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PyroTechnics Plus:
Formulating a New Developer
by John Wimberley
The first time I used pyrogallol was unforgettable. During lunchtime
on a hot summer day in 1970, I left work and climbed a hill nearby
to expose some test negatives. That evening, I tray processed the
4x5 Plus-X in Kodak D-1 (see Formula 1), a classic version
of “ABC Pyro.” When I turned on the light, what I saw
made my heart pound. The negatives were beautiful: tones were spectacularly
differentiated throughout the density range, especially in the
highlights. And what sharpness! I knew I’d finally found
my developer.
For several years, I had experimented with virtually
every film developer on the market. None had given me the results
I saw in
my mind’s eye. Then I came across a copy of Ansel Adams’ The
Negative, where he wrote, “Pyro developers (pyrogallol, a.k.a.
pyrogallic acid) as a rule produces a “stained” image,
which augments the printing contrast of the negative. Pyro with
less than normal alkali produces fine translucent high opacities.
It’s an excellent developer—perhaps the finest in many
ways—but its action is not always consistent; the amount
of stain produced depends chiefly on the degree of oxidation of
the solution. This oxidation varies with the concentrations of
pyro, sulfite and alkali in the solution, and the time the solution
has been used and exposed to air. Yet many workers feel that the
results from pyro outweigh its inconsistencies—not the least
of which is the unpredictable amount of stain, further modified
by the printing or enlarging-light color.”
My initial test confirmed that pyro was very special,
but further testing also validated Adams’ reference to pyro’s inconsistencies.
Since it was formulated for the films and plates of an earlier
era, ABC Pyro also reduced effective film speed by half. It took
seven years of research and testing to solve these problems.
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