When Zone VI was in business they sold something called a Print Recipe Form. The 1995/1996 Zone VI catalogue I have lists a pad of 50 for $5.75.  I used these for years until they were no longer made, then I modified one and made copies for myself.

Along with my Zone VI compensating enlarging and development, these pieces of paper are one of my most helpful darkroom tools. Why?  First, they assist you in methodically producing a fine print by forcing you to write down each step taken to get to the final result. Second, they allow you to memorialize those steps as well as other critical information, such as print size, brand of paper and grade (in the case of VC you could list filter grades, VC or color head settings, etc. – I use VC paper now, but as a longtime user of graded paper I list the “grade” I used, determined by matching information provided by the paper manufacturer with settings on my color head), enlarger height, lens aperture used, developer and time, dry-down percentage for the particular paper used, when the print was made, and what Fred Picker called the “goldilocks” factor.

You probably haven’t heard of the all-important top secret “goldilocks” factor have you. This is critical and it might change your life, so read on carefully.  Once you have done all your various manipulations (e.g., dodging and burning) you may still think there is something a little bit off that adding or subtracting a tiny amount of overall print exposure could fix.  For example, subtracting a tiny percentage of exposure may provide that necessary little bit of sunshine to the print that somehow was lost in the process.  And that’s all there is to it – another great tool in your bag of tricks!

I begin by making two test prints, usually using grade 2 and 3 equivalents. That is noted along with general exposure times next to the #1 rectangle (the chosen aperture is listed in the information section at the top of the form). The rectangles serve as your print “map”.  Next to rectangle #2 I list the grade I have settled on along with its exposure time. I can and often fine tune contrast later as needed. Starting with rectangle #3 and on I record the various manipulations I make.  For burning I draw several slanted lines in parallel to show the location of where I have done that in the print.  For dodging I draw several small circles to show the location of where I have done that.  If I decide to raise or lower contrast, that is recorded next to the associated numbered box.  Finally, I list the dilution of selenium toner I used and the amount of time the print soaked in that solution.

Now, since I have used my Zone VI Temperature Compensating Development Timer I smile and know that as long as I use the same paper and developer, all I have to do the next time I wish to make another print from this negative is follow the steps on my recipe and I will have an exact duplicate!

Each individual print recipe from a given negative is filed with the associated proof sheet related to the roll of negatives it came from.  The proof sheet is numbered and matches the number on the clear archival Mylar page that holds those negatives. It’s a good system that makes it easy to quickly find things, and most importantly, it works for me.

My guess is that you can find the original Zone VI forms on eBay from time to time.  Otherwise just go ahead and make your own based on what I use or whatever fits your requirements.  As when cooking important dishes, do keep a recipe. You will be happy you did. Trust me!