Can straight print match the nuances of split grade print?

[DREW WILEY]

Sometimes it can be really hard to try to replicate the exact look of some past paper. Portriga is one of those.

 

[Bill Burk]

Can straight print match the nuances of split grade print?

this was my golden moment at around 2.30 in the morning and I am kind of surprised that I never thought of this before.



Since 1976 my complete family income has been derived from manipulating a negative or positive in tonal values onto film or paper. This is all I have done each week for over 50 years so this question is kind of in my wheelhouse.

…
The other night I was at a show where photographers of the past had their best work on the wall, and I must agree with others that some of the old papers really , really look good . The image of interest was by Ed Gajdel and it was a image of Leanord Cohen, simply beautiful Agfa Portriga print that was exposed by Ed.
So I hope those in the other camp here do not think I only think Split Printing is the way to go , I do not think that way.

Thanks for the insight!

I’ll admit I can’t get nuances like you mention but I can get more nuances in my third print from a negative than I can from the first. And a test strip (in third stop increments) can help me make the first print passable.

 

[Hilo]

The other night I was at a show where photographers of the past had their best work on the wall, and I must agree with others that some of the old papers really , really look good . The image of interest was by Ed Gajdel and it was a image of Leanord Cohen, simply beautiful Agfa Portriga print that was exposed by Ed.
So I hope those in the other camp here do not think I only think Split Printing is the way to go , I do not think that way.

Yes, this fabulous picture Ed Gajdel took of Leonard Cohen, it is a beauty.

Carnie Bob, thank you for all your insight and the pleasant, positive way you bring together what often seem to be opposites. For me, that's the eye opener of this thread.

I know precisely what kind of printer I am. But this is for my own work. I worked as assistant to a printer in Paris - late seventies, early eighties. His main paper was the normal Ilford paper. Which was quite neutral and it had some secondary advantages which I forgot what they were. Maybe something about the surface that made retouch easier, or maybe pressing them flat with the drymounting press was easier.
Then, some photographers asked for their work to be printed on Agfa paper, mostly Record Rapid and some Portriga. Record Rapid spoke more to me, and I used this until long after Agfa stopped producing it.

The print full of nuances I really do appreciate. But that, for me, touches more what an incredible medium photography is.
My heart is with the more emotional and less rational approach. Think Eugene Smith, Dave Heath, Daido Moriyama, William Klein, Christer Stromholm, Don McCullin, Ed van der Elsken, Jun Morinaga, Robert Frank and yes, Ed Cajdel and many others.

Dave Heath was a friend. He went very far in his darkroom to get his powerful prints. He said: "I do not have to see all the information the black holds. I do need to feel it though".

 

[Carnie Bob]

Yes, this fabulous picture Ed Gajdel took of Leonard Cohen, it is a beauty.

Carnie Bob, thank you for all your insight and the pleasant, positive way you bring together what often seem to be opposites. For me, that's the eye opener of this thread.

I know precisely what kind of printer I am. But this is for my own work. I worked as assistant to a printer in Paris - late seventies, early eighties. His main paper was the normal Ilford paper. Which was quite neutral and it had some secondary advantages which I forgot what they were. Maybe something about the surface that made retouch easier, or maybe pressing them flat with the drymounting press was easier.
Then, some photographers asked for their work to be printed on Agfa paper, mostly Record Rapid and some Portriga. Record Rapid spoke more to me, and I used this until long after Agfa stopped producing it.

The print full of nuances I really do appreciate. But that, for me, touches more what an incredible medium photography is.
My heart is with the more emotional and less rational approach. Think Eugene Smith, Dave Heath, Daido Moriyama, William Klein, Christer Stromholm, Don McCullin, Ed van der Elsken, Jun Morinaga, Robert Frank and yes, Ed Cajdel and many others.

Dave Heath was a friend. He went very far in his darkroom to get his powerful prints. He said: "I do not have to see all the information the black holds. I do need to feel it though".

Nice post , I think you and I think like each other when it comes to printing.

 

[npl]

I'm experimenting again with split grade printing at the moment. A few days ago I had to print a portrait that didn't need dodging or burning, so to experiment I made a straight print at 60M on my color head then did an other one combining an exposure at 170Y with a second one at 170M (170 being the maximum). I ended up with two identical prints. Not similar in contrast and density, exactly the same.

Tonight I had to print a more difficult negative that had a dense sky, a foreground that needed both bright highlight and deep shadows, and a middle section that needed a boost in contrast. Using split grade printing to burn different parts of the print at low or high contrast worked very well and altough I didn't tried I don't think I woul've gotten the same result with a single grade.