I have started using the Pyro PMK film developer formula developed by Gordon Hutchings in combination with Delta 100 and HP5. I am also using variable contrast enlarging paper and I am wondering about the effect created by the yellow pyro image stain which changes the paper printing contrast in the highlight portions of the image. I would like to know about the experiences of others in dealing with this effect. Are you changing your printing technique to overcome it, or are you increasing film development time, or are you only using graded paper with negatives developed in PMK?

Regards

Paul Nicholls

-- Paul Nicholls (pnichols@portal.ca), October 31, 1998

Answers

From reading your post I take it that you feel that lowering the contrast on highlights is a bad thing. Actually it is one of the strengths of pyro developers. It is still possible to make very contrasty prints with this developer but if you have alot of slight changes in ajoining highlight areas, lowering the contrast of these areas will make these changes feel more real. Many photographers will burn down highlights on variable contrast paper with a 0 or 1 filter, it has much the same effect as flashing on graded paper, the stain from the pyro negative has much the same effect. If you feel that your negatives in general are of too low in contrast then by all means increase the development time. I personally cut the ISO of the film I'm using in half on roll films, with the frequent agitation needed on roll film I think some speed is lost. I would suggest keeping with the variable contrast paper, it should be an advantage.

-- Jeff White (zonie@computer-concepts.com), October 31, 1998.

Paul, Hutchin's own book, The Book of Pyro, comprehensively discusses printing PMK negatives on VC papers. It's a great book, and will answer just about any question you may have about pyro development and printing.

Good luck, Sergio.

-- Sergio Ortega (s.ortega@worldnet.att.net), November 02, 1998.

I have not noticed any appreciable difference in the printing contrast (on MC paper) between PMK Pyro negs and those developed in, say, HC-110, though the negatives do require about one stop more exposure to print. I have also not noticed any dramatic difference in the highlight contrast or highlight separation. The primary difference that I notice, and one that stands way out, is the edge effect that Pyro gives. I'm not sure if I like it or not. Frankly, it looks like a JPEG that has had too much "sharpen" filter applied in PhotoShop. The grain is moderate so what's the big deal? Rodinal gives a better tonal scale (with even more grain), HC-110 a decent tonal scale (and finer grain). So then it would boil down to whether or not you liked the edge effect which, contrary to legend, gives the photos a gritty look. (Try Tri-X in PMK, print on Ilford MC FB IV and develop in Dektol for a real hard and harsh look!) And then there's the loss of 1/2 to 1 stop of film speed. Of course, I'm speaking of 35mm here; I develop all my sheet film in Rodinal. Still, PMK is a fine tool, very economical, very convenient.

-- Peter Hughes (leonine@redshift.com), November 02, 1998.

I use PMK exclusively for my own work and for 90% of my B&W lab clients. I've used PMK for at least 5 years. Here's the advantages I have come to take for granted.

1.The negatives are much easier to print. Exposure times, where they differ at all, are a little shorter than those negs processed in 'normal' developers. Highlights are easier to print with texture. (In fact, using 4X5 Delta 100 or the new Bergger BPF200, Zone VIII is fully textured and there is some texture extending well into Zone IX!)

2. The longer than 'normal' development time (av. 15 min.) ensures even development. I don't trust a developer with times of 5 minutes or less.

3. The keeping properties of PMK are incredible. In fact, I keep 2 or 3 liters of 'A' solution to 'age' in a gallon jug with a natural cork. When the 500 ml of 'my working stock' part 'A' runs out, I refill the bottle from the aging solution and make up another 500 ml of fresh 'A' and put that into the gallon jug. Because I buy pyro by the pound (!) and mix from stock chemistry, the cost per use is litterally too small to consider. A fairly busy hobbyist or semi-pro will run out of stock long before it goes bad (if it ever does.)

If some of you are experiencing longer printing times and little or no difference in highlight contrast, I believe you may be over developing your film. Because a properly exposed and developed PMK negative looks thin and flat to the eye, some may extend the development time to get negatives that look more like those developed in 'normal' developers.

I will repeat the advice from a previous response, get Gordon's Book of Pyro!!! It's just $30 and the information it contains will save you letterally weeks of experimenting.

Most of all, don't give up. A new process, especially one as different as PMK developer, will inevitably have a learning curve. Just know that in the end, it will be worth it. (Every had piano lessons??)

-- Michael D Fraser (mdfraser@earthlink.net), December 24, 1998.

PMK negs. printed on VC papers

PMK developed negatives printed on variable contrast papers shows a diminished contrast in the highlight areas due to the yellow stain. The yellow stain works as a soft filter and lower the contrast. You can compare a print made in VC paper and the same image printed in graded paper. The graded paper image will look crispy, and with a great tonal separation and contrast in the highlight areas.

-- Alberto Rodriguez (arobles@coqui.net), November 10, 2002.