Large Format Landscapes

D-23 is bascally D-76 without Hydroquinone: it has only Metol as the developing agent.

It is a bit less active as a result, and (according to Anchell and Troop) is less prone to "runaway" high values.

Like D-76, it doesn't give the finest grain or highest acutance, doesn't give the best film speed, doesn't have exceptional shelf-life and doesn't mask grain, tan or stain.

To me the core value proposition of D-23 is simplicity: only 2 ingredients. It can be mixed fresh and tossed.

You might find this article helpful: D-23 Developer

Also it was good enough for some very famous photographs and is not prone to development problems and scratches in a tray, which is the main reason I am using it more.

Thanks for the info on D-23. I like run-away highlights, so I will avoid it for most of my negs!

Vaughn I made some negatives a while ago with full strength D23 and Delta 100 that I could not print as salt prints, way too dense in the highlights, but 1:1 or used somewhat depleted its different. I am using it because its easy to develop sheets in a tray without making a balls up. Conventional developers are hard to come by down here at the end of the world.

I am using Dektol, straight or 1:1, for sheet film to be used for carbon prints. I was recently told that Kodak called Dektol "Versadol" or something like that back when it was used for both film and paper. I have not been able to confirm this yet.

I am using Dektol because I have run out of Ilford PQ Universal developer -- which I use at the paper dilution (1:9) instead of the film dilution (1:19).

Negatives for salt prints are wimpy compared to my negatives for carbon printing!

You must be printing with high % dichromate then. My better prints from digital negatives were mostly with 5% ammonium dichromate and a very long exposure, but I have never printed a camera negative that stout. I will have to try it.

I standardized on 8% and a bare minimum of pigment. About 60 minutes to 90 minutes under a 750W Merc Vapor lamp (about a third of a meter above the printing frame). For workshops, I use 4% -- and 25% to 50% more pigment.

If I ever stop printing, I'll tape all my negs to the walls and ceilings so I'll won't have to wear my tinfoil hat!

Vaughn

Cades Cove on Velvia, cropped.

http://farm9.staticflickr.com/8473/8...5abfe83f_o.jpg

Great, Jim.

I'm jealous Jim. I really wanted to go back to Cades Cove this year but couldn't take off work. Next year maybe...

Nice images, lovely colors.