Archival Processing Method for Black and White Film and ... - 125px

Archival Processing Method for Black and
White Film and Print
and
Storage and Maintenance of the Black and
White Image
By
Peter Helm
.
This document may be copied in part or full for teaching and instructional purposes only. The
condition of which is the inclusion of “ © 2007 Peter Helm “ on each and every full copy or part
copy. This document may not be altered, added to or have subtractions made to it’s content.
NOT FOR SALE - any party wishing to use this document in part or full that would see it sold as a
stand alone document or as part of a greater document or publication through any medium whatsoever
must first obtain prior permission from the author.
© 2007 Peter Helm

PREFACE
The aim of this document is to instruct the reader on how to produce archival quality
black and white negatives and prints.
No in depth processing knowledge of black and white film / print is required. Just
basic understanding / experience of the fundamental processes is the minimum
requirement. In fact it may surprise some as to the ease at which archival quality
negatives and prints can be made with only the addition of a few extra steps to the
basic black & white processes.
Free from excessive technical terms and jargon this document is easy to read and
understand.
The average family photographic album from days past had black & white images
that could stand the test of time. This was because traditional black and white
photographic materials had emulsions that were heavily silver based. Silver being a
heavy metal lends itself to the stability / longevity of the developed image. These old
images of ordinary family life contain a wealth of information, primarily social
history. You might even say neo–archaeology / anthropology / social history in nature
because of the possible variations in subject matter.
I hope that the information contained in this document will lead to many black &
white images lasting for generations to come and so give those in the future a detailed
and fascinating look at the past as the old family albums of our grandparents and great
grandparents did for us.
The longevity that most museums, art galleries and photographic archives aim for
with the black & white image is 100 years for negative and print once properly
processed and stored.
Peter Helm
Katoomba
NSW Australia
September 2006
©2007 Peter Helm

The Major Threat
The major threat to the longevity of both the black & white negative and print is
residual chemistry in the emulsion ( as well as the paper base in prints ) after
processing has been completed. Another concern is the storage of the processed
negative / print. We will look at that later in this document.
This residual chemical will, over time, damage the emulsion and in the case of prints
the paper base as well. The image will eventually either be partially or totally
damaged, generally beyond restoration.
It is the removal of this residual chemistry, predominantly fixer, that is the basis of
the archival process.
The Basic Archival Processes for Neg / Print
Negative Print
Developer – desired type, temp and time Developer. – desired type, temp. and time
Stop bath – 30sec Stop bath – 30sec
Fixing bath – time as required 1 st . fixing bath – not to exceed 1min.
Rapid wash – 10min Wash – 15 min
2 nd fixing bath – not to exceed 1min.
Hypo (fixer) clearing agent – 10 min Hypo (fixer) clearing agent– 10 min.
Rapid wash – 10min Wash – 15 min.
Wetting agent
Dry – hang dry at room temp – not forced Dry – screen or hang – not forced
It is important that I elaborate on the following aspects of these processes.
• Fresh chemicals.
• Fibre based paper.
• Wash water temperature.
• Two fixing baths for the print.
• Hypo (fixer) clearing agent.
• Agitation methods.
• Wash
• Hang dry at room temp. Never force dry.
©2007 Peter Helm Page 1 of 9

