High contrast black and white paper developers are commonly used in the printing of photographic negatives. They are formulated to produce prints with a dramatic contrast between the darkest and lightest areas of the image, resulting in a powerful visual impact.
I have some Wollaston meniscus lenses that were custom-made by Reinhold Schable for my large and ultra large format cameras, and I love the ethereal and magical look of these lenses. They produce lower-than-normal contrast negatives, so I am trying to find the best high-contrast developer for my ultra large format paper negatives.
I also use a variable contrast paper as my negative medium and a yellow filter to help hold back excessive blue light in the skies. This is effective, and it also lowers the contrast of the negative as well.
Based on these two factors, I like to increase the contrast of my paper negatives when using the Wollaston soft focus lenses.
I share some background information in this article that I think you may find useful and the two formulas that I am currently testing.
If you are a photographer or interested in learning about analog photography, I have an Analog Photography Membership Community that is the only community of its kind where you can learn and explore analog photography in depth. I also have an extensive training library of video workshops and guidebooks if you prefer to download the videos and books for offline use.
High Contrast Developers
The primary ingredient in a high contrast black and white paper developer is typically a combination of two developing agents, hydroquinone, and phenidone. These chemicals work together to produce a high degree of contrast by producing more silver in the darker areas of the print and less in the lighter areas.
Hydroquinone is a powerful developing agent that works by reducing the exposed silver halide crystals to metallic silver. It is responsible for producing the darker areas of the image with a rich, deep black. Phenidone is another developing agent that is often used in combination with hydroquinone to produce a more balanced tonal range and sharper image detail.
In addition to developing agents, high contrast paper developers also contain other chemicals to control the development process and produce the desired results. These may include:
- Sodium sulfite: This chemical acts as a preservative and stabilizer to prevent the developer from oxidizing and deteriorating over time.
- Sodium carbonate: This alkaline agent helps to activate the developing agents and maintain a stable pH level throughout the development process.
- Potassium bromide: This chemical can be added to slow down the development process and increase the contrast of the final image.
- Benzotriazole: This additive can be added to prevent fogging of the paper during development.
When using a high contrast black and white paper developer, it is important to remember that the resulting prints, or in my case, paper negatives can be very contrasty, with strong black and white areas and little mid-tone detail. This can be ideal for certain types of images, such as architectural or graphic design shots, but may not be appropriate for all images. Experimentation with different types of developers and papers is recommended to find the best combination for each particular image.
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commercial high contrast developers
Here are some examples of high contrast black and white paper developers:
- Kodak Dektol: This is a popular paper developer that produces high contrast prints with rich, deep blacks and bright whites. It contains hydroquinone and metol as developing agents and is known for its speed and reliability.
- Ilford Multigrade: This developer is designed to work with Ilford’s Multigrade paper and can produce high contrast prints with a wide range of tonal values. It contains hydroquinone and metol as developing agents and is available in liquid or powder form.
- Sprint Standard High Contrast Developer: This developer is designed to produce high contrast prints with sharp detail and good tonal range. It contains hydroquinone and phenidone as developing agents and is suitable for use with a variety of photographic papers.
- Moersch SE5: This is a high contrast developer that is known for producing prints with a dramatic, almost surreal quality. It contains hydroquinone and ascorbic acid as developing agents and is designed to work with a range of photographic papers.
- Rollei RLS: This developer is formulated to produce high contrast prints with deep blacks and bright whites. It contains hydroquinone and metol as developing agents and is suitable for use with a range of photographic papers.
It’s important to note that each developer may have slightly different characteristics and may produce different results depending on the specific paper and printing process used. Experimentation is often necessary to find the best combination of developer and paper for a particular image.
MIX YOUR OWN HIGH CONTRAST DEVELOPERS
ANSCO 22 Paper DEVELOPER
- Water at 125F/52C 750.0 ml
- Metol, 0.8 g
- Sodium sulfite, 40.0 g
- Hydroquinone, 8.0 g
- Sodium carbonate, monohydrate, 50.0 g
- Potassium bromide, 5.0 g
- Cold water to make 1.0 liter
Do not dilute for use unless I want to extend the development time and have more time to control the contrast. Normal developing times are 5 to 8 minutes at 65F/18C.
