Printing in My Darkroom - Part 2 (Making multiple prints)

In part one, I made a 20x24 print of an image called "Lady Art." It is made for a show I call "Homage to Photographers of Old." That particular image was in honor of Elliott Erwitt who was a photographer of juxtaposition.
After making that print I set up the enlarger to make 10 prints of Robert Cameron's "The Colorado River." This video shows how I "go into production" mode. The explanations that I put forth in these videos are basically how I used to train employees hired to work in the darkroom. Often, the people I hired were from off the street. They seldom had any darkroom experience. Those who graduated with a degree in photography were seldom placed in the darkroom. They worked better as a camera operator, like in the copy department.
I think this is because they learned mainly how to operate a camera and were not trained to work in a darkroom as a production printer. My guess is that those who worked in a press room, like a newspaper darkroom, would fit the bill better.
In any case, I make ten 20x24 prints (once I zero in on the exposure) in a matter of about 45 - 50 minutes. I do not stack prints in the developer as this does not provide good agitation. This is especially important once you get to the fixer tray. Complete fixing is necessary in order for prints to last many years without tell tail signs of staining in years to come. This is why I process one print at a time, It is the best way to achieve true archival processing.
Once, I was asked a question by a viewer. I told him that my brother and i were the only ones that I knew of, who could print one each 8x10 from 45 negatives in an hour's time. The employees we hired were never as fast. He told me he didn't believe me. The client was the US government and they only paid us $1.05 per 8x10. So at that rate we had to print fast. Of course, we had a voltage regulator in the darkroom which allowed us to make 2 second exposures consistently, and we didn't change size so the enlarger was fixed at one setting. The customer didn't care much about color balance; the density had to be correct. And there was not cropping. That was why we were able to print almost one print per minute. Also, we used a processor to process the color prints after printing. The viewer didn't believe me because he was comparing how one was taught to print in a photography class as opposed to in a commercial color lab.
In any case, this is how I work in my darkroom to make fine art 20x24 prints in a "production mode."

[@Mark-el8sb]

Thanks for the video, and the useful insight on how to test the stop bath and fixer!

[@andreascaveman]

Thanks! This is really great stuff! I learned a lot from this!

[@jbmia.]

Love it ! Much appreciate your continued sharing sir.

[@user-ti9zc1xv2b]

A master at work, thank you for this calmin video.

[@gerardodalchielelueiro6818]

Hi Tim this video was excelent as all you made What a long experience have you and I am very tnkfull with your in order you share these

[@fbraakman]

What concentration hydrogen peroxide and ammonia do you use for the hypo eliminator? Is it just store bought? I read somewhere that 3% table salt also works. Apparently sea water was used during WWII. Great video.

[@TaiChiBeMe]

16 oz. of ammonia and 16 oz. of hydrogen peroxide added to 96 oz of water to make one gallon. It lasts for at least 400 8x10 fiber based prints.

[@InFromTheLight]

How do you keep your fingers free of chemicals when going between trays and the enlarger?

[@TaiChiBeMe]

Oh, I don't worry about that. I've been in the darkroom so long that I simply wash mu fingers with soap and water every so often, esp. after I've picked something off the floor. BTW - Ansel had his body tested (after he died, of course) for chemical residual. He was mainly interested if his body was contaminated with selenium. They found that his body was free and clear of photo chemicals.

[@InFromTheLight]

@@TaiChiBeMe Thanks, i see from your response you wash up. It looked on the video you were going from wet to dry and somehow not contaminating the dry side. I too get my fingers wet. Thank you for posting this series, I have learned a lot on masking and now with a bit of practice it is no longer beyond my skillset.

[@timihall930]

@@InFromTheLight BTW - I always make my prints with large borders Stains occur where the tongs grip the prints and that area is trimmed off after I flatten the prints.