Can straight print match the nuances of split grade print?

[hiroh]

I read somewhere that it's possible to achieve identical prints using either a single grade filter or split grades, but that hasn’t always been my experience. It might be the case when using filter dials on an enlarger head, which allows for more precise grade adjustments, but I primarily use ILFORD below-the-lens filters.

Usually, I start with a test strip using a grade 2 filter, then adjust the exposure time and filter grade from there. More often than not, I use a combination of 00 and 5 filters to create test strips, allowing me to evaluate the exposure times for a first working print. While I can achieve satisfactory results fairly quickly either way, I sometimes feel that prints made with just one grade lack depth and nuance compared to those made with two grades.

For instance, while printing a portrait the other day, I found that using a grade 3.5 filter resulted in skin tones that appeared muddy and flat. Reducing the exposure time meant sacrificing the blacks I wanted, while a grade 4 filter was too contrasty. Then I started over with split grading and was able to achieve much more pleasing, three-dimensional look, comparing to a single grade.

So, what do you think? Does split grading offer more control than simply selecting one grade filter and one exposure time, and is it true that the identical results can be achieved with both single and multiple grades?

 

[RalphLambrecht]

I read somewhere that it's possible to achieve identical prints using either a single grade filter or split grades, but that hasn’t always been my experience. It might be the case when using filter dials on an enlarger head, which allows for more precise grade adjustments, but I primarily use ILFORD below-the-lens filters.

Usually, I start with a test strip using a grade 2 filter, then adjust the exposure time and filter grade from there. More often than not, I use a combination of 00 and 5 filters to create test strips, allowing me to evaluate the exposure times for a first working print. While I can achieve satisfactory results fairly quickly either way, I sometimes feel that prints made with just one grade lack depth and nuance compared to those made with two grades.

For instance, while printing a portrait the other day, I found that using a grade 3.5 filter resulted in skin tones that appeared muddy and flat. Reducing the exposure time meant sacrificing the blacks I wanted, while a grade 4 filter was too contrasty. Then I started over with split grading and was able to achieve much more pleasing, three-dimensional look, comparing to a single grade.

So, what do you think? Does split grading offer more control than simply selecting one grade filter and one exposure time, and is it true that the identical results can be achieved with both single and multiple grades?

There is nothing one can achieve with split-grade printing that can't be achieved with a single contrast exposure, with the exception of one important thing: During split-grade printing, one can dodge or burn with the high or low contrast exposure alone. This can result in an interesting tonal rendering and cannot be done with a single contrast exposure.

 

[Ian C]

That depends on what you mean by “split grade printing.” In the strictest usage of the term, it means to selectively expose specific parts of the print at different contrast grades via burning/dodging to obtain areas of different contrast on the same print.

Combining overall exposures at different grades without burning/dodging simply results in an average of the two grades used. This can be useful if you want to fine-tune the grade to an intermediate value. It can also be used to obtain a desired grade for which the required filter is missing or damaged.

For example, if you make an overall exposure of 10 seconds at G0 and a second one at 20 seconds at G5 with Ilford Multigrade filters, the result is the same as making a single 20-second exposure at G2.5.

Note: The Ilford Multigrade Filters require 2X exposure time for grades 4, 4.5, and 5 compared to the main range filters of grades 00 – 3.5.

Splitting the two overall exposures (no burns or dodges) in this case is pointless, unless the G2.5 filter in your kit is missing or damaged.

Since most variable-contrast heads produce the same exposure at all grades, the combination would be 10 seconds at G0 and 10 seconds at G5.

Without burning and dodging, two sequential overall exposures at different grades isn’t really “Split Grade.”

What were the two different overall exposures you used, the time and grade at each setting?

 

[Daniela]

In general, I find split grade printing much more nuanced and pleasing than just using one filter. In addition, the process of arriving at a nice print goes much faster because it directs me exactly to where the problem is and what I need to change to fix it.

 

[hiroh]

There is nothing one can achieve with split-grade printing that can't be achieved with a single contrast exposure, with the exception of one important thing: During split-grade printing, one can dodge or burn with the high or low contrast exposure alone. This can result in an interesting tonal rendering and cannot be done with a single contrast exposure.

Ralph, now I remember where I read it—in your book, chapter "Advanced Split-Grade Printing", in the very first sentence! This book, along with this forum, has contributed to 90% of what I’ve learned about darkroom printing, so I truly believe it’s accurate. It’s just that I sometimes struggle to achieve good results with a single grade.

