First-timer needs help & advice

I have always enjoyed photography, and have always dreamed of having a darkroom and learning to develop and print my own pictures. I recently won a "complete" darkroom on eBay, and am ready to start the exciting journey into this rather daunting, but much anticipated new world. Unfortunately, I have never taken a darkroom or photography course, so I am trying to learn it from books, and the YouTube videos put up by J Brunner. Thanks to his videos and a great book from the library (Kodak Basic Developing & Printing in B&W) I was able to develop my film last night. The negatives look great, and although I was a little nervous about loading those spools in the dark, it all went well. Now it's time for the next step, and I am really at a loss for how to do the enlarging and printing.

I have a Beseler 23CII-XL enlarger, the Beseler audible repeating timer & footswitch to go with it, the Gralab 300 timer, and Ilford Multigrade B&W paper, along with what I think are all the other essentials (trays, tongs, squeege, thermometer, and chemistry). I have the Bestwell Magnasite 8x and Minisite 10X focusing aids also. I have very little knowledge on how to use any of this stuff, but I am ready to experiment. As with most people, I am limited on funds, and do not want to go through packs and packs of paper trying to learn the proper techniques, so I have read a little both on these boards, and on the B&H website which has a little "intro to B&W darkroom" section, and have learned that an analyzer/densitomer may help make this process easier to figure out, and hopefully cut down on costly printing errors. From your board, I have been directed to the "Darkroom Automation" website, and it looks like for $94 this Enlarging Meter would be a good purchase. They also have this f-Stop Timer, a bit more expensive, but may be worth it. My question to all of you is... knowing I have no darkroom experience, and knowing that I have no idea how to really use that Enlarger yet, which of these would you recommend to help me the most? Do they both do the same basic thing, or are they totally different? And finally... any existing threads for beginners of enlarging and printing that you could direct me to, that would perhaps give me the most help (a step by step tutorial of the basics, for instance) would be most appreciated. Or, if a thread like that doesn't yet exist here, anyone who has the time and would like to help this beginner by starting one would really be appreciated.

Thank you.

Good Morning, Cherryhill,

You seem to have the basic equipment you need. Scan through the "Darkroom Portraits" thread for some good ideas on how to arrange an efficient set-up. For the moment, I'd forget the analyzer/densitometer, although that may become very useful to you in the future. Many photographers spend decades in the darkroom without using one. Do a Forum search on each of the equipment items you have for helpful hints on them. Since you already have used some source material to get started, you seem to be headed the right direction. Remember that most of this stuff ain't brain surgery. Keep it simple and basic at first, follow manufacturer's instructions with the chemicals, buy only high-quality equipment, use E-Bay for real darkroom bargains, and learn from the inevitable mistakes. Check the APUG Forum posts when you have specific matters you need help on.


Konical

The f-stop timers, enlarging meters, densitometers etc, are all really nice things to have, but you don't need them to figure out the basics. Any timer can be used for f-stop timing, the timer you refer to just makes it easier. If I was going to choose one thing though, I'd go for the timer. If you didn't get an enlarger timer with your set up you'll want one. That's a good one, or you might find a good used timer.

My advice FWIW... Start with RC paper, as it's cheap and you get to see results fast. You can make strip test exposures on one paper using a square of mat board to block the light and build exposure. Start with a #2 contrast, two stops down on your lens and a five second exposure. Make 4 strips one stop apart, so you'll have strips exposed at 5, 10, 20, and 40. You'll only have to do that once, until you get a new paper, or an out of the park neg. That will get you to a time range you can start slicing up with test strips of one or two second increments each.

After a while you'll know the neighborhood to start in with your negs, and you'll usually only ever make one or two test strips for exposure and contrast before your on to tweeking the full print.

Using this method don't forget that 5x1 second is usually a tiny bit more exposure than 5 seconds.

Once your in range, you can make a full print to judge moving contrast up or down, and your chosen exposure. It's just tweeks from there.

None of us like to waste paper, but remember, it's a hell uv a lot cheaper than running a sputzprinter.

The best teacher is "just do it"

Cherryhill -

The kit you purchased is pretty complete. My recommendation is to concentrate on learning how to use what you have.

Darkroom work, especially now that digital has become the popular solution for commercial applications, has become an exercise in craft, and I find that a great deal of the satisfaction that comes out of darkroom work is the sense of accomplishment when a stunning print has been completed and readied for presentation. Years ago I had a printing meter, and to be very honest, it was a waste of money. I found that with some good training, I could learn more about what needed to be done with a negative from a test strip than I ever could by fussing with that meter.

