Awhile back I wrote an entry entitled “Don’t Be a Bozo — Make Proof Sheets!”.  I pretty much said what I wanted to say about why I do this and liked what I said. Well how’s that for a news flash! So I think I will quote the key points I made rather than try to think of something new and pithy to say:

“Now I hope most of you make proof sheets, but for those that don’t, it’s time to hop on the bandwagon! First of all, the most important reason to make proof sheets is to catalog your negatives and know what you actually have. Duh!  If you don’t have proof sheets you are setting yourself up for a lot of wasted time. Forget about making printing decisions based on viewing your negatives on a light table, or worse by holding them up to the light.  Of course that is if you can find what you’re looking for! And if your negatives are properly developed they’re all going to look good.  So what you need is more information!

I have a simple filing system that works for me, and you might find it works for you. I have all my negatives contained in clear archival Print File Negative Preserver Pages that are stored in three ring archival closed box binders to keep any dust out.  Separate binders for each film size.  Each page is numbered and has the same numeral as its matching proof sheet contained in a separate but corresponding loose-leaf binder. With each proof sheet are print recipes and other notes for each image printed from the particular roll of film or set of large format negatives. Now that is simple and sure makes things easer to find!  Note: In a future installment of this series I will discuss making a searchable Microsoft Word table to assist in easy of location and retrieval of proof sheets.

What else is the proof sheet good for? Well several things. After knowing what you have, the next important thing to determine is what you actually want to print!  By carefully studying my proof sheet, I first decide if it contains anything worth printing.  If I think it does I take my marking pen and draw a rectangle around the image(s). That’s a time saver to because I usually print images sometime after the proof sheets have been made. Why have to go back and do the same thing all over again?  Another thing the proof sheet tells you is whether your negative exposure/development was good or not. Depending on how bad things look, you may not want to try to print that negative (truth be told … I have made many successful prints where the proof indicted exposure issues).

Finally, there is the matter of cropping and image size consideration.  Looking at the proof sheet really helps me here and saves me a lot of time later when I’m in the darkroom.  I think the worse thing you can do is try to make cropping decisions based on what you see projected onto your easel. Less so with image size decisions, but the proof sheet does help me to get a good idea of what I want to do here.  So in addition drawing a rectangle around any pictures I want to print, I mark any cropping to be done.  Now when it is time to print I know exactly what I am going to do and get right down to the task of making a successful image!

So there you have it. Some very good reasons to make … and use proof sheets!  If your not making them, start doing so!  Trust me on this!”

I hope you got something out of that reprise. But you’re probably wondering about the title of this entry. It contains the words “proper proof”.  This is a concept developed by Fred Picker and I think it makes great sense. I allude to it above regarding how a proof sheet can tell you whether your exposure and/or development are on target. Fred formalized the proper proof concept and described it in an easily understood and useable manner. He states the rationale for making a proper proof and how to do it so well that I would be foolish not to quote him verbatim.  The following can be found in the Zone VI Workshopon pages 38-39:

“A properly made proof sheet is an invaluable printing aid as it contains all the information about the negative with respect to exposure, contrast, and composition. I never attempt to print a negative until I have made a proper proof. In addition to filing and selection information, a rigid proofing procedure can be a constant check on meters and camera shutters and any manufacturing changes affecting film speed or contrast characteristics.

Test for Proper Proof Exposure

Put any negative in the enlarger, set up for about an 11×14 print and focus. Mark the enlarger column with tape or magic marker and a corresponding spot on the movable head so that you can find this exact elevation in the future. Remove the negative and replace the empty negative carrier. Position the proofer (contact printing frame) in the center of the light cast on the countertop or easel.  Stop down the lens to f/8. Turn the enlarger off and set the timer for three seconds. Lights out except safe lights. Place a sheet of your normal enlarging (not contact) paper face (shiny) side up on the open proofer. Use your regular enlarging paper #2 grade or if variable contrast paper – not filter. Now lay the strip of (but developed and fixed) film dull side (emulsion side) down on the paper. Use the blank film from the development time test. Note: This is from the development time test Picker discusses elsewhere in his book and I address in my Step 1.

Close the glass over all and give a 3 second exposure.  Cover the right hand end of the film (about an inch) by laying a cardboard on the glass and give another 3 second exposure. Continue moving the card one inch to the left between exposures until you reach the end of the film.

Remove the paper and agitate it constantly for 2 minutes in your print developer (I like Dektol diluted 1:2 as directed). Agitate in stop bath (1-1/2 oz. of 28% acetic acid per quart – a 50% stronger solution than for film) for 20 or 30 seconds and turn on the room lights. You will see gradations from light gray to jet black in one inch stripes across the film. Locate the stripe that is the first one to match the next one in blackness. As in the film development test, we want the minimum exposure that will produce the maximum black through the clear film. Identify the first completely black stripe – not the very dark gray one next to it. This will vary with the brand of paper, enlarger, illumination, lens opening, etc.  If the time is under 9 seconds, retest, closing one stop to refine the result. If over 24 seconds, open one stop and retest. Fix, wash, and dry and then located the first maximum black stripe.

Write down all the information on the chart in this book. In my case I have a notebook of information that this is contained in.

Other films or other sizes of the same film will require different proofing times due to varying base densities. Test them all. Write them down on separate charts.

This is now a standard for this film and all future proofs are made exactly the same.

To make an actual proof, substitute negatives for the clear film used for the test and give the negatives the exposure you have written on the chart.

The proper proof will tell you all about your negatives. I know a professional whose proof all show the film edge as gray. He has been underexposing his negatives – for years.”

So there you have it. You now know all the reasons why and how to easily make a proper proof.  The more you standardize and simplify the better off you are. Save the creative juices for what counts!