Do you control contrast by development and film choice?

[Sirius Glass]

I do not often choose the contrast of a film for situations. I choose a film that I like or that I want know better. But I do watch the contrast in situations to adapt my development time if necessary. Multigrade paper however is quite forgiving and scanning with digital pp even more. If you use 35mm film with 36 exposures in very different contrast situations XP2 can be usefull indeed. Main criterium however is whether I like the film.

I choose the film and the exposure, then after developing I adjust the contrast on the print using multigrade paper. I do not miss the single grade paper much now.

 

[Bill Burk]

I love hearing these stories.

Decide your own favorite contrast index, @Vaughn has a very strong reason for demanding more contrast than me.

Instead of changing contrast per roll to meet original scene contrast, I usually aim for contrast to fit ASA parameters (0.62 CI). I find that I can usually print the results using a diffusion enlarger on Ilford Galerie between paper grade 2 and 3.

When developing film, create a test strip to include in the tank. Measure results with densitometer and write down the speed and contrast index results.

These results over time help you build a personal library of the time-contrast relationship for every film and developer combination you try.

Think of the contrast index you want for the run as you prepare to develop film. Sit down with your notes after you clean the sink and before you turn on the water.

Estimate the development time you need by referring to your own time-contrast chart and set it on the timer.

 

[GregY]

I choose the film and the exposure, then after developing I adjust the contrast on the print using multigrade paper. I do not miss the single grade paper much now.

I don't miss the single grade aspect. MG papers are just fine and i do have favourites among them, but I do miss the characteristics of Fortezo, (Guillemot) Brilliant, and Ilford Galerie.

 

[Vetus]

My easy rule of thumb:
In a low-conrast scene (cloudy or rainy day) I use low speed film. My favourite is FP4 in XTOL: very nice micro-contrast, tight grain, good separation of mid tones
In a high contrast scene (sunny day) I use a medium speed film; they have a lower contrast than low speed films. My favourites are Delta400 or HP5 (Kodak are too expensive to me), even if I like them less than the FP4. Medium speed films have a greater latitude pose, they can manage high contrast scene more easily than FP4 or other low speed films.
My 2 cents

That's a very good point, beginners tend to use slow film (high contrast) when it's bright and sunny and fast low contrast film when it is overcast .

 

[Vetus]

I love hearing these stories.

Decide your own favorite contrast index, @Vaughn has a very strong reason for demanding more contrast than me.

Instead of changing contrast per roll to meet original scene contrast, I usually aim for contrast to fit ASA parameters (0.62 CI). I find that I can usually print the results using a diffusion enlarger on Ilford Galerie between paper grade 2 and 3.

When developing film, create a test strip to include in the tank. Measure results with densitometer and write down the speed and contrast index results.

These results over time help you build a personal library of the time-contrast relationship for every film and developer combination you try.

Think of the contrast index you want for the run as you prepare to develop film. Sit down with your notes after you clean the sink and before you turn on the water.

Estimate the development time you need by referring to your own time-contrast chart and set it on the timer.

Scrupulous note taking is always a good practice for me.

 

[Vetus]

Personally I use Delta 100 & HP5 for large format developed in Pyrocat HD, and Delta 100 & 400 for 120 and the odd rolls of 35mm. I also use Fomapan 200 it needs less development than the Ilford films.

If I didn't mix my own Pyrocat HD I'd use Xtol again. I control contrast by adjusting development times and slight exposure adjustments.

Essentially you need to do some simple testing to determine your effective EI and development time under normal lighting conditions, then you have a base to adjust from for low and high contrast situations.

Welcome, where about in the UK ?

Ian

North Lincolnshire

 

[RalphLambrecht]

Extending or reducing development time controls contrast, fact. Does the subject brightness range and contrast in a scene affect your film choice?
For example would you choose Ilford xp2+ for a 7 stop sbr high contrast scene or Ilford panf+ for a low contrast 4 stop sbr low contrast scene?
Is it a rule of thumb that low asa films are high contrast and high asa films are low contrast?
Which films do you use for low contrast scenes/ high contrast scenes?
Do you stick with your favourite film that you are familiar with and control contrast by adjusting the development time and exposure?
Do you have the same film loaded in 2 film backs or two camera bodies, one for high, one for low contrast?
How do you approach contrast control?
Are any particular films such as, Fomapan, Rollei,Tmax and panf+50 more contrasty than say Hp5+ ?

I use Ilford FP4+ for a traditional B&W look, Tmax 100 for normal contrast and low grain and Tmax 400 for the studio and smooth skin tones. Other than that, I use film development to control contrast.

 

[foc]

Post processing is no replacement for optimal exposure+development control, regardless of the final output sought.

 

[Vaughn]

I left silver gelatin printing just as the VC papers were coming in stronger. I printed on grade 3 Portriga Rapid III and grade 3 Gallerie, depending on warm or neutral images. An old 16x20 on Gallerie below...

How I make my printing materials determines their native contrast, so it can be a dance between the SBR, film/exposure/developer choices, the printing material/process, and the image itself. I enjoy it.

Note taking is very important...after 30 years of carbon printing, my note-keeping has grown lax. I need to step it up a notch or two. Too many pieces of random notes on back of envelops, legal pads, old drawings, and so forth!

 

[Steve York]

When I shot both Leica and Nikon, I would develop film shot with a Nikkor just a bit longer to give added contrast.

 

[DREW WILEY]

Always. And sometimes using other options too. The more tools in your toolbox, the better; but that doesn't mean you necessarily need to use them all at the same time.