What probably makes the most sense for you is to find a good workshop on darkroom techniques. If you can't find a workshop, an alternate solution might be to find an individual who is a skilled printer who will provide one-on-one mentoring. But you also need to understand that a workshop just gets you started, and a that the actual learning comes from practice, and making lots of mistakes. You mentioned "costly printing errors" - yes, paper is becoming more expensive, but its those "costly errors" that are the best teacher.

I learned all my printing on my own like you are about to. It's not that hard to get a grasp and realize that messing up a print at this stage is not wasting anything if you are methodical about how you do it. Take notes, look carefully at the results and learn from each "goof". This is valuable knowledge that will teach you how to handle the materials and be able to predict the outcome of your actions with some certainty.
When I as first learning I had less than you have now and managed to create some fine prints. I found out how to use my safelight as a visual comparator to get my print aperture roughed in first try and even to get it with the first print on a regular basis. The lowly test strip is your best friend so start learning with that and get it right before deciding anything about more equipment.

I'm probably in over my head offering you advice, but I don't think an enlarging meter is such a good idea when you're just starting out. From what I understand they need to be calibrated to your paper, developer, and working methods. This means you have to be really consistent for the meter to be accurate, something only learned with time. I'd recommend buying a 100 sheet box of 8x10 paper and a nice sized garbage can.

Welcome to APUG

Murray

No need to get expensive analysers or timers to get started printing.

For timing your printing exposures, the GraLab 300 timer will do just fine. Some people use only a metronome and count printing times out.

But you need info. The old Time-Life Library of Photography has good basic info on how to get started printing. It can be found used. The Ansel Adams book "The Print" has good basic info on how to get started printing too and is widely available new and used. A trip to a Borders or ventures on Amazon or Alibris will find you plenty of info on getting started in the darkroom.

But, you're smart enough that you've already figured out how to develop negatives, perhaps in a way harder than printing, since there's time spent working in complete darkness, so you will sort our printing just as well.

Printing is in essence doing the whole process over again, but instead of the camera exposing film, the enlarger is like a slide projector, exposing the paper with an image of your negative.

You do the same process, develop, stop, fix, wash ... but generally in trays under a safelight, so you get to see what's going on.

A good addition when printing is adding a washing aid before final wash, so: develop, stop bath, fix, rinse, wash aid, wash, dry.

There are developers made for printing paper. Maybe the most standard to start with is Dektol, but just start with some standard developer that you can get your hands upon. Stop bath is stop bath. A 30 second water rinse will do if needed instead. Most fixers will tell you appropriate dilutions for fixing prints. Washing can be as simple as filling a tub with the print in it, agitating it for a minute, dumping and refilling for 60 minutes or so. (Use of Hypo Clearing Agent or a similar washing aid will lessen the time needed to wash, and give better washing. See the instructions.)

Exposure can be decided by making test strips, small strips of printing paper cut to give you an inexpensive test for exposure. Just like in the camera, time and aperture control total exposure. Generally some middling aperture that will give you an exposure somewhere between ten to thiry seconds is a good start.

If your test strip comes out too dark, lessen the exposure time or close down the lens aperture. If the test strip comes out too light, add exposure time or open up the aperture. Once you havemade a few test strips, and have arrived at a close guess at exposure, make a whole print. It won't be perfect, but you will now have a general idea of what your negative has on it.

Some Googling on "burning and dodging", "variable contrast paper", and "paper grades" will get you started on more sophisticated control of the process and give you the way to more finely tuned prints.

But keep it simple as you get your feet under you. Avoid the seductions of fancy equipment and techniques till you have made enough prints to feel like you are ready to add a new layer of complexity. There's lots of ways to make your darkroom life cmplicated, but don't feel like you need to absorb all of it all at once.

Best,

C

Such helpful advice! Thank you all so much for your replies. Thank you especially to CBG for explaining what exactly that Enlarger does, and some of the steps I'll be needing to take. I'll be doing a forum search for that Beseler enlarger and see if there's more info there. The instruction manual doesn't give much info... it's almost as if they expect the reader to already know what it does. I am such a novice, it doesn't really help me. I am going to put off purchasing that analyzer/densitomer. I thought it would make the printing process easier, but from all these replies, it actually sounds like it makes it all more complicated. That's the last thing I need right now! So it sounds like the audible repeating timer, and the Gralab 300 timer will do just fine for what I will need to do. I need to get a manual for that audible repeating timer... since at this point, I really have no idea how to use it. But my first step will be figuring out how to make those test strips (thanks J Brunner) and go from there.