That depends on what you mean by “split grade printing.” In the strictest usage of the term, it means to selectively expose specific parts of the print at different contrast grades via burning/dodging to obtain areas of different contrast on the same print.

Combining overall exposures at different grades without burning/dodging simply results in an average of the two grades used. This can be useful if you want to fine-tune the grade to an intermediate value. It can also be used to obtain a desired grade for which the required filter is missing or damaged.

For example, if you make an overall exposure of 10 seconds at G0 and a second one at 20 seconds at G5 with Ilford Multigrade filters, the result is the same as making a single 20-second exposure at G2.5.

Note: The Ilford Multigrade Filters require 2X exposure time for grades 4, 4.5, and 5 compared to the main range filters of grades 00 – 3.5.

Splitting the two overall exposures (no burns or dodges) in this case is pointless, unless the G2.5 filter in your kit is missing or damaged.

Since most variable-contrast heads produce the same exposure at all grades, the combination would be 10 seconds at G0 and 10 seconds at G5.

Without burning and dodging, two sequential overall exposures at different grades isn’t really “Split Grade.”

What were the two different overall exposures you used, the time and grade at each setting?

That's true, but sometimes I'm not really sure if starting with a G2 filter will be close enough. In those cases, I do split grading with G0 and G5, using two small strips of 2.5x7 inches. In most instances, that’s sufficient for the first 8x10 print. Occasionally, I can achieve my desired results with just two strips of a single grade, but it usually takes longer. In some cases, I can’t even get the results I want with a single below-the-lens filter, and that's when I opt for split grading. Perhaps this isn’t entirely true—it could just be my inexperience, as I’ve only been at this for less than three months.

In general, I find split grade printing much more nuanced and pleasing than just using one filter. In addition, the process of arriving at a nice print goes much faster because it directs me exactly to where the problem is and what I need to change to fix it.

Same here.

 

[koraks]

There is nothing one can achieve with split-grade printing that can't be achieved with a single contrast exposure, with the exception of one important thing: During split-grade printing, one can dodge or burn with the high or low contrast exposure alone. This can result in an interesting tonal rendering and cannot be done with a single contrast exposure.

I feel this answer is both succinct and complete.

 

[Milpool]

There is nothing one can achieve with split-grade printing that can't be achieved with a single contrast exposure, with the exception of one important thing: During split-grade printing, one can dodge or burn with the high or low contrast exposure alone. This can result in an interesting tonal rendering and cannot be done with a single contrast exposure.

This is it. Unless one is making localized contrast adjustments to the print (a powerful tool), in principle split grade exposures are the same as a single exposure at an intermediate grade. It’s simply a different method some people like.

 

[Carnie Bob]

Personally I believe the answer to be a hard no.
Single grade printing forces the grade of the filter or paper to lay down its contrast on all the image for the complete print time.
If one is dealing with an image scene of high contrast with split printing one can lower the initial filter to print for the mid to highlights and then with a secondary smaller hit the shadows for the amount of time to create the good shadows. The resulting print will have better highlight detail and better shadow detail.
This can all be done with out any dodging and burning but if you include these techniques then the split print can be far superior.

 

[bernard_L]

There is nothing one can achieve with split-grade printing that can't be achieved with a single contrast exposure, with the exception of one important thing: During split-grade printing, one can dodge or burn with the high or low contrast exposure alone. This can result in an interesting tonal rendering and cannot be done with a single contrast exposure.

I basically agree. Except for one thing. Ilford multigrade (other papers don't know) contains three emulsions. Possibly a #2 Ilford filter is designed to play nicely with the respective spectral sensitivities. Can an identical result be achieved with just two exposures through #0 and #5 filters? Possibly in principle no, but in practice yes?

 

[hiroh]

It may be worth mentioning that I use Ilford MG paper.

 

[logan2z]

Personally I believe the answer to be a hard no.
Single grade printing forces the grade of the filter or paper to lay down its contrast on all the image for the complete print time.
If one is dealing with an image scene of high contrast with split printing one can lower the initial filter to print for the mid to highlights and then with a secondary smaller hit the shadows for the amount of time to create the good shadows. The resulting print will have better highlight detail and better shadow detail.
This can all be done with out any dodging and burning but if you include these techniques then the split print can be far superior.

Then is it fair to conclude that prints made on graded papers - like those made by the early 'masters' of photography - are inherently inferior to those made on multigrade papers with split grade printing as it is described here?

 

[Milpool]

It may be worth mentioning that I use Ilford MG paper.

It doesn’t matter. The principle is the same.

