In the last darkroom article, we talked about print basics, including dodging and burning. We all understand the benefits of dodging to lighten an area of a print. But what if you need much more specific lightening of an area?

"Storm"

Take this image, for example. "Storm" has long been one of my personal favorites, but I procrastinated in making the final print. I loved everything about it, except the way the girl blends in with the midtones of the sky. It would have been a stronger shot if I could have positioned her against a brighter section; however sometimes the moment just presents itself, and you take what you get. Still, it just didn't "pop" for me. I'd read about selective bleaching before, and figured it might be just what I needed to polish this print.

To begin, I made a good, solid base print on Ilford Multigrade Fiber Warmtone paper. Because I intended to bleach and tone the image, I put it through two fix baths and gave it a good rinse.

While the print was rinsing, I prepared my bleach. I planned to use Farmer's Reducer, which is traditionally used for reducing negatives. After mixing parts A and B separately, I combined very small amounts of each in a glass, and diluted it 1:10 with water. The active solution is only effective for about fifteen minutes, so it's important to use it right away.

I took the print out of the water and squeegeed off the excess. Using a cotton swab, I began working the bleach solution into the print. I used several applications, and after a few minutes, I saw no results. So, I strengthened the solution to approximately 1:5 and applied several more times. Still seeing no results (and being the impatient person that I am) I dumped the diluted solution, and mixed a bit at full strength.

After a few applications at full strength, I began to see some results. About ten seconds later, I had a completely white spot where the clouds used to be. Lesson learned: when using bleach, you must work very patiently with a weak solution, or you will be unable to control your results.

So, back to the darkroom to make another print. After washing the print, I began the bleaching process again, this time much more wisely. I used a 1:8 dilution and was prepared to work the print for some time. I kept a dish of water, and a dish of fixer next to me, as well as several cotton balls. I worked slowly and carefully, stepping back from time to time to examine my progress. When it looked like I was getting close to the desired result, I rinsed the area with a cotton ball soaked in water, which slowed the bleaching action. I decided the print looked nearly how I wanted it, and knowing how easy it is to overdo the bleaching, I decided to stop. I soaked another cotton ball in fixer, and swabbed the area to completely stop the bleach. I liked the result very much.

After rinsing, hypclearing, and rinsing again, I was ready to tone. I had decided to selenium-tone the print just until the tones began to split (with purplish tones in the darkest areas, and the rest of the print remaining B&W.) After four minutes in a 1:14 selenium solution, the print looked really nice.

A final rinse, hypoclear, and rinse, and I was done.

Being the mad scientist that I am, I decided to make one more print and bleach it the same way as before. I had read that interesting results could be attained by dunking the entire print in bleach after selenium toning. I had to try it. It took maybe twenty seconds in bleach after toning, and I had a deep, chocolate brown print. Very dramatic!

Again, finished off the print with a thorough rinse, hypoclear, and rinse.

For examples of extremely effective selective bleaching, take a look at Eugene Smith's work. His darkroom work is legendary, and he used bleaching techniques to incredible effects, particularly in his industrial images. All in all, I found bleaching to be very simple if done with a light touch and sufficient patience.

www.cheryljacobsphotography.com