A pitch for split grade printing. I fail to see how this addresses the issue about highlight separation:
In split grade printing, the highlights are resulting from the yellow filter exposure; the magenta exposure contributing essentially nothing. So, the characteristic curve under the yellow filter has a toe, etc... as already stated.
silvercloud2323, you might want to take a look at this video on split grade printing to see what can be done and see if this offers you any ideas for the kind of improvement you want
I found that for me using magenta first is easier and that also lets me see the overall print easier in the beginning. Either way magenta first or yellow first gets to the same print.
I found that for me using magenta first is easier and that also lets me see the overall print easier in the beginning. Either way magenta first or yellow first gets to the same print.
I found that for me using magenta first is easier and that also lets me see the overall print easier in the beginning. Either way magenta first or yellow first gets to the same print.
It varies a bit with the subject.
For example, high key images are easier to deal with if you start first with the green or minus blue (yellow) filtration.
One comment about whites. I dissent with the advice (given twice above) to aim for max white. Paper has a toe, therefore placing the lightest regions at paper white degrades the separation of light tones, running counter to the goal (presumably highlight brillance). And... check for drydown.
One question re: max black. I recall reading that Se toning with more dilute toner tends to favor Dmax improvement rather than tone shift. And vice versa. Can anyone confirm based on personal experience? Please state which paper.
Based on personal experience: Diluting selenium toner slows down the toning time. The same effects happen, it just takes longer. I think people believe that dilute toner increases D-max without so much tonal shift simply because they end up toning less out of impatience.
silvercloud2323, you might want to take a look at this video on split grade printing to see what can be done and see if this offers you any ideas for the kind of improvement you want
I used to use this approach too, using two test strips with individual 0 and 5 filters, but now I prefer to make a 0 test strip and then take that time and make a 0+5 test strip so you can see better what the final image will be. Both approaches work.
Yes, I think so, too. Perhaps not just impatience but in many cases also because they really wouldn't want to take it any further because of the hue shift. In that case, a dilute toner gives a bit more control. I personally quite like the hue shift (to an extent) and hence prefer to use a somewhat stronger dilution.
Yes, I think so, too. Perhaps not just impatience but in many cases also because they really wouldn't want to take it any further because of the hue shift. In that case, a dilute toner gives a bit more control. I personally quite like the hue shift (to an extent) and hence prefer to use a somewhat stronger dilution.
With gold toner to COOL and deepen the image, the emulsion can only hold so much, and there's no sense wasting it. Most published formulas waste it like crazy. And gold chloride isn't cheap unless you do wisely ration it out per session. Just replace more concentration with a little more toning time - same effect. But selenium behaves differently - unless you want a deep brown, you'll want to dilute it down to at least 1:20 or the toning might proceed too fast to predictably control. Brown sulphide toners are even tricker, and need case by case experimentation; and the result isn't always immediately apparent. Keep one of your "near-miss" prints still around for test purposes.