I forgot to list that I have two safelights, though I'm not really sure how/when to use them. They both seem to be the same color... (15 watt amber color) but I will read up more on that. And yes... I have been meaning to get those Ansel Adams books from the library. I will get them this week, as well as look for the Time-Life Library of Photography book.

The first mistake I made so far was thinking I had everything I need to process the film and make the prints, only to learn that the developer for film and print are different. So, I went ahead and ordered Ilford liquid Multigrade Developer for B&W film (since I have Ilford MGIV RC De Luxe paper). This will take about a week to come in, so that gives me a week to read up and learn how to do these next steps. From CBG's post, and from what I can tell from books, the stop and fixer chemicals are the same for both processes. Correct me if I'm wrong.

Here's another equipment question... after you've got your print, and you squeegee it off, is lying it flat to dry an okay practice, or do I need to buy a paper dryer or print rack to prevent curling. No, I'm not looking to spend unnecessary money here... just wondering if the pictures will be alright without one. Funny, I had always seen in movies that when someone develops prints in a darkroom, they hang them up to dry... but nowhere in the books I've been reading is this mentioned. I have read about lying them flat, and other places recommend the dryers/racks. What are your experiences with just lying them flat? And does anyone have recommendations on how to get an improved result without purchasing more stuff?

Monophoto said:

Cherryhill -
What probably makes the most sense for you is to find a good workshop on darkroom techniques. If you can't find a workshop, an alternate solution might be to find an individual who is a skilled printer who will provide one-on-one mentoring.

Click to expand...

Unfortunately, I just missed the spring courses, and would have to wait till summer or fall for the next ones in my area, and I don't think I can let all this neato stuff sit unused for that long. I think I would like to take a course though, very much. But maybe by summer/fall I will already know enough of what I'm doing that it won't be necessary (wow that's an unusually optimistic viewpoint... rather uncharacteristic for me!) If there are any APUG members in Nashville, or the surrounding area who would like to be a mentor and guru... I will provide dinner, drinks and dessert for a hands-on lesson. That would be awesome...

I'm not a big fan of squeeging anything.

I also use a clothes line and clips for many prints.

For RC paper, as suggested, just hang it up on a line using a clip type clothes pin in one corner, a second pin in the opposite lower corner.

As others said, keep it simple. Use one paper and one developer until you really get the "feel."

and have fun.

John, Mount Vernon, Virginia USA

You have resin coated paper, which simplifies things quite a bit. It doesn't absorb the chemicals so it will wash without a wash aid in 5 minutes, with a wash aid you're done faster. Drying is easier too, I run mine through a squeeze roller to remove excess water and lay them on a screen to dry. When I had less room I would stand them in a dish rack so they didn't touch each other and let them dry. Forced air like a hair dryer on low heat will have a print dry in minutes, which is a good thing to have in the darkroom to check the print tones for any changes due to drydown.

JBrunner said:

If I was going to choose one thing though, I'd go for the timer.

Click to expand...

I have to confess to great prejudice here, being the maker of the f-stop timer and meter in question...

I agree with Mr. Brunner, the timer is probably the way to start.

It is certainly true that one does not _need_ an f-stop timer to learn darkroom techniques using 'f-stop printing', but without one the tendency is to do the old 'Oh, I don't know, 12 seconds is a bit light, what the heck, lets try 15?' and thus learn little of what is going on.

With an f-stop timer the idea of the zone system's tones hits home. You soon realize a one zone difference in tone is a 0.5 stop exposure change. And that this changes with paper grade: the same one zone change in tone is a 1 stop change in exposure with grade 00 paper and a 0.2 stop change with grade 5. And that a 0.5 stop change in exposure doesn't do much to the shadows and highlights - the zone system's tones are packed tight here - but does do quite a bit to the midtones.

It doesn't matter what exposure you have set on the timer - be it 2.1 stops or 5.3 stops - increasing it by 0.5 stops will move the average print 1 zone darker.

Burning by 0.5 stop makes an area 1 zone darker, dodging it by 0.5 stop makes in 1 zone lighter (assuming normal grade paper).