Before I start I must discuss temperature.
It is important to maintain all the chemicals at a near constant temperature when
processing. The generally accepted temperature for processing of black and white
film and print is 20°C (68°F). Some of you will have personal preferences when it
comes to the film developer temperature. Generally speaking keep all the chemicals
in the process within 2° (+ or – ) of each other, regardless of which temperature
scale you use. In the case of film if the temperature fluctuates drastically with each
chemical then reticulation may result.
Fresh chemistry: This is important. Used or exhausted chemistry, for example a
quantity of fixer which has cleared more than the recommended
amount of films, will not only compromise the physical quality of the negative but
may also contain contaminants that will effect it’s archival permanence. Always use
fresh chemistry. Never try to ‘stretch’ the life of your chemical.
• Film developer when used as a concentrate can be re-used with an increase in
development time for each additional roll of film. If any developer type is used
in diluted form, in any ratio, it is said to be one shot and is discarded after use.
Never re-use diluted developer. Refer to the makers recommendations.
• Never exceed the fixer manufacturers recommendation as to the number of
films the fix will clear. To test your fixer’s condition place a small piece of
unexposed film in the fix and see if it clears within one (1) minute with
constant agitation. If it does not then dump the fix and mix a new batch.
• Fixer for prints is always one session use only! Use fresh fixer for each
printing session.
Always use rapid fixer for both negative and print
Use an indicator stop bath as this has an indicating agent that will change colour,
usually purple, when the stop bath is exhausted.
Fibre based paper: These are preferred over the RC ( resin coated ) papers as there
is a higher degree of silver in their emulsions and the paper
base, especially with the double weight, is extremely stable. Their heavy silver based
emulsion will give a richer image tone and a longer degree of permanence. RC papers
at the time of writing this document can only be safely rated at approx. 45 years. The
RC coating can break down in time. For archival quality prints always use fibre
base papers.
Most galleries and museums will insist on fibre based papers for their collections
and exhibitions.
Wash water: Sometimes a point of conjecture as to what temperature to wash the
negative / print it is however generally agreed that the temperature.
must remain fairly constant during the wash cycle. My preference is for a range
between 18°C to 22°C (64°F to 72°F). Fluctuation within this range during washing
will not cause any problems.
©2007 Peter Helm Page 2 of 9

Two fixing baths for the print: The print will require two fixing baths. The reason
for this being that almost 90% of fixing takes place
within the first 15 sec. of the print being immersed in the fixing bath. This means the
fixing bath will become exhausted very quickly and so it will not be able to properly
fix subsequent prints. The use of two baths ensures proper fixing. The first bath does
the initial fixing while the second bath completes the fixing of the print.
Changing the fix is essential. Eg. If 10”x 8” ( 25cm x 20cm ) trays are used for fixing
with each containing 1litre of rapid fix the first bath will need replacing after 10 fibre
based prints (10” x 8”) have been fixed. For the second bath 20 prints (10” x 8”) may
be fixed before replacement.
The total fixing time of the print must not exceed 2min. That is 1min. per bath.
Any longer than this will result in a higher residual amount of fix being left in
the emulsion and fibres of the paper. This will be harder to remove. Keep the
baths fresh!
You may come across hardening fixer. This fixer has a hardening agent added and is
mainly used for film. The purpose of this is to harden the emulsion of the negative
to help protect it from constant handling. E.g. Advertising agencies in the past used to
have all their black & white negatives processed with hardening fixer to protect them
from the handling associated with constant re-printing by many darkroom technicians.
The hardener component can also be purchased separately and added to normal rapid
fix.
The use of a hardening fix will result in longer wash times as it’s effect on the
emulsion makes it harder to wash out the residual fixer. Washing times would have
to be doubled and the hypo clearing agent would need a time increase of 50%. There
really is no need in this day and age to use a hardening fixer.
Hypo clearing: This solution assists with the clearing of the residual fixer
and stops the need for very long wash times. It does a very good job
of removing residual fixer and is extremely important to the archival process. It
effectively works as a leaching agent. Hypo being an older term for fixer.
Agitation: During film development agitation of the developer is to the personal
preference of the photographer. The agitation during the remaining
processing baths should however be carried out as follows:
• Stop bath – continuos
• Fixer – continuos for the first 30 sec. Then still for the next 30 sec. Then once
again 30 sec continuos agitation, then still for the next 30 sec……..and so on
until the required fixing time has been reached.
• Hypo clearing – gently agitate for one minute at the beginning then
intermittent for 30sec.intervals throughout the remaining time. Twice is
usually enough.
Inversion agitation is preferred but not too vigorously – you are not mixing a
cocktail!
©2007 Peter Helm Page 3 of 9

