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

Ok, you have produced two useable test strips/prints – one of Grade 2 and another of Grade 3 equivalents on VC paper (or with graded paper if you use that). Now the real creative process begins!

Take your two wet prints and look at them under the viewing light. Really study them carefully! Sometimes this takes a while to get it right. You’re looking for good blacks, good shadow detail, proper tonality and whites that are not blown out.  Once you have determined which is the right print exposure time for each grade of paper you can now make a “pilot” print for each grade. I find it useful to write Grade 2 with its exposure time on the back of one print and Grade 3 with its exposure time on the other using a #2 pencil.  Note: Throughout the printing process I always write what I am doing on the back of my papers so I won’t get confused or loose track of what I am doing. So should you!  Now into the developer!

Again, look at both prints under the viewing light. I have two Zone VI Plexiglas print viewing stands that stand side by side and always are in the same spot in my sink. This arrangement allows me to compare prints in the same light.  I find it very useful to look at the two prints next to each other and again study them VERY CAREFULLY.  The goal is to pick what print/paper looks the best in terms of contrast and overall atmosphere and discard the one that doesn’t. You have to take your time!

Sometimes it’s obvious which grade is correct and which print is the one to toss. Other times after careful examination, I may discard one of them and then decide to make another pilot print using a higher contrast or lower contrast of the print grade I selected.  For example, if I chose to stick with Grade 2 but think it is a little too contrasty I might try a Grade 1.75 equivalent. It is easy to figure this out doing some quick math and I adjust my color head filtration accordingly. If Grade 2 needs some additional contrast I might try a Grade 2.25 or 2.5 equivalent. Now I will make that print, develop it and examine that against the original Grade 2 print. If still not happy with the contrast, I can make another. Get it right here and you will not be unhappy latter!  Once satisfied I discard the other pilot print(s) and I am ready to proceed knowing my proper exposure time and overall print contrast.

The final pilot print is your starting point to making a truly fine print. Given the effort you’ve put into it, it is likely better than most others finished product!

One final note here – I write everything I’ve done on my print recipe sheet. Then I cross out all the exposure/contrast combinations I didn’t like, leaving the one I chose to go forward with.

Now on to making the best print you can!

Stay safe,

Michael

Now the real creative process in the darkroom is about to begin!  You have carefully examined your proof sheet to determine if there is a negative(s) worthy of printing, and happily there is.  In determining basic exposure and contrast my approach is to use an entire 8×10 piece of paper rather than a small strip so I can get as much information as possible. I think this very important and definitely not the place to pinch pennies!

I use variable contrast paper but still think in terms of paper grades after many years of using graded paper.  So I start with a grade two “normal” contrast test strip/print (I use a color head but paper manufactures provide the color setting information you need for each grade).  I set my timer for 3 seconds and using a piece of mat board move from right to left, uncovering about an inch of the paper for each exposure.  If the paper is in landscape position in the easel the first exposure on the very right is 3 seconds, and the last exposure on the very left yields a cumulative of 30 seconds.

I then repeat this process and make a grade three strip/print to see what things look like with added contrast. Now into the developer, stop and fix, and finally onto the viewing stand illuminated by a 150W bulb. NOTE: It is essential that you examine print test strip/prints, pilot prints and working/final prints during various steps of the printing process while wet (because of paper drydown) and with the proper illumination … otherwise you will be disappointed later!!!!

I want at least a fifteen second exposure. This will give me enough time to comfortably do whatever dodging manipulations may be necessary to make the final fine print.  And even if the print turns out to be pretty straight forward, what’s the rush? If the print exposure is too short, then close down a stop on your enlarging lens and redo your test strip/prints. So, for example, if you have started using f/8, stop down to f/11 on your lens and repeat.

You are now about to embark on a journey that will end with a fine print!

Stay safe,

Michael

Now I have to rearrange my bookshelves where I keep my precious photography art books. I was already running out of space but now I am getting close to crisis alert. I’ve already had to move my other photography works down to my workroom in the basement. Now what?  So here’s the deal, as a particular candidate for president that I like would say … there are a lot of great books out there containing work we can admire, and most of all, learn from. They often can give us something to aspire to and even help us when we have hit a roadblock.

So this week I found out about someone that was moving and had a tone of classical vinyl records they wanted to get rid of.  Naturally I wanted to get over there as quickly as possible. Seventeen boxes later it turned out to be a pretty good haul! On a hunch I decided to ask if there were any photography books. I’ve learned that audiophile/music lovers also tend to have cameras, which means they may have photography books (note: they also seem to collect fountain pens and watches, but that’s another discussion all together!).

Bingo! I was directed to an entire shelf of books. Most were the standard how to books that are pretty common, but there were also some photo art books. Now were talking! Here are a few from the large boxful I snagged for seventy five dollars: Paul Strand, Sixty Years of Photographs; Walker Evans, Metropolitan Museum of Art; Ansel Adams and Nancy Newhall, This Is The American Earth; Ansel Adams, In Color, and Eliot Porter, Appalachian Wilderness.  I know the last two books are color work, but they’re Adams and Porter …OK?  I can gladly live with that! But perhaps the crown jewel of my excellent treasure hunt … Alfred Stieglitz, National Gallery of Art. It’s a massive two-volume box set containing the so-called “key set” of over 1600 photographs given to the museum by Stieglitz’s wife Georgia O’Keeffe.

I am truly looking forward to the many hours I will be spending with these and the other books I brought home.  Every serious photographer should have library of wonderful books like these. We all have different tastes and there are enough quality books out there to satisfy all of them. Some to be had for peanuts if you’re lucky like I was. Be on the lookout and you may find some!

Make it a point to build your own library. That’s a far better investment than that uber wide angle or big honker telephoto you really don’t need … you’ll be a better photographer for it!

Stay safe,

Michael