of the process - from initial exposure, to processing/washing, to the end of the drying cycle, could I assume that I could adequately apply each solution and then neutralize its presence with each following step….so that each step could be truly effective, and so I could ensure that the resulting finished print would indeed be archival?
My apologies for the length of this post…and any comments would be most welcome. Thanks!