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UPDATE: JUNE 2021: KEEP IT SIMPLE. USE DEKTOL

NOTE- if you’re PHOTRIO, or Large Format Forum registered, you may not use this material. Please, leave this site now! thank you. https://webionaire.com/2023/09/17/drew-wiley-photrio/

WHY exclude you?

in the aggregate, they are destructive; limited vantage points coupled with faltering egos means they reject far too many options — they do not grow others; they diminish them, so that their stature isn’t threatened.

Taking from here, is not in the big interest. If I wanted the information posted, I, too, could free load post there. I have tried. The fight would have absorbed more than I could gain. Others have tried; they also abandon the effort — redirect their time toward their work. The forums are not intended, not in founding, not in managing, to advance skills of craft, concept — they serve as idle chat where middle skill hobbyists jockey to impress unskilled googlers —

If you print little (less than 500 prints/yr), or infrequently, LPD may not be worth the cost or effort. Dektol is a good product that has served the clients of most of the worlds greatest printers.

What do I use: Ilford Bromophen, Foma PW, Moersch Catechol

Official contents information has changed in the past 40 years. Now, it is a secret.

ALTERNATIVE:

Ethol LPD dilutions

LPD — lasting paper developer. LPD is sold in two forms: powder or liquid. I have always used the powder, mixing it to stock and using, mostly, with replenishment. The stock seems to last for years, while the working dilution can be used for days or weeks with replenishment. This is the developer to use if you want something that you can put hundreds of prints through without change in density or image tone.

It also is a developer that readily adjusts paper tones. Not as much as changing emulsion, but you can certainly tune for tone. Once you get what you want, you can keep printing through the entire box of paper.

The above chart is based upon the POWDER form of LPD. Recently, I bought the liquid form – mainly as confirmation that it would satisfy a friend who is afraid of powder chemistry in her house. It works, and works well. With my first set of tests completed, I’d say it could be used instead of the powder form. I don’t have any way of estimating how long the liquid in a bottle will last as compared to the powder in a can. Instinct says the powder will store longer. But then, instinct isn’t knowledge.

Between Forms: The liquid is more concentrated, meaning that a 1+4 mixture for the powder form should become a 1+8 mixture if starting with the liquid LPD.

Reminder: LPD (like dektol) contains hyroquinone, meaning that developer activity slows quickly, and noticibly below 68degrees. Try to keep your print developer at 70 degrees or better.

If you don’t print much, then you don’t need LPD. Use good ole Dektol. Or maybe a liquid developer made by your paper maker: Ilford, Adox, Foma.

Replenishing

Any replenishing is an effort to maintain a process in a balance, usually to save some effort or expense. Since LPD is stable and long lasting replenishing seems almost a wasted effort, yet I do replenish. I have a bottle of ‘muddy river’ that is over 5 years old. My replenishment practice is based upon maintaining a level in the tray, draining prints to the drip point, and adding refresher solution made from fresh LPD. I also keep tight fitting lids on my trays, covering them even during a session when not using that chemical (developer/stop/fix) This comes from my early years as a dye transfer printer.

Ethol Direction Sheet

Originally (1975) Ethol attached a paper to the cans, it was Bulletin 8K. Not anymore. If you need numbers, approximately 30 prints (8×10) (15 11x14s) need 300ml of replenisher. The replenisher is made from the original stock mixture. When making the stock solution divide into 2 separate gallon jugs – one is ‘work’ the other is ‘replenisher’ — since I use LPD at 1:1 working strength I mix the ‘R’ jug 1:1. Just since buying the liquid LPD, I am using it as my replenisher, so mix my ‘R’ at 1:2 for replenishing my working tray.

In a typical session I make between 30 -50 11×14’s … I print a lot.

This is my ordinary printing volume. A reason for using LPD

My Procedure

The developer tray is oversize- 10×12 and 5 inch deep. I put 2 liters of LPD into this tray. It has a tight seal lid which is in place when I’m not souping the paper. Generally, I soup one print at a time.

At the end of the developer time, I drain the print till it drips. Then stop bath, and fix. I have timers for developer, for fix, and wash. 3 separate timers. I wash in 3 separate trays made from plastic tubs. Intake water is through jets of water; water flows by pressure siphon from the bottom of the tanks.

I know how many prints have been processed, because I put 25 sheets of paper into a safety bag (labeled) and in a paper safe (also labeled). Also, as the prints are finished washing, they are dried. Pretty easy to count the stack on the drying racks or table. After 15 (11×14)s have been through I replenish by 200ml (sometimes more)

At the end of a print day, I pour the developer into a 4 liter clear plastic measuring tank; bringing the level of developer up to the original 2 liter mark by adding replenisher. The amount used is marked on my wet-room blackboard.

The net is called democratic – everyone participates, hypothetically, with equal input and value. In a propertied, unequal society that cannot last. Distinctions happen. Differences will occur, then accrue. An eddy becomes a puddle which becomes a pond. Upon that pond frontage land will be sold. The For Sale signs arrive. The net was never democratic, just unsettled. An arc isn’t enough of a story.

A change in media provides a jump ball, a reboot. Shoots after the fire, masons amidst the rubble. The first onto the mound aren’t the ones that will find the best salvage. That comes later, after the digging is easier.

Before silver turned gold, when Ansel was king, photographers gathered in small groups, usually around a school. The called themselves ‘workshops’ ‘foundations’ ‘works’ ‘communities’ and they produced ‘dialogues’ ‘studies’ providing ‘residencies’ ‘internships’ — those that survived did so because of the efforts of very few people. Phil Block was one of those people. He and Tom made a place where photographers could work, show, exchange, and stay awhile.

They provided Mike and Larry a virtual home for some of their work. The Billboards, for a short time spread across Central and Upstate New York. Names were used by most artists; always has been important in a checkbook and grants way. The railroads standardized time, the University Appreciation courses standardized on names, even naming styles and periods… good to have a noun as answer. A Proper answer.

Both Mike and Larry sought name/fame. That was and is the only pathway to pay, either through school or gallery. Ralph Gibson visited the institute (SFAI) with boxes of his books for sale. self publishers have to be self promoters I traded prints for books. I made prints,not money.

da Net Effect

Crossings are not easy. Filling out a blank page isn’t easy. Most people have difficulty with multiple choice so never attempt to fill a blank page. It is easier to link than think.

The people who wrote a little,and were able to publicize that, to link themselves to followers have gained the ARC of the online world. In less than 8 years we have acquired a new set of standard leaders. They now offer critiques, for dollars; set publishers standards ,for dollars. They are the turnstile at the bridge. And they got there because they claimed it. Just as Phil and Tom did. The difference between eras is that now, the online personality factory does it for their own gain; their own brand; their name.

Tom and Phil are just two of about a dozen people who built organizations and shared them readily. You didn’t have to pay them anything. Maybe that is why in this age you don’t know them.

Current celebrity art leaders didn’t build the road, nor the tools, they merely used them. Their website was built using free tools and borrowed ideas. They sought brand name and contribute more to the cult of celebrity than to that of creativity.

Gaining name is a goal: a person becoming a personality. being a branded property. They, as art leaders would say they are different than Paris or Donald. They may be but in what aesthetic sense? Their goal was financial success; theirs.

Were We Were

At the beginning, that wasn’t the story told around our campfire. Everyone got warm or no one did. Those who wanted fame the most, got it – what little good fame has done, it has been for them.

Phil went on to ICP where he became Uncle Phil. Thanks for the camera Phil.

a Block.

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