Re: Drydown and other esoteric mysteries

[Tom Campbell <tcphoto@xxxxxxxxxxxxx>]

Peter De Smidt wrote:

(Quoting Barnbaum)

 As the developed silver grains bunch together more closely
> as the print dries and shrinks, the subtle detail will appear more
> prominently.  This intensity increase in the highlights during drying is
> the only "dry-down" effect I have ever observed, but I have not observed
> new detail appearing.

I agree with most of this post except this point.  I have seen detail
appear that was not visible "wet".  I also recall Ansel talking about
having to reprint an entire portfolio run of a print for this reason. 
Perhaps there are other factors as work to explain the difference
(paper, developer, ad infinitum) for, while I don't recall seeing any of
his actual prints, the reproductions show he obviously knows what he's
talking about.  So I don't "formally disagree", but have had other
experience.

I also am a little reluctant to recommend NOT using a reasonably bright
inspection light.  If you are working under a bright safelight (like the
Thomas), there is less dark adaptation going on.  Also, I usually turn
on the light before the second fix is completed to accomplish other
tasks while agitating, so by the time I get around to starting the
evaluation process, I'm in room-light mode.  I think the theory
presented is sound, but its practical application will vary with
environment and working procedures.

The emphasis is on "reasonable".  I use 100W soft c. 6 ft. from the
print, after first using room-light for an initial impression.

And, no final evaluation can be made until the print is studied under
light identical to that under which it will displayed.  The finest
prints are made taking that viewing environment into
consideration---admittedly, not always a possibility and there are some
darned good "one print fits all lights" halides hanging.

Good point to raise though.  I remember CONSTANTLY telling my students
not to judge prints under safelight.  Barring quantity bread-and-butter
stuff, I think that's something *every* good printer will agree on.  I
guess the "middle grounds" we choose are what makes for photographic
diversity.

Tom Campbell
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