The agitation of the print is essentially a gentle continuous rocking of the print in
each tray of chemical keeping the print in solution at all times.
Wash: a) The Film: Once processed the film is washed using a vigorous flow of
water. You are looking at changing the water in the developing tank ( or
dedicated wash tank ) three or four times per minute. This is usually achieved by
using the ‘hose in the tank’ method. Most film processing tank manufacturers have a
wash accessory that, in many cases, consists of a hose that connects to a tap then
attaches to the centre column holding the reels. The flow of water down the column
and subsequently rushing up through the reels of processed film provides what is
known as a forced film wash.
Two manufactures that come to mind that have offer this hose as an accessory are
Patterson* and Jobo* and I am sure there are others. It is not too difficult to make
your own wash hose. Just ensure that it gives a vigorous flow of water.
Do not be alarmed to see air bubbles coming out of the tank when washing. The air
bubbles do in fact aid the wash process. In the case of the Jobo* wash hose you
actually have a bleed hole to allow air in. The air bubbles ‘massage’ the emulsion of
the film helping shift the residual chemistry that is trapped.
Once the film has been washed, and prior to drying, use a wetting agent to avoid
drying marks. Follow the manufacturers recommendations for use.
b) The Print: Washing the print involves a steady flow of water over both
surfaces of the print. In the past it was thought that extensive washing was needed to
properly wash a print to archival standards and wash times of one hour were not
uncommon.
There are various print washers on the market. Some will have the name ‘archival’ in
their name or description. As long as the print has an even flow of water running over
both surfaces which give a change of water volume of at least three or four times
per minute, as with film, then the wash will be effective. Do not use a ‘tumble’ style
washer as print edge damage may result.
With every change of wash water during the wash process ( both film and print )
50% of the remaining residual fixer is removed.
Drying: a) The Film: My personal method of drying is to hang dry in a dust free
and still air environment. The use of drying cabinets with their fan
forced hot air, or even hair dryers, can embed dust into the emulsion. This dust if not
noticed and washed off while the film is still wet will be almost impossible to remove
once the negatives are dry as it will dry into the emulsion. Never use a film squeegee
or film sponge as the risk of scratching the film is too great regardless of how careful
you are.
©2007 Peter Helm *Registered name Page 4 of 9

) The Print: Should also be allowed to dry naturally. Prints up to
12”x16” (30cm x 40cm) may be hang dried without fear of stretching the
fibres of the paper base. To hang dry a print hang it by it’s longest edge
from a line or thin dowel using single bite film clips, the type used for
hanging sheet film, one at each end. Hang one side slightly lower than
the other to aid water run off.
Larger prints are usually screen dried. This involves a framed screen, similar to the fly
screens used to keep insects out. Made from the nylon type screen material ( never
metal ) the print is placed on one of these and turned every half an hour for the first
two hours then left until completely dry. Some undulation in the print may occur but
this can be fixed by storing under weight. Small prints can be screen dried as well but
hanging them saves space and time. To help avoid this undulation the drying
atmosphere should not be too humid or hot.
An old method of drying prints was to use a special photographic blotting paper. This
came in rolls and could be re-used however it retained tiny amounts of contaminants
with each use and proved detrimental to the archival process. Never use the blotter
method. The absorbent blotter may start out pH neutral but will not stay that way.
o-O-o
Having processed to this stage you have now created a black & white negative and
print that conforms to archival standards. There is still one more step that involves the
print, though not mandatory, it can compliment the aesthetic of the print as well as aid
in the archival permanence.
Toning: The use of toners to enhance a print’s appearance has been common for over
100 years. The most common of these being sepia and selenium toners. Sepia gives
the warm almost brown tone often associated with older vintage prints from the late
19 th . century to the early 20 th . century. Selenium toning gives richer blacks.
Toning is done after the print has completed it’s final wash bath and is still wet.
Having toned to the desired effect wash the print for 15 min. As there is no residual
fixer involved there is no need to use a clearing agent. Once washed, dry as per the
methods discussed.
Always adhere to the toner manufacturer’s instructions. Once you have mastered
toning then vary the method and hence the tone to suit your personal preferences.
o-O-o
I must state here once again that rapid fix is the type used for all fixing procedures
stated within this document.
2007 Peter Helm Page 5 of 9

