Help with printing highlights

chapmank · Aug 7, 2006

I am pretty much a darkroom novice and have done a basic printing course and read far more than I have practised. I would like advice on how to get the best highlights when printing in the darkroom. I scan my negatives on an Epson 3120 (which look good on the PC screen) and print out reasonable images from an Epson C86 using MIS Associate inks.

However, the scanner is picking up highlights in great detail which my darkroom efforts seem to miss. I can even see the highlight details on the neg. It's frustrating because the wet prints generally look and feel so much better (paper = Forte Polygrade and Polywarmtone RC, developer = Ilford PQ Universal). My burning skills are OKish but still don't lift the highlight enough (eg light cloud cover with diffuse sunlight being the latest example).

thanks in advance!

David A. Goldfarb · Aug 7, 2006

Since you're using multigrade paper, try exposing for the highlight and using contrast filters to adjust for the shadows. When you get it close, then dodge and burn for local control.

df cardwell · Aug 7, 2006

Yes

Put the highlights where you want them,
and make the best of what remains.

David Lingham · Aug 7, 2006

Flashing is useful to pull in hard to print highlight detail.

reellis67 · Aug 7, 2006

df cardwell said:
Yes

Put the highlights where you want them,
and make the best of what remains.

This is how I print as well. I make my test prints to get the highlights that contain detail where I want them. Then I adjust filtration to get the shadows with detail where I want them. At that point I begin various other measures if needed, but that method should get you both textured highlights and shadows and you can work from there.

- Randy

FrankB · Aug 7, 2006

David - Beat me to it!

Chapmank - Flashing (exposing the paper briefly to white light to overcome its initital 'inertia') may help you retain detail in both highlights and shadows whilst printing with a higher contrast than this would normally require.

Another technique which may be of use (if you're using VC paper) is split-grade printing where (by one method) you make an test strip at grade 00 and pick the 'correct' time by the appearence of the highlight values (ignoring the shadows completely). Then make another test strip (if necessary in a different area of the print) exposing it all at grade 00 and then in increments (as usual) at grade 5. This time select the 'correct' exposure based on the shadow values. To make the print expose the paper first at grade 00 for the time determined on the first test strip, and then at grade 5 for the time determined on the second test strip.

This sounds complicated and long-winded (probably made even more so by my lousy explanatory powers. I can even now hear the stampede of people rushing to correct me! ) but I find it actually simplifies the process by allowing you to place the highlights and shadows separately. It is also possible to dodge and burn your shadows and highlights separately.

I'd advise searching for posts on flashing and split-grade printing, especially ones made by Les McLean. Les's book (http://www.amazon.co.uk/gp/product/...ef=sr_1_1/026-4214097-7138025?ie=UTF8&s=books) is a mine of information and well worth the price, as is Tim Rudman's (http://www.amazon.co.uk/gp/product/...bowtega_1/026-4214097-7138025?ie=UTF8&s=books)

Hope this is of some help,

Frank

chapmank · Aug 11, 2006

thanks everyone. I went back to the darkroom with your suggestions and got better results this time by exposing for highlights and then dodging darker areas. Will try out flash and split grade techniques next time.

Ronald Moravec · Aug 11, 2006

If the highlights require burning in frequently, you are developing the film too long.

You should have a test subject with detailed shadows and highlights and set up the development time/exposure to get it right.

Dedging shadows and burning highlights are for creative control, not every neg.

RalphLambrecht · Aug 11, 2006

Exactly. This is the most valuable darkroom lesson, I've ever learned. With negatives you expose for the shadows and develop for the highlights. With positives you expose for the highlights and tune the shadows with contrast.

fhovie · Aug 11, 2006

When I have an overly contrasty negative, I will pull the print from the developer just as the image begins to appear and I gently slide it into a water bath. In the water bath, the developer that has soaked into the emulsion (not RC paper) will work till exhaustion. The highlights will develop like the print is in developer. The shadows will slow down and quit short of maximum density, saving shadow detail. It sometimes takes a longer exposure and a little trial and error but it works.

RalphLambrecht · Aug 11, 2006

Alternatively, with FB prints, you can pull the print and rinse it in a water bath. Then, apply developer to the highlights again, using a brush.

But again, it's best to expose for the highlights and control the shadows with contrast, with or without some dodging and burning if necessary.

John Bragg · Aug 11, 2006

Hi Chapmank,

Welcome to the exciting and frequently frustrating world of darkroom work. How you expose and develop your negatives can greatly influence how easily they print. Expose enough to get good shadows and then develop for the highlight density to suit your paper and enlarger type.
What film stock and developer do you use ? Some developers produce highlights with more vigor than others, and how you agitate can also influence this. Reduced agitation can be a useful way of taming highlights, in combination with the right dev.

Regards, John.

John Bragg · Aug 11, 2006

http://www.luminous-landscape.com/columns/sm-02-04-28.shtml
http://www.luminous-landscape.com/columns/sm-07-14.shtml

These links are also useful in trying to get the feel you want in your printing.

dancqu · Aug 11, 2006

Ronald Moravec said:
If the highlights require burning in frequently,
you are developing the film too long.

In a way B&W films are indoor films. They should
be used outdoors in the same way as indoor balanced
color transparency film is used, with a color correction
filter. Yellow filters are the usual correction color
for B&W. For contrast control when shooting,
filter properly.

I've the same problem as yourself. Too much blue is
coming through my light yellow. I'll be ordering a #15
deep yellow, a Tiffen. Haven't had a Tiffen since
can't remember when. Dan

RalphLambrecht · Aug 12, 2006

This is a valid point. Many regard the Wratten #8 Yellow filter as a standard filter to be used for B&W outdoor work. Nevertheless, be careful, the box speeds of B&W films are highly overrated for work done below 6,000K.

Claire Senft · Aug 12, 2006

The choice of developing agent for the negatives can make a difference. It is hard to beat pyrocatchin..of course correct development remains important.

leeturner · Aug 13, 2006

RalphLambrecht said:
This is a valid point. Many regard the Wratten #8 Yellow filter as a standard filter to be used for B&W outdoor work. Nevertheless, be careful, the box speeds of B&W films are highly overrated for work done below 6,000K.

What is the effect of the yellow filter on overall tonality and contrast?

RalphLambrecht · Aug 13, 2006

The filter changes the spectral sensitivity of the film. In my opinion to the better, because the result is more like the spectral sensitivity of the human eye. Unfiltered B&W film in general has an 'unnatural' sensitivity to blue. The filter compensates for that to a large degree.

Tonality and contrast is affected by the filter. So, if one decides to use the filter at all times, then the filter must be part of the calibrating film tests. I don't do that. I use the filter for some outdoor work and benefit from the lowered contrast.

BTW, when making paper negatives (much fun with LF cameras) a yellow filter is standard for the spectral sensitivity reasons mentioned above.

dancqu · Aug 13, 2006

leeturner said:
What is the effect of the yellow filter on
overall tonality and contrast?

Another question. What is the color of the subject?
Is it's color the predominating color of the light upon
the subject? What ever the color?

I ran into that problem when shooting in the woods.
Lots of clear blue sky so those blue reflectors out
there have plenty to work with. I like the shorter
exposures and smaller f stops but know color
fidelity has gone amuck. So, for most
shots yellow 8 or 15. Dan

Help with printing highlights

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