Film Still Photography
  • Home
  • About
  • Blog
  • Vintage Cameras
    • Argus 75
    • Brownie Flash II
    • Contax G2
    • Ensign Selfix 820
    • FED-1 (PE0320)
    • Graflex Crown Graphic
    • Ihagee Exa
    • Leica iiif
    • Leica M6
    • Nikon S2
    • Nikon F
    • Nikon F2
    • Nikon F3
    • Nikon FA
    • Olympus OM-1
    • Olympus OM-2 SPOT
    • Olympus Stylus
    • Pentacon Six
    • Pentax Spotmatic IIa
    • Rollei 35
    • Voigtlander 15mm ver III
    • Yashica C
    • Zeiss Ikon Nettar 515/2
  • Learning Composition
    • Square Composition
    • Leading Lines
    • Symmetry
    • Framing
    • Keep the Right Strong
    • Single & Multi Elements
    • Color in Composition
    • Deep Dive Bubble Man
  • Darkroom Lessons
    • Archival Preparation
    • Building a Sink
    • Air Ventilation
    • Analyser Pro
    • Development Hints
    • Primer for Film Photography
    • Bulk Loading Film
    • Pushing & Pulling Film
    • Color Development
    • Digital Contact Sheets
    • Stick to One Film Stock?
    • HP5+ Shot at 200 ISO
    • HP5 Shot at 1600 ISO
    • HP5 Shot at 3200 ISO
    • Medium Format
    • Washing Film
    • Split Grade Printing
    • Using Distilled Water in Film Development
    • Darkroom Paper
    • Foma100 EI 400
  • Photography Books & Films
    • Colin O'Brien
    • Lartigue Life in Color
    • Magnum Contact Sheets
    • Top Photography Movies
    • William Eggleston's Guide
    • Helen Levitt
    • Sally Mann Immediate Family
    • Saul Leiter Early B&W
    • Leica 100 yrs
    • Calendar Days of Asaya Hamaya
    • The Decisive Moment
    • Regarding Women
    • Robert Capa in Love and War
    • HCB The Decisive Moment
    • Zambian Portraits
  • Single Image Deep Dive
    • Sergio Larrain "A Man After Dark"
    • Colin O'Brien 'Comings & Goings"
    • Erwitt Mother & Child
    • Man Running
    • Samuel Becket
    • Koudelka Wristwatch
    • Dovima with Elephants
    • Diane Arbus Girl Sitting in Bed
    • Paul Strand Wall Street
Salzburg, Austria

"No place is boring if you've had a good night's sleep and a pocket full of film." - Robert Adams
​
"Tea first, then photography..." - Philip Lee Harvey

From an Article written by Philip Lee Harvey

Archival Process in the Darkroom

6/29/2025

0 Comments

 
Picture
Photo by Nathan Rimoux on Unsplash
The Importance of Archival Printing for Longevity

In the world of photography, especially with film, the magic of capturing a moment can easily fade if not properly preserved. Archival printing methods serve as a protective shield against the very elements that brought a photograph to life. Over time, exposure to environmental factors—chemicals, air, and light—can compromise the integrity of a print. 

For instance, the silver in silver gelatin prints is inherently reactive; it can oxidize when exposed to air, leading to a gradual degradation of the image. By using archival printing methods, we not only safeguard our images from chemical deterioration but also ensure their aesthetic vibrancy for generations to come. 


Must All Photographs Be Archival Printed?

Absolutely! The cost of implementing archival printing is negligible compared to the potential loss of an image that could have been preserved. Think of it as a small investment in your creative legacy. The additional time and steps involved in this process cultivate a habit that prepares you for when you create a print that demands preservation. After all, every photograph has the potential to become a treasured keepsake.


The Detrimental Impact of Residual Fixer

Residual fixer, primarily composed of sodium thiosulfate ((Na_2S_2O_3)), plays a key role in the development process. However, if not adequately washed off, it can lead to image deterioration. The fixer not only stabilizes the image but can also cause fogging and discoloration over time if left on the print. 

Yet, over-washing can be just as detrimental. While it’s crucial to remove fixer, excessive rinsing can strip the gelatin layer of necessary elements that enhance image longevity. Striking a balance is essential; a well-timed wash can ensure that residual fixer is minimized while preserving the integrity of the print.


Protecting Silver Gelatin Prints from Light and Air

Exposure to light and air can lead to oxidation of the silver particles in silver gelatin prints, resulting in fading and discoloration. This is where toning comes into play. For instance, selenium toner (sodium selenite) converts the metallic silver in the print into a more stable form, reducing the risk of oxidation and enhancing the tonal range. 

By toning your prints, you’re effectively providing a protective coating that enhances longevity. The selenium not only acts as a safeguard but can also add a beautiful richness to the image, thereby elevating its aesthetic appeal.