Ansco 22 is my choice when working with large and ultra large format paper negatives.
Adjusting Contrast of Ansco 22
Based on the contrast of the paper negatives, I adjust the potassium bromide as needed. I start with the standard 5g and develop my first paper negative by inspection. You can increase potassium bromide to slow down the development process and increase the contrast or decrease it for the opposite effect. Don’t go below 2.5 g/L and don’t go above 8 g/L because there are tipping points to these variables.
Increasing the amount of potassium bromide in the Ansco 22 developer formula can have a few effects on the development process and the resulting prints:
- Slower development: Potassium bromide is often added to photographic developers as a restrainer, which helps prevent over-development and can extend the development time. Increasing the amount of potassium bromide can further slow down the development process.
- Lower contrast: Restrainers like potassium bromide can also reduce contrast in the print. Increasing the amount of potassium bromide can therefore result in lower contrast prints. Finding the right balance between extending the development time for increased contrast and adding too much potassium bromide, which results in lower contrast, must be tested in the darkroom.
- Increased sharpness: On the other hand, increasing the amount of potassium bromide can also increase the sharpness of the print. This is because the restrainer can prevent the developer from spreading to areas of the print that have already been fully developed, creating sharper edges and details.
It’s important to note that increasing the amount of potassium bromide beyond a certain point can result in excessive restrainer effects, which can cause under-development and a loss of detail in the print. Therefore, any adjustments to the Ansco 22 developer formula should be made with caution and through careful testing to achieve the desired effect.
The contrast of Ansco 22 developer can also be adjusted by varying the development time and/or dilution. Here are some general guidelines for adjusting the contrast:
- Development Time: Increasing the development time will typically increase the contrast of the print, while decreasing the development time will reduce contrast. However, increasing the development time beyond a certain point can lead to over-development and loss of detail in the highlights.
- Dilution: Diluting the developer with water can also reduce contrast. For example, if you dilute the Ansco 22 developer with 1 part developer to 2 parts water, you will get lower contrast than if you use the undiluted developer. However, dilution will also increase the development time required to achieve the desired contrast.
- Agitation: The amount of agitation used during development can also affect the contrast. More vigorous agitation will typically produce higher contrast prints, while less agitation will produce lower contrast prints.
It’s important to note that these adjustments may have different effects depending on the specific paper you are using, so experimentation is key. Start by making small adjustments and test printing until you achieve the desired contrast.
Additionally, when working with photographic chemicals, it’s important to follow proper safety procedures, including wearing protective gloves and eyewear and working in a well-ventilated area.
If you are a photographer or interested in learning about analog photography, I have an Analog Photography Membership Community that is the only community of its kind where you can learn and explore analog photography in depth. I also have an extensive training library of video workshops and guidebooks if you prefer to download the videos and books for offline use.
KODAK D-19 Film DEVELOPER
Kodak D-19 is a high-contrast developer with good keeping properties and high capacity. It is especially recommended for continuous-tone scientific and technical work that requires higher-than-normal contrast.
- Water at 125F/52C, 750.0 ml
- Metol, 2.0 g
- Sodium sulfite, 90.0 g
- Hydroquinone, 8.0 g
- Sodium carbonate, monohydrate, 52.5 g (45 g anhydrous)
- Potassium bromide, 5.0 g
- Water to make 1.0 liter
Use undiluted. Develop 6 minutes in a tank or 5 minutes in a tray at 68F/20C.
It’s important to note that Kodak D-19 developer is designed for use with black and white film and will not work with photographic paper, and this is why I don’t use it with paper negatives.
Additionally, when working with photographic chemicals, it’s important to follow proper safety procedures, including wearing protective gloves and eyewear and working in a well-ventilated area.
If you are a photographer or interested in learning about analog photography, I have an Analog Photography Membership Community that is the only community of its kind where you can learn and explore analog photography in depth. I also have an extensive training library of video workshops and guidebooks if you prefer to download the videos and books for offline use.