The density tests have been fruitful in giving me a good arrangement of negatives showing the contrast index curve signature for each developer/time. And that is showing up a sort of oddity from historical memory. Although the top four densities; zone 4 thru 7 show relatively normal density range, with zone 1 thru 3 all but clear, faint densities, then all of a sudden zone 4. This, with the D23 formula. This formula is a fine grain developer and originally formulated to use undiluted; for 7 min (125 film) I tried it out undiluted for 16 minutes on the EDU film. I can can state that this can create some seriously densities. Cutting that in half, which was my normal use of the developer in the '80's, and for the reason I use it now, for that steep curve and strong negatives. The last test on the EDU film was with D23 1:1 for 16 minutes. Bach then, I printed on Chloride paper mostly (Ektalur G) or an Ilford fiber based bromide paper, so the developing time was 7-8 minutes. I'm working to print on palladium, which requires a negative somewhere around log 1.5. I would say twice the log .75 of a silver gelatin negative, but the curve is logarithmic.
The curve for that last test looks quite normal from the top down, although zone 1-3 are going to be something expected from a W. Eugene Smith image. I printed that negative on a salted paper (2 1/2% salt) with two coats of silver (13%) and a print time of 15 minutes to reach zone 7. That means I now have the basic developing range for the print work upcoming. From this beginning there will be the subtle learning curve, seeing the prints, how the light is represented, then fine tune the light placement and development arrangement to arrive at the expression that I'm after using palladium. As I understand it, the term for this is "gesture" or the artist's "hand" in the final print. Whichever pleases, the result should make the artist feel good about their work.
I have also begun working with the 8x10 digital negatives again, although, sadly enough the printer just doesn't print the negatives like it did with the original print head. No longer can I produce a negative that prints well in a high silver range salted paper print; at 2 1/2%/13% silver range. I would have to bring that down to the 10% silver solution using 1 to 1 1/2% salted paper. My interest is in palladium which is why I test at this silver level. The tonal range is the longest scale that is printable today. Equal to palladium.
I began with two images I shot many years ago and have yet to print as I had envisioned. These two images will be part of Portfolio II, which will be printed as Kallitype prints and gold toned, to keep the images in their original black and white form. Back then I tended to warm my prints. I split things now. This first image was shot in Jerome, Arizona in 1986 during a family visit to the state, from Eugene, Oregon. The establishment is Paul & Jerry's, on Main Street, one of the oldest establishments on the strip, with perhaps exception to The Spirit Room, across the road, as both entertained customers when Jenny Jerome was queen of the hill there in the '70s. 1870's.
The house in the image is one of many in the windy hills above the town strip, all now, historical sites. I wasn't all that difficult to carry the Burke & James 5x7 around at the time, being that was thirty years ago. This house was set apart from the others, unique in character, and I liked that part. It also showed some very nice blacks, grays and crisp whites, using the pyro/OH developer I used then. Today, digitally I believe I am close to the original image. Very close.
Print is on Revere Platinum paper; Sodium acetate developer
Print time was 9 minutes
It isn't a final print though. Just a good first run.
Kallitype
"Jerome House" ~ 8x10
Jerome, Oregon
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