STORAGE AND MAINTENANCE OF THE BLACK AND WHITE IMAGE
At this stage we are dealing with an image that has been processed to archival
standards. This having been done correctly we need not assume that
deterioration will result from poor processing. It is imperative that the archival
process be properly done as any storage and maintenance procedures will
be a waste of time if it has not.
The correct processing of the B/W image, both negative and print, is only half of the
issue. The neg and print now need to be stored correctly to ensure that there is no
chance of deterioration due to:
• Improper storage materials.
• Inappropriate storage location / environment damage.
• Damage due to physical handling.
Storage materials
It is important that all storage materials be acid free ( pH neutral ) to ensure there is no
reaction with the print or negative.
Negatives are best stored in negative file pages. Negative file pages made from
polypropylene are archival and easily obtained. Always buy from a known
manufacturer of archival products. If in doubt research the product!
Never use PVC or cheap plastic pages as the gases given off by these materials will
be absorbed by the emulsion and physical damage will result.
The negative files can now be placed in a ring binder. The better binders are made
from acid free materials but non acid free binders are acceptable as long as there is a
buffer sheet used at either end. Buffer sheets are empty neg file pages. One is placed
at the front of the file and one at the back and will act as a buffer against the non acid
free material of the binder.
The binder is usually placed on a book shelf or similar place but must be well off the
ground. The bookshelf must not be on an outside wall and preferably in a location
where the temperature will be reasonably constant or change at a slow rate.
Approximately once per month flip through the pages to get a flow of fresh air
circulating – stagnant air is a catalyst for fungus. Fungus in the emulsion of a neg is
virtually impossible to remove without damage to the emulsion.
The B/W print can be stored in a variety of ways. The method of storage depends on
whether the print is to be:
• On constant display.
• Stored away to be accessed and viewed when needed.
© 2007 Peter Helm Page 6 of 9

Framed and hung is the most common method of constant display. When a print is
framed the backing board and matt must be acid free along with any tapes or
fixatives. Metal frames are preferable to wood. Wood can, as it ages, give of gases
that may be detrimental to the print. A matt is essential as it will prevent the print
from coming into contact with the glass.
The framed print must be hung away from direct light- either natural or strong
artificial.
A collection of prints may be viewed in an album. One of the better styles of album
to use is the traditional black page type with the glassine interleaving – all of
which can be acquired made with acid free materials.
When mounting prints onto the album pages it is best to apply a small bead of acid
free paper adhesive to the top edge of the back of the print which creates a hinge
like effect. In brief – nothing is actually adhering the entire rear print surface to the
board or page.
Photo corners may be used but larger prints may pop out of the corners when pages
are turned. If used ensure they are acid free.
A single print or collection of prints that is to be stored and accessed only on random
occasions may be stored in a metal plans cabinet. Essentially a plans cabinet has a
series of shallow draws that are wide and long. Bare metal inside the drawers is
preferred as there can be no contamination from paint / lacquers.
The drawer is lined with a buffer sheet of acid free card and prints are then placed
in, one on top of the other, with acid free tissue interleaving.
The cabinet provides a dark environment, and if placed against an internal wall
with moderate temperature change, an ideal archive. Always ensure a flow of air
over the prints at least every month by simply removing then replacing the prints.
This will help stop rust and stains caused by fungus / spores.
Some older plans cabinets are made of wood. These too can be used but the buffer
sheet on the bottom of all draws is essential. Ensure that the draws are clean and that
there is no peeling varnish or oil based stains present – metal is the better way to go.
Always wear cotton gloves when handling your negatives and prints. Oils and
acids in the skin are detrimental to the longevity of a negative / print.
©2007 Peter Helm Page 7 of 9

