Re: [Leica] Print Development Time

["Dan Post" <dwpost@email.msn.com>]

Mark-
Must've snipped that which I included from someone else's message... and I
dump messages once read and not answered directly, so I can't say 'who'...
Anyway- I muddled out my own medium tech solution. Like You, I could never
judge a print in the dark under a safelight. I do all mine, usually, face
down for the total time, then stop, and fix.
I rarely try to 'save' a print- it usually wouldn't work and if I got it
wrong to begin with, well, the heck with it- try again!
Dan
- ----- Original Message -----
From: Mark Rabiner <mrabiner@concentric.net>
To: <leica-users@mejac.palo-alto.ca.us>
Sent: Tuesday, August 10, 1999 3:30 PM
Subject: Re: [Leica] Print Development Time


> Dan Post wrote:
> ><snip>
> > For a low-tech solution, Ansel describes a factor development kind of
thing
> > in, I believe, his Print book.  Can anyone verify this?  If I remember
> > correctly, this technique involves locking down parameters based on when
> > certain values appear as the print develops.  All other print
development
> > times will be a factor based on the appearance of these same values.
> >
> > Hope this helps.  Good luck.
> >
> > Best regards,
> > Alan Huntley
> >
> ><snip>
>
> The "Yankee" approach to printing which for me is "yanking" out the print
not at
> a specific time but when it looks good in the safelight had always been
> considered lowest level technique for me. A definition of no technique or
> commitment to quality work.
> That Ansel would get involved with techniques such as this is a
inspiration as
> his mind always remained not entrenched but always opened. He said there
are
> advantages consistency wise with this technique. I've read his description
of
> these techniques a dozen times and I think to get into it and/or
appreciate it a
> workshop would be required. Safelights are of course also an issue as you
are
> developing by inspection, waiting for a tone to appear and then going on
from
> there. It didn't appeal to me.
> Ansel also stretched known parameters by getting involved so I hear with
the
> Phillips Tri color head which made automatic ring arounds in his black and
white printing.
> So many people picture him with his view camera and western clothing and
would
> assume he would be the epitome of die hard archaic Zone 64 technique. When
quite
> the opposite had always been true.
> Mark Rabiner