I printed an image on Ilford Multigrade brilliant glossy fiber and it looked great through the developer and the stop. When I put it in the fix it went instantly darker. I have no idea why. Any ideas?
It does that... just keep it in mind during the development.
I'm sure someone can give you a more technical explanation, but when you put it in the fix, it clears away all any area that is not fully developed. If you turn the light on (don't do this with a final print), and insert it in the fix, you can see how the print "clears" itself in the fix.
I often find that my blacks in the print don't look truly black until they are in the fix... and if I have a print in the wash tray while I am developing the next print... the one in the wash looks noticeably darker.
Seconding what Suzanne said. I believe the term used by Tim Rudman is called 'fix-up' It refers to the fact that prints go darker in the fix and can change the overall image color quite considerably.
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I agree with Suzanne,
as well in my darkroom I have mixed different safelights and I always thought that that may be part of the darkening in the fix thing.
Near the Dev is a red safelight and near the fix is a yellow thompson.
Quote:
Originally Posted by SuzanneR
It does that... just keep it in mind during the development.
I'm sure someone can give you a more technical explanation, but when you put it in the fix, it clears away all any area that is not fully developed. If you turn the light on (don't do this with a final print), and insert it in the fix, you can see how the print "clears" itself in the fix.
I often find that my blacks in the print don't look truly black until they are in the fix... and if I have a print in the wash tray while I am developing the next print... the one in the wash looks noticeably darker.
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Yes, if you learned to control print tone by observation.
Like being able to tune a violin by ear instead of a meter.
Ilford's MG, a great paper otherwise, rewards time and temperature workers.
If you varied the ratio of exposure and development to fine tune the image,
that no longer works; it penalizes a traditionally skilled craftsman.
Don't make too much of it. Reserving final judgement for white light doesn't mean you can't observe the process. I just don't fully trust any final judgement other than under bright full spectrum light.
I printed an image on Ilford Multigrade brilliant glossy fiber and it looked great through the developer and the stop. When I put it in the fix it went instantly darker. I have no idea why. Any ideas?
I can't say that I have ever noticed this. But I develop my prints to completion, so there is no exposed, but undeveloped halide to veil the image.
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Steve
"You don't need eyes to see, you need vision" - Maxi Jazz
Don't make too much of it. Reserving final judgement for white light doesn't mean you can't observe the process. I just don't fully trust any final judgement other than under bright full spectrum light.
C
This is great in theory, and great if that is how the print will be viewed.
More than likely, however, prints, whether in albums, galleries, or books, will be viewed under low-intensity tungsten light most of the time.
Results in common viewing light (dim 2800K) after working on the prints in "proper" viewing booths (bright 5000K) were always disappointing for me; especially with color prints. Once I stopped using a viewing hood in favor of household tungsten lamps, my prints improved dramatically.
Print goes instantly darker in fix 
Linear Mode
