bonatto
looking out
Just got a fresh batch of papers in and was hoping you guys could shed some light before I break out the trays.
I intend on making an 11x14 print.
I am familiar with the process of strips to dial in the exposure/dev, so that's not a problem.
My question is, if I make a proof print on 4x6, with correct exposure for that size paper/distance for light source-paper, will I be able to accurately gauge what I'll need to dodge and burn on the larger print?
I intend on making an 11x14 print.
I am familiar with the process of strips to dial in the exposure/dev, so that's not a problem.
My question is, if I make a proof print on 4x6, with correct exposure for that size paper/distance for light source-paper, will I be able to accurately gauge what I'll need to dodge and burn on the larger print?
--s
Well-known
in the long run, if you´re sticking to dark room work, i can recommend you to have a look at the heiland splitgrade controller (google this). it´s expensive, but it works.
the heiland company calibrates the system for many papers available, and the machine calculates the correct time and gradation for every shot.
i work with the heiland thingy for more 10 years now, and every time i switch the power on, it´s nothing but pleasure to use it. after having finetuned the machine to give results matching my personal taste, i don´t need test prints, 8-9 out of 10 pictures are just perfect.
the heiland company calibrates the system for many papers available, and the machine calculates the correct time and gradation for every shot.
i work with the heiland thingy for more 10 years now, and every time i switch the power on, it´s nothing but pleasure to use it. after having finetuned the machine to give results matching my personal taste, i don´t need test prints, 8-9 out of 10 pictures are just perfect.
RAZOR
Established
I find it easier to make a pilot print in the size I intend on printing. Determine your correct base exposure time for that size paper/enlargement then you will be better able to guage where and for how long your dodge and burn areas will be. This results in less paper waste and saves time in the long run as opposed to working up times for 4x6 and 11x14. Cut one 11x14 into 3rds for the test strips, one full size for the pilot and go from there.
Bill Clark
Veteran
I find that my best friend in the darkroom is the garbage can!
I make mistakes, I learn from them.
For each size of print I make I use a test strip first to determine proper exposure. That way the garbage can doesn't get full very fast with full sized paper, especially sizes larger than an 8x10! And it coasts less to throw away a piece of test paper rather than entire sheet.
Hope this helps you.
I make mistakes, I learn from them.
For each size of print I make I use a test strip first to determine proper exposure. That way the garbage can doesn't get full very fast with full sized paper, especially sizes larger than an 8x10! And it coasts less to throw away a piece of test paper rather than entire sheet.
Hope this helps you.
shadowfox
Darkroom printing lives
Interesting idea, 4x6 may be too small, but 5x7 pilot prints may work.
I record my burning/dodging plan as a sketch in a small notebook.
I record my burning/dodging plan as a sketch in a small notebook.
Moto-Uno
Moto-Uno
It has been my (limited) experience , that making test strips from anything other than
the actual size you intend to enlarge to is going to lead to an ever expanding garbage can!
By that I mean use your small test strips on an 11 x 14 projected image.
I was in fact doing my first 11 x 14 enlargements only last week and it became very clear the advantages of using larger negatives, something that wasn't as evident even on an
8 x 10 ! Peter
the actual size you intend to enlarge to is going to lead to an ever expanding garbage can!
By that I mean use your small test strips on an 11 x 14 projected image.
I was in fact doing my first 11 x 14 enlargements only last week and it became very clear the advantages of using larger negatives, something that wasn't as evident even on an
8 x 10 ! Peter
Pablito
coco frío
I have 45 years darkroom experience & have printed many exhibitions, etc.
The only thing you can determine from smaller prints is the contrast grade of the paper to use and the PERCENTAGE of base exposure time to add or subtract with dodging or burning.
I think 4x6 prints are a waste, if you want to get to know your negative by printing it smaller, print at least 8x10.
I suggest that dodging is almost always better than burning in and try to plan how you print each negative in the way that involves the most simple plan that gives the best result. So, for instance, don't dodge and burn if you can increase the base time and dodge only.
I do agree that when you move up to the bigger paper size, it's best to start with test strips in key areas of the image.
The only thing you can determine from smaller prints is the contrast grade of the paper to use and the PERCENTAGE of base exposure time to add or subtract with dodging or burning.
I think 4x6 prints are a waste, if you want to get to know your negative by printing it smaller, print at least 8x10.
I suggest that dodging is almost always better than burning in and try to plan how you print each negative in the way that involves the most simple plan that gives the best result. So, for instance, don't dodge and burn if you can increase the base time and dodge only.
I do agree that when you move up to the bigger paper size, it's best to start with test strips in key areas of the image.
Moto-Uno
Moto-Uno
I guess one of the things we've not mentioned here is suddenly one finds themselves using a considerable quantity of chemicals and paper that is used but once! Peter
Ronald M
Veteran
5x7 8x10 11x14 16x20 each require one stop more exposure from 35 mm. Open the lens one stop. Doubling the time will not work because of reciprocity failure. Been doing it this way for decades.
With a darkroom exposure meter, you can easily measure this if you account for the instrument thickness.
There may be some loss of contrast as you go up, 1/2 grade.
With a darkroom exposure meter, you can easily measure this if you account for the instrument thickness.
There may be some loss of contrast as you go up, 1/2 grade.
Fotohuis
Well-known
Another vote for the Heiland Split Grade system. it is suitable for beginners and profis.
Concerning the actual prices of photo papers you will be paid back in a few years too when doing more prints. The advantages, especially in fiber prints is enormous.
Concerning the actual prices of photo papers you will be paid back in a few years too when doing more prints. The advantages, especially in fiber prints is enormous.
Koolzakukumba
Real men use B+W
If you can get one 11x14 print that meets your requirements using a total of no more than three sheets then you're doing well (unless you're using the Heiland machine or RH Designs Analyser Pro). I'd suggest cutting your first sheet into four test strips. Use your first one with quite wide time segments by doubling each step, i.e. 5s, 10s, 20s, 40s, 80s. One of those is almost guaranteed to contain the "correct" exposure. If there's a bright sky to be burned in, do a similar test strip for that. If either of these strips is completely too light or too dark then use one or both of the remaining test strips to arrive at an approximate time. Check them carefully and make any contrast grade adjustments you think necessary.
Next, put a complete sheet on the easel and do another test strip with smaller increments, say 3-5s, around the time you identified through the earlier test strips. Then, on the same sheet of paper, cover the foreground and do another tighter test strip for the sky. When you develop that sheet you should have all the information you will need to make a perfect or near perfect third and final print.
I think that's a better way of working than using small prints and trying to scale everything up. Even using your approach, sometimes a print that looks OK as a 5x7 looks unbalanced as an 11x14.
Next, put a complete sheet on the easel and do another test strip with smaller increments, say 3-5s, around the time you identified through the earlier test strips. Then, on the same sheet of paper, cover the foreground and do another tighter test strip for the sky. When you develop that sheet you should have all the information you will need to make a perfect or near perfect third and final print.
I think that's a better way of working than using small prints and trying to scale everything up. Even using your approach, sometimes a print that looks OK as a 5x7 looks unbalanced as an 11x14.
Thanks guys!