I dunno your set-up and printing frequency and experience. I WILL offer this WARNING... I was driving myself NUTS with contrast filters and all only to find that the paper I have on hand was older and the chemistry was older than I thought giving me muddy prints.
I threw out the old paper and bought some new and mixed fresh stuff and all was well.
It's hard going from once-a-week in the darkroom to a couple times a year.
I too have found that Foma 100 is best used at EI 50, and using Rodinal you may wish to start using 1+50 dilution to make sure you get sufficiently long developing times. That would actually help your shadow detail as well, whether they are contact printed or projected.
- Thomas
Mine was similar situation... Nice contact prints of 120 negs that I could not make a good print of later.
I find from my experience good negatives print well either way.
Never went down the AZO path... but old day contact printers swear by it... and the prints in museums sure speak for it.
hi chris
how dense are your 4x5 sheets and other films ?
i have found that when i contact print my sheet film ( even roll film exposures cut and contact printed )
the density of the film really makes a difference in the final print.
if the film is too thin, the optimal exposure will be short, you will need to boost contrast with
filters, or different strength developers and water baths to bathe the print in ...
and it really makes a more difficult task, not that it can't be done ...
les mclean has a great article on split grade ( filter ) printing, and i use it often when printing film on the
thin side ( thin meaning not as bullet proof as my contact printing film )
http://www.lesmcleanphotography.com/articles.php?page=full&article=21
using a hard filter and a soft filter really makes muddy tones rich and crisp ..
it takes a little bit of practice but in the end the prints speak for themselves
good luck !
john
No just enlarger cranked up a bit...
i guess you have the same contact printer as me
i use a 350W flood light ( azo paper ) or
my regular enlarger like you for regular paper ...
Where did you get a 350 watt R40 flood?
hey jim
i got it at grainger ... maybe it is 300w ... ?
anyways i couldn't find them anywhere
and you sent me there
(there was a url link here which no longer exists)
thanks again !
john
Yeah then it must be a 300. That's the biggest they carry. They're getting damned hard to find.
Thanks, Thom I have a daylight tank for 4x5" so 13' @ 1:50 is no big deal (I invert VERY gently with Rodinal). However, that is REALLY long for tray processing. I guess I will have to get some music going or I am going to be board in the dark)
Thanks,
Chris
Ha. Well, your choice then. Quality and consistency, or getting done quickly. Up to you, good buddy.
1. The more you dilute your developer, the longer you need to develop the film.
2. The longer you develop your film, the more shadow detail you're going to get.
3. Shadow detail = film speed.
That's funny. You posted this just as I was typing up my results from last nights printing session. I am a little more comfortable with tray processing now than when I first started doing it. I absolutely hated sitting in a pitch black room. I like the glow of the safe-light, but the dark bathroom was like I sensory deprivation tank)
I have tried printing by inspection. It seems fun, but I have a more sensiometric approach than a gut approach. The zone system seems contrary to printing by inspection. All though I am not saying that one is better than the other.
Chris
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