Calibrating Zone System to midway between Grade 2 and Grade 3

[Bill Burk]

I posted this earlier this afternoon in a thread I don't think it belongs.

So I'm starting a new thread.

My aim point is mid-way between Grade 2 and Grade 3 instead of the traditional Grade 2. I do this because I can't get Grade 1.

This is for tray developed 4x5 TMY-2 and printed on either Galerie 2 or Galerie 3.

I defined this by picking a negative that printed properly on Grade 2 with a moderate amount of burning, and a negative that printed well on Grade 3 with a little dodging. And I picked a point in-between to aim for.

If a negative falls out of either of these grades, then of course I will have to use Multigrade.

The last batch of N-2 left me disturbed though. I made a straight print from an obviously good negative on Grade 2 and didn't feel any need to dodge or burn. I left that darkroom session feeling awful, like I'd lost the touch.

 

[Rick A]

I posted this earlier this afternoon in a thread I don't think it belongs.

So I'm starting a new thread.


The last batch of N-2 left me disturbed though. I made a straight print from an obviously good negative on Grade 2 and didn't feel any need to dodge or burn. I left that darkroom session feeling awful, like I'd lost the touch.

Isn't that the whole point of manipulating the exposure, getting a straight print with little or no manipulation in the DR. I've done that only a very few times in my life, and I feel exilerated from it. Yes, I can feel a sense of awe and wonderment, slightly bemused at first, but mostly feel thrilled.

 

[Dan Henderson]

I think I understand what Bill means. Whenever I make a negative that can be printed with no dodging or burning, I have those nagging, "did I print this negative as well as I could or am I just being lazy today?" feeling. A good, long look at the finished print the next day usually confirms that I did.

 

[Stephen Benskin]

Let's not forget. It's not just about matching the negative to the paper. Nature rarely puts the tones exactly where and how I want them.

 

[markbarendt]

Let's not forget. It's not just about matching the negative to the paper. Nature rarely puts the tones exactly where and how I want them.

That's what strobes, scrims, & reflectors are for!

 

[markbarendt]

I think I understand what Bill means. Whenever I make a negative that can be printed with no dodging or burning, I have those nagging, "did I print this negative as well as I could or am I just being lazy today?" feeling. A good, long look at the finished print the next day usually confirms that I did.

I have gotten some practice on my PM2L meter now and I am having that experience a lot. It's not without work but it's all up front, it is amazing and somewhat disconcerting to print straight to 11x14 without even a test strip. Almost too easy.