Darkroom Automation publishes paper speed charts that show the effect of exposure on a paper's zone system values. As an example, a chart for Ilford MGIV fibre base is at http://www.darkroomautomation.com/support/mgivfb.doc

This can get pretty elaborate. As an example: You can quickly find just what paper grade to go to. If your print is dingy with a ZVIII - ZI spread with grade 2 1/2 (a 2.7 stop spread in exposure), then to go to a spread of black to white you need to go to a grade 3 1/2 paper (as this has the same ~2.7 stop spread in exposure, [2.8, the closest available]). You don't need to change the exposure because the speed for Zone VIII with grade #2 1/2 is 5.79 stops and the speed for white with grade #3 1/2 is 5.74 stops. Your next print will be just what you wanted: no test strips, no guessing, no luck needed.

If you start out with f-stop timing then you never get sidetracked into the really illogical idea of timing exposure in seconds. Timing exposures in linear seconds makes as much sense as having a shutter speed dial in linear seconds. Imagine a dial marked .001, .002, .003, .004, .005, .006, .007, .008, .009 ... .248, .249, .250, .251, .252 ... seconds on your camera. This sequence being 1/1000, 1/500, 1/333, 1/250, 1/200, 1/167, 1/143, 1/125, 1/111 ... 1/4.03, 1/4.02, 1/4, 1/3.98, 1/3.97 th of a second - with 250 clicks of the dial to get from 1/1000 to 1/4 of a second.

A shutter speed dial is one click per stop. An aperture ring is 1 click per stop. An f-stop timer is one digit per stop. For equivalent times, 2.0 stops = 4 seconds, 3.0 stops = 8 seconds, 4.0 stops = 16 seconds, etc.. Intermediate values are at 1/10th stop intervals: 2.1 stops = 4.3 seconds, 2.2 stops = 4.6 seconds etc..

Additionally, the timer makes test strips easy by timing them in equal stop intervals. It also compensates for lamp turn-on delay so that ten separate 0.1 stop steps do indeed add up to exactly the same exposure on the paper as a single 1.0 stop step. Test strip accuracy with a Gra-Lab can be questionable, and a second confirmation print is often needed for the final adjustment. Cold light heads, no matter what the timer, can be problematic if the warm-up time and turn-on delay isn't consistent.

If you are using an older timer, then Darkroom Automation supplies, as a public service, an f-stop timing dial for a Gra-Lab 300 at http://www.darkroomautomation.com/support/grastops.pdf and a table for digital timers at http://www.darkroomautomation.com/support/stopstable.pdf. These aids, with the paper speed charts, can get you started on your way.

As for the Darkroom Automation Precision Enlarging meter, it is the only enlarging meter that actually works: Since you need to control print exposure to 1/10th of a stop you need to measure exposure to better than 1/10th. The Darkroom Automation meter measures to 1/100th of a stop - a bit of overkill maybe, but it's the next digit down in the decimal system. The meter reads in stops, the same as the timer, so that if the meter reads 1 stop lower, then increasing the timer setting by the same 1 stop results in the same exposure. If you determine a burn exposure of 0.7 stops with the meter then this same 0.7 stops is entered for the timer's burn setting.

The meter has a special mode for using it as a projection micro-densitometer. In this case the meter's 0.01 stop resolution comes into play, with 0.01 stop being equivalent to 0.003 OD. Using the meter for densitometry makes a bit more sense than using a bench densitometer as 1) the spot size of the bench unit makes it useless for measuring 35mm or even 6x6cm negatives; 2) for photography, density in stops is much more useful than density in OD; 3) With the meter you read the real effective density - allowing for both the Callier effect with condenser Vs. diffusion light sources and the flare in the enlarging system.

Darkroom Automation still has some of the older original model timers available at a lesser price. The original timer doesn't have the newer model's memory, split-grade and setup features.

More information is available at http://www.darkroomautomation.com/da-main.htm, or feel free to contact me at nolindan@ix.netcom.com

My suggestion of long wash times was not correct for your RC paper. RC washes much faster than fiber based paper. Less chemicals absorb into the paper, so it takes less time to remove chemicals from it. I haven't used any of the current crop of RC papers so others here can be more informative on process times for RC.

There should (hopefully) be a "35mm negative carrier" with your enlarger - a flat pair of (usually hinged) metal discs with a 35 mm sized rectangular opening in the middle. Open it up like a clam shell and place your film in it so the image looks right when viewed from the bottom. The close it and fit it into the enlarger.

