We always process a test roll or a clip prior to developing a batch of
our clients film to ensure negatives with the most suitable contrast for printing.
All film is hand processed in deep tanks and we are happy to discuss
particular film developer requirements.
Polaroid negatives can also be cleared and washed.

We print on a variety of fibre based papers depending on the suitability of
the image, consultation with the client and the eventual use of the print;
whether for reproduction, folio or exhibition. Paper and developer choice
determines the tone of the print from warm to cool and most brands of
paper can be used. We are very conscious of archival requirements
expected by our clients so all prints are fully washed and an additional bath
of Hypo Eliminator is used during washing as part of the standard process.

This characteristic process occurrs with certain photographic papers
which can print with varying contrasts and warm colours when developed
in dilute lith developer. A typical Lith Print has strong, contrasty shadows,
bright highlights and compressed mid tones usually with a reddish brown
colour depending on which paper is used. However exposure and
development can alter the tonal appearance of the print drastically.
Soft, muted tones are possible through overexposure and under
development while a print of hard, biting contrast is achieved through
over development.

A distinctive process which occurs when a negative or print is re-exposed
to light during development. The second exposure changes the tonal range,
often resulting in a soft dark outline (known as the Mackie line) dividing
the highlghts and the over-exposed, reversed shadows.
We are able to make solarized negatives from existing negatives.
Please call to discuss particular requirements and negative suitability.

We offer the following range of toning services:

See Selenium

A ferric iron toner which gives a variety of blue tones on all papers,
from slight metallic to a vibrant royal blue. It combines well with Thiocarbamide
(see Multiple Toning) however, it is not recommended if archival permanence
of the print is required. (see Gold Toning)

Based on a Gold Chloride solution, this toner is known for its archival qualities
and for cooling and intensifying the tone of the print. Its results are usually subtle
though effective, however the tones available when used on Forte Polywarmtone
vary from a metallic grey to a beautiful soft shade of blue. This combination is
usually recommended when archival blue toned prints are required.
It also combines well with Selenium or Thiocarbamide toned prints.
(see Multiple Toning)

A greater selection of colours and effects can be achieved by using
two different toners subsequent to printing. A Thiocarbamide followed
by Blue has a wide range of possibilities depending on the extent of
bleaching, the colour of the initial Thiocarbamide toned print and the
intensity of the Blue toning. Results range from split brown / blues in
the highlights and shadows respectively to strong green tones if the
toners are taken to finality. Thiocarbamide followed by Gold is used for
red, orange and gold tones again variable by the intensity and depth of
the two toners. Gold over a Selenium tone offers different splits of red and
blue while Thiocarbamide after Selenium can combine to give red and browns.

Selenium toner can give varying results depending on the paper stock used.
Most papers shift towards purple reds, especially warmer emulsions which can
also be split toned. The toner is also used in a very weak solution purely for
its archival properties and for enhancing the tonal qualities of the print.