Fixing and toning ADOX Museum

Benjamin · 2006-03-19T15:52:20+00:00

Hallo Mirko, ich möchte demnächst mit Tonern (Classic Sepia und Adox Selenid) experimentieren, hätte gerne ein Papier, das sehr willig auf die Tonung reagie...

Benjamin

Hi Mirko, I’d like to experiment with toners (Classic Sepia and ADOX Selenide) soon and would prefer a paper that responds very well to toning. I’d like to use Fine Print Museum Warmton FB, as I prefer fixed gradations. Is that OK, or are there better alternatives? I’m planning to use N113 as the developer. One more important question: On the ADOX website, it says the following about Polywarmtone (why isn’t Fine Print Museum actually listed on the ADOX website?): “Important information: Due to its micro-pores and highly brilliant surface, this paper fixes more slowly than conventional baryta papers. We therefore recommend extending the fixing times to at least double the manufacturer’s specified time and, if necessary, increasing the fixer concentration by a further 30%.” So far, I’ve been fixing PE papers using a two-bath process: 2 x 30 seconds in Amaloco’s Express Fixer (1+4). I don’t want to increase the concentration any further. Would a fixing time of 2 x 1 minute be sufficient? I’m only asking because fixing for too long isn’t good either, especially at this already quite high concentration. I’m just worried that the highlights might start to fade, or is this concern unfounded? Regards, Benjamin

cfb_de

Hello Benjamin, As far as fixing times are concerned, I think most concerns regarding paper are completely unfounded. I once inadvertently ran a small series of tests using old Orwo Baryt: 5, 10, 15, 20 and 25 minutes in the fixer (Amaloco X55). Absolutely no difference, no blown-out highlights anywhere! Even with other papers, I only observed this effect after >1 hour. With film, it’s a different story; particularly the ‘classics’ with a single emulsion layer and widely varying grain sizes do start to wash out after about four times the usual fixing time (= double the clearing time). I tested this with residual NP27, HP5+, TMax100, Efke50 and PanF. But I don’t leave any film soaking in the fixer for that long. Different results may occur in a more acidic sodium thiosulphate fixer. Best regards, Franz

heinrich

Hello Benjamin, I can only confirm what Franz said; it really does take a very long time for the highlights to wash out on photo papers due to the fixing process. The baryta version of ADOX Polywarmtone definitely requires a longer fixing time than all other baryta papers. You can read more about this here in the forum in the thread ‘Pink cast in Polywarmtone’. Best regards, Heinrich

cfb_de

Hello Heinrich, Although with the PW, the fault is probably more likely to lie with the stop bath or the Duka lighting. Be that as it may, with *my* Duka lighting (“Conrad LED” and an old Agfa metal bowl), *my* stop bath (“a tablespoon of citric acid per litre, down the drain after the Duka session”) and *my* fixer (“dump it into the controlled solution, leave it in, remove it after a few minutes”) I’ve never had any problems with PW. The paper works a treat and does exactly what it’s supposed to. I’m having a problem with the Efke/ADOX R50 at the moment. I’m now getting a completely different film, and it hasn’t just changed gradually. *That* is a problem for me, especially as the supplier has known about it for months and swept it under the carpet. And that’s why I’m currently having a serious issue with the supplier. So far, no information has been provided, and the problem has been public knowledge for almost three months. However, I would like to buy R50 again. Best regards, Franz

Gast

"I'm having a problem with the Efke/ADOX R50 at the moment. I'm now getting a completely different film, and it hasn't just changed gradually. *That* is the problem..."

heinrich

...although in the case of the PW, the fault is probably more likely to lie with the stop bath or the Duka lighting.....

Hello Franz, It is not clear whether the assumptions regarding the stop bath and/or Duka light as the cause of the pink colouration—which can be interpreted as under-fixing—are correct. So far, there has only been talk of suspicion; clear proof has not yet been provided. I suspect that this is why the Adox website still adheres to the official version: ‘Due to its micro-pores and highly brilliant surface, this paper fixes more slowly...’ After that long preamble, here are my own experiences: 1) Nothing turns pink for me. 2) A systematic test using unexposed PW14 in Adofix 1+7 with fixing times of 1 min, 2 min, 4 min and 8 min, followed by washing (45 min) and selenium toner (5 min in 1+19 Kodak Rapidtoner) revealed no evidence of under-fixing. The whole process was carried out under red light. As unexposed paper was used, there is still a possibility that my test produced a false-positive result. As soon as I have time again, I will therefore repeat the whole process, but this time with exposed paper, development in ForteWarmtone, followed by a stop bath and fixing as described above. If the selenium test is negative again, I can be sure that the paper is over-fixed in my case. Best regards, Heinrich

cfb_de

Hello Heinrich, That’s exactly what I’ve found. It’s a trouble-free paper, though a bit more fussy in the press (it just doesn’t like it too warm). I wouldn’t say it takes anywhere near 45 minutes. It’s quicker than that and makes drying easier. Five times the Ilford process with the sulphite bath switched on (or soda, if you’ve run out of sulphite). The suggestion about the stop bath or dux lamp came from Mirko. I can’t think of any other possible causes either; changing the stop bath has already been described as a solution to the problem. Best regards, Franz