The negative carrier is fitted in the middle of the enlarger head above the lens and below the lightsource. That way it can function much like a slide projector.

When you turn the enlarger light on - hopefully with a 50 mm lens attached - and you focus the enlarger on the baseboard or easel, you should see a complete image of your negative. The corners of the negative should be illuminated as much as the middle. If not, write us here.

Focussing an enlarger is accomplished by moving the lens closer and further from the negative - just like in a camera. There's usually a rack and pinion gear to "rack" the lens up and down.

Safelights are as follows....
The ideal:
Safelights have a filter (usually) amber or red, and dim lamps that are meant to illuminate the darkroom in portions of the spectrum that the paper is insensitive to. So, to you the darkroom is illuminated, but to the paper, it is totally dark.

The reality:
The filter is often not quite perfect, and allows a teeeny bit of light the paper could be sensitive to, so you keep the safelights several feet away from the paper, and limit the time you allow paper to be under the direct light of the safelights to a workable minimum, say the time to expose and process , stop and a couple of minutes into fixing, give or take.

Over time as the filter is exposed to heat and light, the filters can age, and lose just enough of their protective coloration to need attention.

If your safelights are a bit "off", there are ways to diagnose the situation and various repairs. The strongest clue that something is amiss, is that you may find it impossible to get clear bright highlights on a print, but that if you turn off the safelights and work in the dark, the highlights brighten up and stop looking gray. Write in if you have a potential problem with safelights.

Check in if any of this is incomprehensible.

Best,

C

Excellent info on safelights and testing them at:

www.steveanchell.com/index.php?option=com_content&task=view&id=33&Itemid=98

The one and same Steve Anchell of "The Darkroom Cookbook" , "The Variable Contrast Printing Manual" and along with Bill Troop "The Film Developing Cookbook"

C

Thanks again Gary and CBG. I will see how those safelights work out, hope there's no leaks. The enlarger did come with a negative carrier and easel. I've just been playing around with it and figured out a lot (didn't put any print paper in, just typing paper for now). I've at least figured out what everything does, and how the repeating timer works. As soon as I get the developer, I think I will be ready to put it all into action.

Nicholas, I have looked further through your site and I appreciate everything you wrote, and taking the time to explain it all to me. Thank you! I may be writing you about some of the older models you may still have after I give a go with what I've got and see how I do with all this stuff.

Konical, I found that thread with photos of the users' darkrooms, and wow! I am now wondering which of my three children is going to have to move out of his/her room and bunk with another, cause those pictures are really making me want a full darkroom. Ah, but for one extra teeny room in this house! For now, my darkroom is having to shack up with the laundry room, which doesn't have a sink, but is right next to the kitchen which has great double sinks and a stone countertop which can withstand chemical spills and banging from the developing tank. The enlarger is currently on the laundry room floor, so I have to get on my hands and knees with the focusing scope. It works, but I am seriously green with envy right about now after looking through that thread. Well, we'll see how it all goes after I've worked in it for a while. I can see the washer and dryer making their way out into the garage someday.

You might mention your location. If you are near any APUG member I am sure he/she would be willing to help get you started. The medical school method of "see one, do one, teach one" is a good way to learn darkroom practices also.

I'm just outside of Nashville. I already invited any APUGers to dinner in exchange for a hands-on lesson.

CBG said:

There should (hopefully) be a "35mm negative carrier" with your enlarger - a flat pair of (usually hinged) metal discs with a 35 mm sized rectangular opening in the middle. Open it up like a clam shell and place your film in it so the image looks right when viewed from the bottom. The close it and fit it into the enlarger.

Click to expand...

Hey, question here.... I was playing around with this today, and I have a negative that has a movie poster in the background with the lettering visible. So, when the negative is in the enlarger and the image is sent down to the paper, should the letters be "correct" or a mirrored image? Just wanna make sure I'm putting the negative in facing the right direction.

cherryhill said:

Hey, question here.... I was playing around with this today, and I have a negative that has a movie poster in the background with the lettering visible. So, when the negative is in the enlarger and the image is sent down to the paper, should the letters be "correct" or a mirrored image? Just wanna make sure I'm putting the negative in facing the right direction.

Click to expand...

Hi Cherry,

The emulsion side of the negative (the dull side) goes down, towards the paper.