Physical damage
As the name suggests it is the actual physical damage that can occur when a negative
or print is accidentally mishandled.
• Always ensure you wear cotton gloves when handling a negative or print.
• Never let your bare hands come into contact with a negative or a print.
• Work in a dust free and hazard free environment.
a) Vacuum your work area / darkroom regularly.
b) Sharp objets such as scissors and blades to be stored away from
negative / print work space when not required.
c) Ensure bench tops are clean / smooth and that edges are not jagged
or rough.
d) When cutting negatives ensure scissors are free of residue from
previous work – dedicate one pair of scissors for negative cutting.
e) Only those who need to be near the negatives / prints should be – no
hangers on!
f) Do not smoke, eat or drink in the work areas.
g) Only the required negative or print for the task at hand to be out – if
you don’t need a neg or print for a task then it should be back in
storage!
h) Careless moving of negative / print storage units can result in damage.
i)
Environmental damage
Environmental damage shares some of the same threats associated with physical
damage issues. However many environmental damage issues are not that obvious.
Some examples of environmental damage are:
• Cigarette smoke.
• Lengthy exposure to Sunlight / strong artificial light can cause fading.
• Damp storage conditions resulting in fungus / mould.
• Rapid temperature changes / excessive humidity invite fungus / mould.
• Oxidisation of the silver in the emulsion.*
* Silver will oxidise when exposed to air. Just look at the old silver tea service left
on the sideboard at your grandparent’s house– it has yellowed and tarnished over time
due to the reaction of the silver when contacting the air. In rare cases this can
happen with a black & white print when the silver in the emulsion contacts with the
air. Known by several names, one of which is bronzing, the effect initially resembles
a bronze hue around the edge of highlights and areas of fine detail. It is
irreversible. It is extremely rare for this to occur with negatives.
Toning will help prevent this. The toner will effectively coat the silver in the
emulsion preventing any air from making contact. It is believed that air pollution can
cause similar damage.
©2007 Peter Helm Page 8 of 9

HEALTH and SAFETY
At all times please remember you are dealing with chemistry. It must be handled
with the health and safety of yourself and others in mind.
Here are a few safety tips that you may wish to consider:
Always use gloves and goggles for protection of hands and eyes. A plastic full length
apron will prevent contamination of your cloths and help stop chemical soaking
through to your skin in the event of a spill.
Always wear a long sleeve shirt, pants or full length skirts.
Always process in a well ventilated area.
Always wash your hands before using the toilet when using photographic chemistry.
Never wear open toed shoes – always closed in footwear!
Never use chemistry in food preparation or storage areas.
Never eat or drink when processing or printing.
Avoid using glass beakers, stirring rods and bottles etc. in a darkroom. Broken glass
in the dark or under safelight conditions is very hard to see and therefore dangerous!
Know the phone numbers of a poisons information service, local doctor and hospital.
If you contact chemicals to your skin wash immediately in cold running water.
If you get chemistry in your eyes wash eyes continuously in cold water and contact
your poisons information service / hospital emergency room / doctor immediately for
advice.
If you are pregnant or think you may be – consult your doctor about any possible
health issues before using chemicals.
Avoid taking short cuts with health and safety – Do not find out the hard way that
you react adversely to photographic chemistry!
The precautions/advice mentioned above are a basic guide only. Please contact
the manufacturer of your chemistry, local poisons information services and your
local doctor for more detailed health and safety procedures and
recommendations.
©2007 Peter Helm Page 9 of 9