The Archival Printing Process: Your Steps

  1. Developer (3-5 minutes): The choice of developer will affect the contrast and grain of your print. Aim for a time based on the appearance of solid midtones, adjusting as necessary throughout your session.
  2. Stop Bath (30 sec): A simple acidic solution, typically acetic acid, halts development and protects against contamination during fixing. A 30-second immersion is sufficient.
  3. First Fixer Bath (1 minute): This bath, using sodium thiosulfate, removes unexposed silver halides, essential for stabilizing the image.
  4. Fresh Water Bath (10 seconds): Helps to eliminate any residual fixer before the second bath.
  5. Second Fixer Bath (3-5 minutes): A fresh fixer bath ensures thorough removal of any remaining unexposed silver, vital for the longevity of the print.
  6. Washing (5 minutes): Running water helps to further cleanse the print of any fixer residues.
  7. Baking Soda Bath (5-10 minutes): Using sodium bicarbonate, this step neutralizes any remaining acidity from the fixer. A 10-minute soak in a 1-liter solution with 1 teaspoon of baking soda is ideal.
  8. Rinsing (5 minutes): Another rinse in running water ensures that all chemicals are sufficiently removed.
  9. Selenium Toning (2 minutes): A toning bath in a 1:4 ratio will convert silver to selenide, offering protection and enhancing the print’s character. If a subtler effect is desired, a 1:19 dilution can be used.
  10. Final Wash (1 hour): A comprehensive wash is crucial for ensuring that all chemicals are eliminated, setting the stage for proper drying.
Conclusion

By investing in archival printing techniques, you’re not just preserving photographs; you’re safeguarding memories and artistry for future generations. The science behind each step reinforces the importance of careful handling and consideration, ensuring that your prints remain vibrant and intact for the next century and beyond.
0 Comments



Leave a Reply.

    Author

    Patrick...confirmed film & digital photography addict.

    Archives

    June 2025
    May 2025
    April 2025
    March 2025
    January 2025
    December 2024
    December 2023
    August 2023
    July 2023
    April 2023
    March 2023
    January 2023
    March 2022
    January 2022
    December 2021
    November 2021
    October 2020
    August 2020
    June 2020
    May 2020
    April 2020
    December 2019
    November 2019
    October 2019
    September 2019
    August 2019
    June 2019
    May 2019
    April 2019
    March 2019
    October 2018
    September 2018
    August 2018
    July 2018
    June 2018
    May 2018
    April 2018
    March 2018
    February 2018
    January 2018
    December 2017
    November 2017
    October 2017
    September 2017
    August 2017
    July 2017
    June 2017
    May 2017
    April 2017
    March 2017
    February 2017
    January 2017
    December 2016
    November 2016
    October 2016
    September 2016
    August 2016

    Categories

    All

    RSS Feed

Powered by Create your own unique website with customizable templates.
Photos from left-hand, Ant Jackson, Skley, mikecogh, Helen.Yang, TheeErin, Dean Hochman, CJS*64, DaveR1988, FootMassagez, Loco Steve, dmytrok, Christiaan Colen, Lars Plougmann, FootMassagez, astrangelyisolatedplace, quinn.anya, spline_splinson
  • Home
  • About
  • Blog
  • Vintage Cameras
    • Argus 75
    • Brownie Flash II
    • Contax G2
    • Ensign Selfix 820
    • FED-1 (PE0320)
    • Graflex Crown Graphic
    • Ihagee Exa
    • Leica iiif
    • Leica M6
    • Nikon S2
    • Nikon F
    • Nikon F2
    • Nikon F3
    • Nikon FA
    • Olympus OM-1
    • Olympus OM-2 SPOT
    • Olympus Stylus
    • Pentacon Six
    • Pentax Spotmatic IIa
    • Rollei 35
    • Voigtlander 15mm ver III
    • Yashica C
    • Zeiss Ikon Nettar 515/2
  • Learning Composition
    • Square Composition
    • Leading Lines
    • Symmetry
    • Framing
    • Keep the Right Strong
    • Single & Multi Elements
    • Color in Composition
    • Deep Dive Bubble Man
  • Darkroom Lessons
    • Archival Preparation
    • Building a Sink
    • Air Ventilation
    • Analyser Pro
    • Development Hints
    • Primer for Film Photography
    • Bulk Loading Film
    • Pushing & Pulling Film
    • Color Development
    • Digital Contact Sheets
    • Stick to One Film Stock?
    • HP5+ Shot at 200 ISO
    • HP5 Shot at 1600 ISO
    • HP5 Shot at 3200 ISO
    • Medium Format
    • Washing Film
    • Split Grade Printing
    • Using Distilled Water in Film Development
    • Darkroom Paper
    • Foma100 EI 400
  • Photography Books & Films
    • Colin O'Brien
    • Lartigue Life in Color
    • Magnum Contact Sheets
    • Top Photography Movies
    • William Eggleston's Guide
    • Helen Levitt
    • Sally Mann Immediate Family
    • Saul Leiter Early B&W
    • Leica 100 yrs
    • Calendar Days of Asaya Hamaya
    • The Decisive Moment
    • Regarding Women
    • Robert Capa in Love and War
    • HCB The Decisive Moment
    • Zambian Portraits
  • Single Image Deep Dive
    • Sergio Larrain "A Man After Dark"
    • Colin O'Brien 'Comings & Goings"
    • Erwitt Mother & Child
    • Man Running
    • Samuel Becket
    • Koudelka Wristwatch
    • Dovima with Elephants
    • Diane Arbus Girl Sitting in Bed
    • Paul Strand Wall Street