 

[Milpool]

Then is it fair to conclude that prints made on graded papers - like those made by the early 'masters' of photography - are inherently inferior to those made on multigrade papers with split grade printing as it is described here?

No - if there aren’t any localized contrast/exposure adjustments.

If the situation is more complicated, then it depends on the desired outcome. For negatives with wide density ranges, if you want detail in darks and extreme highlights without sacrificing midtone contrast, there are some things that are significantly easier to do with VC papers than fixed grade papers (although quite a lot can be done with fixed grade papers depending on how complicated you want to get). Again though, this assumes you want to adjust different areas of the picture. If not, then one exposure at one contrast is the same as splitting the exposure into two at different contrasts.

Most of my own pictures need different contrasts (and exposures) in different areas. VC paper makes it easier to do convincingly, but for base exposure/contrast I don’t split-grade in the way I think OP means (ie using a combination of min and max contrast exposures to get an intermediate contrast). They are equivalent and it’s a matter of preference of approach.

 

[DREW WILEY]

I wish certain classic graded papers of former decades were still around, especially Seagull G, Brilliant Bromide, and Agfa Portriga. They had their own kind of look. Today we have some excellent VC papers instead, which have the advantage of being easier to use.

There is no single definition of split printing, or any single way to use filters to achieve your desired endpoint. Whatever works, works.
I can achieve very high quality results any number of ways, depending on what specific enlarger and light source I'm working with (I generally load in advance and use different enlargers even on the same day).

 

[Pieter12]

It depends on the negative. Personally I split-grade print everything just to keep to one method. What I like about split-grade printing even if there is no localized dodging or burning with individual filters, is that there is no need to determine what grade to use.

 

[logan2z]

What I like about split-grade printing even if there is no localized dodging or burning with individual filters, is that there is no need to determine what grade to use.

That's a good point.

 

[jeffreyg]

Very many years ago when I first started printing with graded paper, I recall developing some images in two different developers (so much time in one and then into a second) to make a grade change. Then switched to mc grade filters and papers and finally an Aristo multi grade dial in grid lamp that has made split grade printing easier.
Maybe someone can elaborate on the double developer technique as I have forgotten which ones I used.

 

[GregY]

Very many years ago when I first started printing with graded paper, I recall developing some images in two different developers (so much time in one and then into a second) to make a grade change. Then switched to mc grade filters and papers and finally an Aristo multi grade dial in grid lamp that has made split grade printing easier.
Maybe someone can elaborate on the double developer technique as I have forgotten which ones I used.

The classic combo was Dektol & Selectol soft.... that's what i started with

 

[jeffreyg]

Yes that rings a bell. Thanks

 

[Sirius Glass]

Yes a straight printed single grade can match a split grade print, but that is very rare and that is part of the reason for split grade printing.

 

[Pieter12]

Neil Selkirk wrote extensively about printing Diane Arbus' negatives using varying proportions of Dektol and Selector-Soft to get different grades of contrast from a single-grade paper. https://www.neilselkirk.com/in-the-darkroom

 

[DREW WILEY]

That was AA's custom too, and what he taught others. I seldom liked the slightly greenish "Dektolish" tones he got that way. And it only allows overall contrast control, not area-specific options like VC split printing does so easily. I used various developers for graded papers; my own amidol formula worked best with true bromide papers. Now, in the VC era, I rarely use amidol anymore.

The best graded papers, and even today's best VC papers, can be contrast manipulated to a surprising degree though length of time in the developer alone. I rarely kept on hand anything but Grade 3. It utterly baffles me why someone would stubbornly insist on sticking to a "standard" dev time like 2 min. Each specific image should be amenable to what is best for it, not for some generic ideal.

 

[Bill Burk]

There is nothing one can achieve with split-grade printing that can't be achieved with a single contrast exposure, with the exception of one important thing: During split-grade printing, one can dodge or burn with the high or low contrast exposure alone. This can result in an interesting tonal rendering and cannot be done with a single contrast exposure.

You might say that is the chief advantage of split-grade printing.

 

[DREW WILEY]

With the right kind of cutoff filters, you'd be amazed what can be done with a single exposure on VC paper. But that's a bit too much to explain here. I do it all, depending on the circumstances and sometimes just for fun learning purposes. More often than true split printing using two opposing filters (deep green versus deep blue), I'll use basic unfiltered light for the first exposure, and then selectively use either blue or green afterwards to tweak just certain things contrast-wise.

 

[cliveh]

Can a straight print match the nuances of split grade print?​

In answer to the original question, I would say no. But do you want those nuances? And do they improve the visual impact of the print?