Pst Fixer

[Berniece Leonhardt]

Afixer is someone who carries out assignments for or is skillful at solving problems for others. The term has different meanings in different contexts. In British usage, the term is neutral, meaning "the sort of person who solves problems and gets things done".[1] In journalism, a fixer is a local person who expedites the work of a correspondent working in a foreign country. Use in American English implies that methods used to conceal their clients' identities or potential scandals are almost certainly of questionable morality, if not legality.[2] A fixer who disposes of bodies or "cleans up" physical evidence of crime is often more specifically called a cleaner. In sports, the term describes someone who makes (usually illegal) arrangements to manipulate or pre-arrange the outcome of a sporting contest.

Fixers may primarily use legal means, such as lawsuits and payoffs, to accomplish their ends, or they may carry out unlawful activities. The White House Plumbers have been described as fixers for Richard Nixon; their methods included break-ins and burglary.[3] Fixers who specialize in disposing of evidence or bodies are called "cleaners",[4] like the character of Victor "The Cleaner" in the film La Femme Nikita, or the fictional Jonathan Quinn, subject of the Brett Battles novel The Cleaner.[5]

In Britain, a fixer is a commercial consultant for business improvement, whereas in an American context a fixer is often an associate of a powerful person who carries out difficult, undercover, or stealth actions, or extricates a client out of personal or legal trouble.[1][6] A fixer may freelance, like Judy Smith, a well-known American public relations "crisis consultant" whose career provided inspiration for the popular 2012 television series Scandal.[7] More commonly a fixer works for a single employer, under a title such as "attorney" or "bodyguard", which does not typically describe the kinds of services that they provide.

In sport, when a match fixer arranges a preordained outcome of a sporting or athletic contest, the motivation is often gambling, and the fixer is often employed by organized crime. In the Black Sox Scandal, for instance, Major League Baseball players became involved with a gambling syndicate and agreed to lose the 1919 World Series in exchange for payoffs.[8] In another example, in 1975, Boston mobster Anthony "Fat Tony" Ciulla of the Winter Hill Gang was identified as the fixer who routinely bribed jockeys to throw horse races.[9][10] Other insiders may also be fixers, as in the case of veterinarian Mark Gerard, who, in September 1978, was convicted of fraud for "masterminding a horse-racing scandal that involved switching two thoroughbreds" so that he could cash in on a long-shot bet.[9]

In journalism, a fixer is someone, often a local journalist, hired by a foreign correspondent or a media company to help arrange a story. Fixers will most often act as translators and guides, and will help to arrange local interviews that the correspondent would not otherwise have access to. They help to collect information for the story and sometimes play a crucial role in the outcome.[11] Fixers are rarely credited, and often put themselves in danger, especially in regimes where they might face consequences from an oppressive government for exposing iniquities the state may want to censor.[12][13]

A map based on publicly accessible research data shows a visual representation of data collected from various studies conducted on both fixers and their journalist counterparts from over 70 countries. Gathered from the Global Reporting Centre, the survey demographic map had 132 respondents from North America, 101 from Europe, 23 from South America, Africa and Eurasia, 63 from Asia and 9 from Australia.[15]

Numerous films and several songs have been named The Fixer. As a genre, they illustrate the different meanings of the term. Most commonly, they refer to the kind of person who carries out illicit activities on behalf of someone else. For example, the 2008 British television series The Fixer is about "a renegade group acting outside the law to bring order to the spiraling criminal activity in the country".[16]

ILFORD RAPID FIXER is a non-hardening, easy to use, rapid fixer. This versatile chemistry is supplied as a liquid concentrate and is suitable for all black & white film and darkroom paper fixing in both manual and machine processing applications.

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I am just getting round to sorting out my darkroom and thought I'd give it a test run now the power was in. The first thing I wanted to test was that the old paper I was given still worked, if only for testing even if not final prints. Freshly opened I developed an unexposed piece and all was well. I then made a few test contact sheets and although overexposed because I didn't eyt know the speed of the paper, all developed well.