Well I do not know how much help I could be since my printing skills are not anything I would call fine art prints but I can make prints that I like and I live just south of Nashville. If you would like to get to work making some prints that might not be completely lousy then I would be more than happy to show you what little I know. Just the basics though. I tend to keep things simple but the pictures do come out looking good to me and others who have seen them.

That sounds cool, msuchan. I also live "just south of Nashville", in Brentwood. Feel free to PM or e-mail me at cheryl_lynne909@yahoo.com, and maybe we could set something up. Thanks!

An update. msuchan came over and gave me and a friend a great hands-on printing session. I have been in that darkroom nearly every night since. I am loving it! I thought I'd post a few pics from tonight's session. The subject tonight was my pug/boston terrier, and that's my son holding her.

I have learned so much already, and am looking forward to my next lesson with M. I hope to learn about dodging and burning next.

cherryhill said:

The first mistake I made so far was thinking I had everything I need to process the film and make the prints, only to learn that the developer for film and print are different. So, I went ahead and ordered Ilford liquid Multigrade Developer for B&W film (since I have Ilford MGIV RC De Luxe paper). This will take about a week to come in, so that gives me a week to read up and learn how to do these next steps. From CBG's post, and from what I can tell from books, the stop and fixer chemicals are the same for both processes. Correct me if I'm wrong.

Click to expand...

You probably already figured this out, but multigrade developer is for paper, not film. Stop and fixer can be the same for both processes (although different dilutions of fix are sometimes used) and it is not a good idea to use the same fixer for the film as the paper - keep separate batches or mix fresh every time.

I started a similar learning process a few months ago. Here are my opinions for what it's worth. The advice already given is fine.

I got a darkroom analyser (the RH designs analyser pro). I found this to be a great help and I wouldn't be without it now, but it took a while to get used to it. You don't have to calibrate it for common papers because the specs are available that will get you going (eg all the MG papers etc.) In any case I quickly got to tell whether a negative was going to be easy to print before I started and it helped me choose paper grades which is something I struggled with. Now I can pick a 'tone' on the negative and match it to the paper I am using - but this took a lot of practice. I also use the analyser to calibrate my film development speeds and times (using the densitometer function). This has also made a difference - I now have a complete 'system' from start to finish.

When I tried using test strips as alternatives to the analyser during the learning process I found that doing split grade printing was actually easier for me (it helps me to get around choosing the correct contrast and was more intuitive - your mileage may vary). It might be worth a try on difficult negs. There are plenty of threads about this technique on APUG.

The other thing I picked up on early was bleaching and toning. You waste a lot of paper in the beginning, but when I learned a basic toning procedure like variable sepia, I found I could rescue quite a few prints that didn't quite make it. This helps to keep morale up and gives you more experimental learning opportunities. First of all the bleaching process can save a print that has been slightly overexposed in itself. And when bleached you sometimes get a 'second chance' to redevelop a print, but not to completion. This is all done in daylight of course and you can see exactly what is going on. It's also more archival and a lot of fun. Get Tim Rudman's 'The photographer's toning book' if you are interested. It is the bible of toning.

I would also recommend reading as much as possible. I got Les McLean's 'Creative black and white photography', Tim Rudman's 'Photographer's master printing course' and Lee Frost's 'Simple art of black and white photography'. I am still dipping in to these all the time and they can be had cheaply on the used market - I think they are all out of print. More advanced books I have are Ansel Adams' 'The print' and 'The negative', and the late great Barry Thornton's 'Edge of darkness' which I am just starting to read again (for the third time I think).

Cheers.

cherryhill,

You already got fine advices. I will say next: You simply must spent film, paper, and chemistry. Better save on sometnig else, in learning (and working) process, you simply must spend material. It is very hard to save on material. Simply, practice make master, and for practice you must use material. If you have limited budget, save on some not necessery equipment, but not on material.

I have two enlarger meters, and in practice it means that if I use 5 sheets of paper to make print with test strip, if I use meter ni most cases I will use 4 sheets of paper. Very rearly meter will help me to get print spending 1 or 2 sheets of paper. They can be helpfull, but they can not make miracles. Atleast it is my experience, maybe I don't use them correctly, probably other people have beter experiences with enlarger meters.

Good luck

Hi, don't waste your money on an analyzer, spend it on paper. If your friend will keep helping you, buy him a six pack or whatever. The time you'll waste calibrating would be better spent printing. This is a great forum and so is Photo.net. Good luck.