So. . . everyone has their preferred brands, methods, techniques and such. I have mine for sure. As Fred Picker said, “if you have been around for twenty years or more and haven’t formed any opinions, what have you been doing?” I miss Fred!
There seems to be a lot of paper developer formulas floating around. My wife and I have tried our share of so-called ‘magic’ formulas. We have been down the Amidol road, and don’t get me wrong, Amidol is a great developer but it is far from magic. Amidol is about the best I have found for Azo. Yes we do print on Azo, in fact, we have a stock of it on hand. I would just like to go on the record as not being a person that subscribes to the idea there are magic bullet formulas. There is what works for you and that can be anything that suits your way of seeing. Anyone that has a one-size-fits-all attitude, usually has something to sell.
We have had our frustrations with Amidol developers. And I am not convinced that it is the best, certainly not the only, developer suitable for Azo or any other paper. In a side-by-side test my wife and I determined that Amidol was our developer of choice several years ago. There is a subtle edge there that is not something you can put into words, but there is a difference we decided worth exploring. But Amidol is expensive and can be frustrating to use at times. Yes, we have tried all of the popular formulas. I have just not been too impressed with the results I have obtained at times. What I was searching for was a cold-tone developer. Not only for Azo, but for the other printing papers we use. At times Amidol was still giving a green cast on Azo. Not bad but annoying and required lengthy toning in selenium to offset. I like a cold, neutral tone for most of what I print and the Amidol formulas just wasn’t consistent enough for me. I was not happy with how things were working. It was time to do some research.
I found a lot of interest on the Internet about a Pyro base paper developer formulated by Donald Miller. Mr. Miller named his developer Pyro Plus Paper Developer (PPPD) and after reading about this formulation I was inspired to give it a try. Believe me it takes some inspiration to get me to try something new, but I was frustrated with Amidol and I needed some good news for a change.
From all of the discussions about PPPD I found one thing was clear; there were numerous variations to the formula. The original published formula called for both Pyrogallol and Pyrocatechol. Now this is where things get a little confusing. I don’t recall where I found the particular variation that I tried, but there was a suggestion from somewhere to replace the Pyrogallol with Citric Acid. Not sure where I found that, but that was the formulation that I first tried.
From what I gathered, adding the Pyrogallol and changing the amount of Potassium Bromide makes a more warm-tone developer. I was not interested in warmer, I wanted a cold, neutral developer. To my surprise the variation I tried worked very well. It more than met my requirements, and so far, has yielded very neutral cold tone results on the Azo we have on hand. No more green tint, just what I wanted! It has also proven to be excellent with all other papers we use. And, for those that are economy minded, Pyrocatechol is much cheaper than Amidol.
PPPD keeps very well in an open tray once mixed, but should be dumped at the end of a printing session. I have never had it to die in the tray from oxidation. It does die from exhaustion, just like most any other developer. I would estimate that after about twenty 8×10 prints per liter, you should start looking to mix some fresh developer.
This particular formula also keeps well as a premixed two-part stock solution. Part ‘A’ is mixed 1:1 with part ‘B’ for use. I found that by mixing one liter of both part ‘A’ and part ‘B’ and storing it in full brown glass bottles it keeps at least six months. At least at this point in my experiments that is as long as I have stored the stock solutions. I keep three to four one liter bottles mixed and on the shelf in the darkroom. When we go to print, you just dump a bottle of part ‘A’ and part ‘B’ into a tray and away you go.
I really like this developer and my wife is using it also. So if I am asked what developer I am using, I say now days it is my variation of Donald Miller’s PPPD. My bottles are marked PPPD-JBH for my personal favorite formula.
Oh. . . almost forgot. . . I guess if you have read this far you are interested in the version of PPPD we are using. Here is the formula that we have found to work very well with every paper we use, including Azo. Maybe it will work for you. . . maybe not. The only way to find out is to, as Fred Picker would say, “TRY IT!”

Please note that this developer contains chemicals that could be hazardous. Practice safe handling procedures when mixing chemicals. Wear gloves or use tongs when working with PPPD. In fact, it is a good idea to wear gloves when using any print or film developer.
Keep in mind this is a cold-tone developer. If you search the Internet you will find more information on other variations of the PPPD formula. Supposedly adding Pyrogallol and varying the amount of Potassium Bromide makes this a warm-tone developer, but I have not tried it, since I was not interested in warmer print tone.
I would like to personally thank Donald Miller, and all the others involved for laying the groundwork and publishing this formula, and its numerous variations, for Pyro Plus Paper Developer. Anyone wishing to experiment with PPPD, or seeking more information, try an Internet search for Pyro Plus Paper Developer.
Here you will find the original Pyro Plus Paper Developer formulated by Donald Miller;
http://unblinkingeye.com/Articles/PyroPlus/pyroplus.html
JB
March 15, 2011 | Categories: Darkroom, Formulas, Photography | Tags: Amidol, Film Photography, Fine Art Photography, JB & Susan Harlin, Pyro, Pyrocatechol, Staining Developer, ULF Photography | Leave A Comment »
ONLY A LIGHT-TIGHT BOX
-Fred Picker- Discussing his experience with the Ansel Adams Workshops.
Zone VI Newsletter, Number 39, June, 1984, p. 5
A camera is just a tool. . . a thing. It is only a light-tight box that holds the lens and film. It is no different than a carpenter’s saw, a painter’s brush, a pianist’s piano, or a sculptor’s mallet and chisel. Any of these tools in the hands of the inexperienced will create little more than noise or a mess. Likewise, in the hands of a beginner, the camera is no more than a thing. In the hands of an experienced photographer is becomes a tool for creating art.
If you want to become a photographic artist the first goal is to become an accomplished master of the equipment. But, how do you get there from here? It starts with ambition and drive. Like any skill, you will only learn, and become a master, if you are dedicated. The mechanics of photography are not difficult to learn. It does take time and determination to get there, but it is not an unachievable task. You just have to have the desire and drive to work through the process of learning how best to use the tools.
Think of when you were a kid and you thought that taking piano lessons was a great thing to do, since some of your friends were already enrolled. Then after a while you get the usual threats from your parents to get in there and practice! You get the customary, we bought you that expensive piano and are paying for lessons, so get to work. Truth is, you really didn’t want to learn the piano in the first place. It was just something you thought would be neat. If you really wanted to learn, your parents would have to be lecturing you about spending too much time with the piano and limiting your keyboard time.
It is that drive. . . that obsession with learning that makes for the great artist. You have to eat, sleep and breathe photography to be really successful. Just a casual interest will lead to little more than a few casual photographs. Or, maybe you are just obsessed with the hardware. Maybe you would be better off collecting and trading equipment. There is always that possibility that the light-tight box is your obsession and not the photograph. Only you can make that determination.
That Light-Tight Box is just the camera. . . a tool to be used in the creation of your art. I hope that you learn to use your tools to your best advantage! Invest your time wisely. Learn the tools of your chosen craft well. Do not stumble around in the dark, it belongs inside the camera.
JB
March 31, 2011 | Categories: Commentary, Photography | Leave A Comment »