</span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (OleTj @ May 12 2003, 05:51 PM)</td></tr><tr><td id='QUOTE'> I was kind of hoping Les McLean would show up here... He has some beautiful examples in his book. He even shows the same negative (well - three different frames with the same exposure) developed in three different developers. No difference in the &quot;spillover&quot; from what I can see&#33;

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The examples that Ole refers too are;

Compensating development, where a normal developer is very much diluted and development extended. Bruce Barnbaum uses this for many of his interior or slot canyon photographs. In the example in the book I didn&#39;t feel that it was too successful.

Pyro development, better than compensating but still not my ideal answer to the problem.

Tetenal Neofin Duku, a genuine soft working film developer which achieved what I set out to do, that is, produce a very soft negative both to deal with high contrast and to help me make the soft delicate print I visualised.

To be fair in answering the problem that Aggie has presented us, I think that the examples Ole referred too are somewhat different although I would still be tempeted to use the soft working developer and compare the results with Pyro development and I believe that the soft developer would produce a better result. I am not knocking Pyro but for me the jury is still out on the benefits of using it exclusively. I intend to spend some time working with it now that my house move is behind me, but at the moment I reserve judgement.

Aggie particularly said in her post that she wanted to solve the problem using film development only and not in printing. Can you tell us why Aggie? Perhaps you only wish to make digital images from the negative and don&#39;t have the luxury of making a traditional silver print. I think there are situations in traditional silver photography where problems are solved by using a combination of techniques and this is one. I don&#39;t believe there is a developer available or even invented that will deal with the problem of flare that Aggie has described and had to deal with when exposing the film. Consequently we have to use a developer that we believe in but also plan how we will sort the problem when we make the print. This is all part of the previsualisation process. We all have our favourite developers that we trust and know and that should be the starting point and then go on to try different solutions suggested by other photographers only when we cannot achieve the result we wish using ur own favourite methods. One of the great strengths of a forum such as this is that we have a group photographers who willingly share experience and ideas and we are almost certain to eventually arrive at the answer.

My solution to the problem would be to use the soft working developer to help minimise the flare, at the same time recognising that the problem is only part solved. In the darkroom I would make the print on VC paper and when I&#39;d produced the contrast and tonality I wish in the remainder of the print I would burn in the window using a number 5 filter and then post flash it as described in the book, page 135 Entrance Antelope Canyon, and page 137 Slate Quarry. Both negatives display the intense light that Aggie describes.