Safelight Hours

Old cameras, black-and-white film, and a bathroom that turns into a darkroom at night.

The Exhausted Fixer Lesson

May 18, 2025 · 3 min read

Three prints from February have gone yellow in the margins. Not dramatically, but the white borders that were clean when they dried now have a faint straw tint, and the highlights in one of them have a brownish cast under daylight. These are prints I liked enough to put in frames, which is how I noticed. The cause, after some reading and one unpleasant realisation, is exhausted fixer.

Fixer dissolves the unexposed silver halide out of the paper so that it cannot darken later. It has a capacity, measured in prints per litre, and when that capacity is passed the fixer still looks and smells the same but no longer clears the paper completely. The residual silver compounds then slowly react with light and air and turn yellow or brown. In February I was reusing a litre of working-strength fixer across three sessions and perhaps forty resin-coated prints, well past what the bottle said, because it seemed wasteful to pour it away.

There is a simple test that I should have been using all along. A drop of the fixer on a scrap of unexposed, undeveloped paper should clear it to white within about a minute; if it takes much longer than twice the time of fresh fixer, the fixer is done. I tested the remains of the February bottle and it took nearly four minutes. Fresh fixer took fifty seconds.

Changes since then:

The three yellowed prints cannot be rescued, as far as I can tell. I have reprinted two of them from the negatives and the third negative has a scratch I had forgotten about, so that one stays yellow as a reminder. The negatives, fortunately, were fixed properly in a different bottle, and are fine.