Thanks, but I already know how to do that with no problem.Then you should ignore every reply thus far and concentrate on printing with no filtration at the correct enlarger exposure.
The negative has some detail for the tire, but none for the wheel well. This is where I am trying to learn to create some separation. The procedure you describe is what I tried. See below for a description of my results.One can only get of the shadows what the film has captured. No data is no data, no data cannot be brought forth. If you want more shadow detail then learn the exposure techniques of the Zone System. That aside, first try grade 2 or 3, then if it is still not what you want, get the grade 5 correct. Print a grade 5 and then use grade 0 or 00 for several exposure times for the best print possible.
If you are not dodging or burning with 00 and/or 5 filters, the only advantage to split-grade printing is you can get intermediate grades of contrast rather than the fixed ones of single filters. (of course, using a color head or a multigrade head can get you the intermediates as well). Out of curiosity, what were your 5 and 00 exposure times?
That would be the equivalent of about a 3-1/2. Possible a tad too contrasty if you are looking to pull detail out of the shadows. If you want to stick with split-grade printing, go for the 00 first, followed by the 5. Get the overall image to your pleasing, then you might need to dodge the 5 somewhat in the wheel well/tire area. It can't hurt to experiment with some scraps of paper on just that area.Thanks, but I already know how to do that with no problem.
The negative has some detail for the tire, but none for the wheel well. This is where I am trying to learn to create some separation. The procedure you describe is what I tried. See below for a description of my results.
I am away from home, but think it was six seconds on 5 and two seconds on 00. Even if I stopped down and gave myself more time with the 00, ANY additional time was adding dramatically more mid tones.
See, I did not know this. I thought you could pull out more highlights or more shadows through split grade printing. That is what was confusing me, because I did not feel I was faring much better than using a single filter. Thank you.Ariston,
Be aware that x seconds of #5 plus x seconds of #00 will always be exactly the same contrast as you can get with a single exposure at an intermediate contrast setting.
... as the song says, you can't [always] get what you want.
This is where your test strips come in handy. You can get a good estimate of how much more or less you need to dodge and burn with the individual filters by examining the test strips.See, I did not know this. I thought you could pull out more highlights or more shadows through split grade printing. That is what was confusing me, because I did not feel I was faring much better than using a single filter. Thank you.
I will be practicing dodging and burning with filters after I am more comfortable dodging and burning in general. It is not too hard a concept, and I am getting along fine, but it takes experience to know how much effect the different times have on dodging and burning.
You can. You use split grade dodges and burns to do this.See, I did not know this. I thought you could pull out more highlights or more shadows through split grade printing.
And don't be afraid to do different tests strips, in different parts of the print. One for the chrome, one for the windshield, one for the wheel well, etc.This is where your test strips come in handy. You can get a good estimate of how much more or less you need to dodge and burn with the individual filters by examining the test strips.
I meant I thought you could get more detail with split grade printing without the burning. If I am understanding correctly, since you can get the same result with a single filter, the only benefit to split grade printing is for dodging and burning. Is that right?You can. You use split grade dodges and burns to do this.
Add a small high contrast burn to a white cloud, and see how much detail "pops".
Other than allowing you to work with just two filters, it gives you access to intermediate grades of contrast - you can have the equivalent to grade 3.88 with a condenser enlarger (as an example).I though split grade printing without the dodging and burning made a difference.
Because I can't grasp what the filters are doing. Reading the paper posted earlier, now I learn that you can't get full black unless all three layers of the VC paper are activated, which means if you just use a 5 filter in a section, you can't get full black. So, even though it is the highest contrast filter, you can't get full black with it.Other than allowing you to work with just two filters, it gives you access to intermediate grades of contrast - you can have the equivalent to grade 3.88 with a condenser enlarger (as an example).
Otherwise, if you are limiting yourself to just straight prints, it adds nothing more.
But why would you limit yourself to using the same contrast for all parts of the print, when you don't have to?
You are activating all the layers by using the 00 and 5 filters. You are exposing the entire image with both filters, right? I'm not sure I can visualize how you are having this much of an issue--besides the sequence. How are you burning (and maybe dodging is what you should be doing)? Are you using your hands or tools (both work well, but hands can be tricky if you're burning a small area)? What size? You might want to close the lens a stop or add an ND gel to the filter drawer to get more manageable burn times.Because I can't grasp what the filters are doing. Reading the paper posted earlier, now I learn that you can't get full black unless all three layers of the VC paper are activated, which means if you just use a 5 filter in a section, you can't get full black. So, even though it is the highest contrast filter, you can't get full black with it.
I am still working on it.
Hi Pieter,You are activating all the layers by using the 00 and 5 filters. You are exposing the entire image with both filters, right? I'm not sure I can visualize how you are having this much of an issue--besides the sequence. How are you burning (and maybe dodging is what you should be doing)? Are you using your hands or tools (both work well, but hands can be tricky if you're burning a small area)? What size? You might want to close the lens a stop or add an ND gel to the filter drawer to get more manageable burn times.
if you just use a 5 filter in a section, you can't get full black
I would start by making a test strip with the 00 filter to establish the exposure that just starts to show highlight detail. Then, first exposing for that time with the 00 filter, I would make a series of test exposures on that same sheet with the 5 filter, choosing the time that shows the midtones and detail I want overall in the image. I would then make a print with those times and filtration, burning areas I want darker and dodging areas I want lighter with the appropriate filters. It seems to me you need to dodge the 5 filter exposure in the tire to bring out the detail.
All the emulsions are sensitive to blue light. So the magenta filter (lets through blue + red) exposes all the emulsions.
For lower contrast the yellow filter holds back some of the blue light but by the time the full exposure is given both emulsions, green sensitive and blue sensitive, are fully exposed for the black parts of the image.
The reason the 'blue' filter is magenta is because it lets through red light (which the paper doesn't see) to help you see to dodge & burn with the filter in place. With a true blue filter in place the image on the easel is pretty dim - our eyes are not very sensitive to blue.
If you look around outside the only thing blue is the sky (unless you live on a Caribbean island or in a field of blue-bells) and there isn't anything interesting or good to eat (or that wants to eat us) that's blue; in Cleveland there isn't even much blue in the sky.
What is a little weird is that I did a print with a 2.5 filter and one with a 5 filter, and the blacks seemed blacker in the print with the 2.5 filter. Otherwise, the tones in the prints were pretty similar. I have been doing all kinds of test strips and prints to see the different ways they react.
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