Based on what I learned by getting to my final pilot print, I am now ready to work towards making the fine print, my effort to make the best print I can. I have selected my contrast (although this could change slightly), now it’s a question of any burning or dodging steps that might be necessary. Going back and looking at your previously made test prints can provide useful information in terms of necessary burning and dodging decisions. And don’t forget, if you are using VC paper you can use different contrasts to get the exact burn effect you want. I take my time and study each change I make under the viewing light.
Every step and more is written down on my print recipe form, even the ones that need to be amended such as burning times that turn out to be too short or too long – they just get crossed out. I cannot emphasize just how important it is to write everything down on the recipe form! And of course it is just as important to write with a pencil (I use a #2) what you are doing on the back of each print that goes into the developer so you can compare printing options. Don’t do that and you will easily forget what you did or get confused. Trust me on this one!
I have talked about the importance of the print recipe form a number of times before, and mentioned its use in Step 10, but it’s worth hammering on this again. If you don’t mind I’ll repeat what I have written before, because along with my Zone VI compensating enlarging and development timers, 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!
As discussed in Step 10, 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 (Note: this step will be discussed in an upcoming entry).
I mention dry-down above. Despite what you may have heard, virtually every paper dries down. It is vitally important that you test and establish the percentage of dry-down for your particular paper(s) you use! It’s quite simple to do. Make a print that looks good wet, and then make several with less amounts of expose time (e.g. minus 5%, minus 10% and minus 15%). Make sure to write down the percentages on the back of print, then develop and dry using a blow dryer or microwave. The dried print that matches wet print tells you what your proper dry-down factor is. If you don’t get an exact hit it is easy to extrapolate the right amount, such as minus 7%.
Now, since I have used my Zone VI Temperature Compensating Development Timer I smile knowing 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!
Zone VI made the original print recipe forms and they do show up from time to time on eBay. Otherwise just go ahead and make your own based on what you use and/or whatever fits your requirements. As when cooking important dishes, do keep a recipe. You will be happy you did!
Stay safe,
Michael