I then made a couple of test prints, which looked fine in the darkroom but having removed them and seeing them in normal light, the edges of the paper had brown discolouration. The test contacts I had made previously were perfectly fine.

Now I know the paper is old so there's a possibility it is this, but given that the top sheets of paper, which are the most likely to have reacted with the packaging were fine, this seems less likely than I first thought. There's also the chance of the fixer getting exhausted, and I'll have to check this at a later date.

The main difference between the test contact sheets and the prints I made was that because I knew I was throwing the contacts away I didn't leave them in the fixer very long. Being an amateur who has only had a few evening classes in the darkroom I was under the assumption that fixer is harmless, and the longer you leave the prints in the fix the better, so that is what I did for the prints. Given that it is Ilford Rapid Fixer I have they were in there for long over the recommended time, which I had assumed was a minimum for safe fixing.

The answer is yes, although you must have left the prints in the fixer for quite a while to see the staining immediately. It's usually something that creeps in over time. It may be the case that your paper has oxidized from the edges inward before you used it, but you can check that by simply wasting a sheet and processing it "by the clock" (without exposing it, so you can eliminate as many variables as possible).

The length of time in the fixer isn't super-critical or anything. It's only the developer that you've got to get bang on; the stop bath and the fixer are (as you surmised) more or less a meet-the-minimum sort of thing. But the fixer is reactive, and for prints that are meant to last more than a very short time, it's something you want to get rid of. Otherwise you'll get that loverly yellow/brown patina of age in a hurry without the bother of toning.

In a typical "intro to the darkroom" course, you'll be shown the things that are necessary to make magic happen -- straight develop/stop/fix. And if you were shooting old-tyme news photos in the Weegee style to get something to the prepress guys, that's all you'd need. But if you want prints to last for any time at all, there's still a step to go, and that's to get rid of all of the residual chemistry (mostly the hypo/fixer). Your prints need at least a wash in running water -- how long depends on whether the paper is fiber-based (long time -- typically five minutes or more) or resin (shorter, since the "paper" itself doesn't absorb much and you only need to "clear" the emulsion). A hypo-clearing rinse (compatible with your fixer, of course) before the wash can speed the process up considerably.

An "archival" print washer is fairly cheap and easy to make if you can't pick one up cheaply enough. There are several DIY solutions online -- just search for "archival print washer". Both the "cascade" and the "upflow" desgns are effective; pick whatever looks easiest to make to you.

Nowadays, the rapid fix formula is almost exclusively used. Because its activity is very energetic, films and papers left in the fixer, particularly when fresh, begin to attach the silver that comprises the image. This effect is more prevalent with fine-grained films and the tufts of silver are petite.

Kodak recommends that their rapid fix be diluted with water for use, three parts water for film and seven parts water for paper. This is because photo papers contain about half as must silver as compared to film. This is because prints are viewed by reflected light. Light from a nearby lamp plays on the paper print. This light traverses the emulsion, hits a undercoat consisting ofbarium sulfate (baryta). This reflective layer redirects the illuminating light so it again traverses the emulsion. In other words, the viewing light makes two transits thus the amount of silver needed to form an image is reduced. Thus prolonged fix soaks effect paper prints to a greater degree than film.

I take the cut off leader from the film and run a quick test with fixer before processing the roll. I put developer, stop, fixer, and multiple rinse in beakers ready to pour in the tank. So just dip the leader in the beaker of fixer and time how long it takes to clear. (I also run the fixer through a filter funnel to fill the beaker to get rid of precipitants.)

Hi, on the ilford photo website there's downloads available for each product, and that's where it tells you the life span of each one. I think it says the Rapid Fixer can be used for 24 rolls of 35mm film.

It was the first of many times I received invaluable help and insight from fixers, the resourceful, well-informed locals who assist foreign correspondents. Most in this region are fluent in Arabic and many are aspiring journalists.

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