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DARKROOM B&W PRINTING: IN BETWEEN CONTRAST FILTERS?


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Yesterday I was printing a photo and I found the #1 1/2 filter was not enough contrast, while the #2 was too much? At least with this given negative it seems like a large difference. I thought I could try half the exposure with each? Has anyone had a similar problem and done that, or found other solutions?

Richard

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In the old days, paper came in 1, 2, 3, and 4. That was supposed to be enough.

 

VC filters usually come in half steps, or maybe 1/3 steps.

 

It should be rare that those steps are too coarse, but, yes, you can do half exposure with each.

-- glen

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A solution from the old days concerned dichroic color heads--such as those on Beseler 23 and 45 series frames. Ilford at one time provided step tables--and several other tables were available that stated just where to dial in any contrast step one wanted. A bit of experimentation would often create custom tables for certain paper/developer combos. Beseler also made a VC67 head specifically for this, and I believe that Durst did as well with the VLS501 VC head. When I had my Laborator 1200, the CLS500 head worked identically to the Beseler dichroic.

 

You do know that you do not have to keep a particular filter in for the whole time you are exposing a print, right? I have split contrasts for burning in or dodging before in exposures that were stopped down and in excess of 30 seconds. This involves swapping out gels (or changing dialed-in settings).

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if 1.5 is not enough, 2 is too much.... then do a split filter exposure. it takes a bit of experimenting with test strips.

 

you do a wide test strip with the 1.5 going horizontal, and on the same strip expose with the 2 vertically. develope it and look for the correct intersecting combination of overlaping exposures that gives you your desired effect.

 

now make a print using that combination of exposures using both filters.

 

you can also dodge n burn using various filters to enhance small sections of your print.

The more you say, the less people listen.
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Thank you all for your very quick replies. Yes, I will try, as I mentioned, doing a split contrast. I'm sure half time at #1.5 and half time at #2 should work.

 

I was mostly curious if other people sometime find the "in between" zone to be the solution. Usually 1/2 a filter is fairly close; this particular negative just seemed to react with a large difference.

 

Richard

Here's the a scan of the negative, (which I realize doesn't answer anything). I had to decrease the contrast on the scan a bit. This is about as much contrast as I can personally tolerate in this.

 

971153826_RICHARDBYBOATHOUSEweb.thumb.jpg.d0e8aff841b6cc78330ce5631084c197.jpg

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This is why I switched to dichroics :-) The real gymnastics come when you are using graded paper, and you are stuck between #2 and #3 which was a common issue. Do you try to 'beef up' the v#2 image with slightly decreased exposure and 'hot' developer' or subdue the #3 paper with weak developer?

 

Also, most multigrade papers have an order like this; grade 1 1/2, white light with no filter, grade 2, then 2 1/2, 3 etc. Pulling the filter might do it.

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Never found much need for half grades. A quick dodge or burn can often get you where you want to go. I've never liked to mess with development time, but a small adjustment there also does it, or you can even adjust the formula if you mix from scratch. I think Anchell & Troop may have had some different contrast formulas.
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There are many 'tricks' that can be done without resorting to quarter grades of paper.

 

With the picture shown, a slight burn of the skin tones might help. Or rubbing the print locally in the developer to warm it up and speed development.

 

IME, negatives that don't benefit from some local manipulation are very much the exception.

 

You could also look for some magenta and yellow colour-printing filters in finer density steps than supplied in varigrade sets.

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It is unlikely that observers will throw up their hands and say this image is too contrasty or too flat if they are 1/2 paper grade apart. That being said, you can touch up the contrast by simply shortening the developing time to obtain a flatter print. In black & white printing, you are developing under safelight by inspection. A little practice and you will quickly learn this valid technique.
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Thank you for all your replies. I printed again today and went with my first inclination. I did a print at 11 sec. with #1.5 filter and 11 sec with #2 . A final one at 10 sec with #1.5 and 13 sec. with #2 got me just where I wanted it, similar to the scan I posted. I think this is a good simple solution. Maybe in the future I will try local manipulation, or shorter development time. (I did initially try burning in the face a bit, but it still lacked the contrast I wanted with the #1.5 filter; it just darkened)

 

I have been printing for around five or six years now, and this was the first time I had a negative where I felt the contrast (particularly in the facial tones) sat between two (seemingly very different) 1/2 filter stops. Still seems odd to me.

 

Thanks again for your interest.

Richard

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The split filter approach is the easiest. However, there is one other approach you can try, and that is to use both Selectol Soft (or Photographer's Formulary TD-31) and Dektol (or Photographer's Formulary TD-30). Make up a tray of Selectol Soft and a tray of Dektol. Start the print in the Selectol Soft, when you get the tonal range you want in the mid-tones to highlights, transfer the print to the Dektol to finish development of the shadows and dark grays. The split developer technique will give you nearly infinite control over the final contrast.
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