I just don't get it.

[Dennis S]

Agreed that you have to buy new contrast filters for variable-contrast papers. Don't try to use some you bought used or found at a camera show. They only last a few years. I went through a few rounds until I figured this out and bought some new Ilford filters.

That is something that is on my list every few years. Many years ago I had an old set I thought would last me a life time until I finally narrowed down my contrast problems. A new set really helped a lot actually.

 

[pentaxuser]

OP, let us all know what the cure is when you solve the problem. Thanks

pentaxuser

 

[nworth]

You need to maintain your equipment, but, sad to say, that may not help a lot. Some of us, me included, are just lousy printers. Or maybe we are reasonable printers but lousy black and white photographers. I've been at it for about 60 years, and I'm far from satisfied. I've made a few decent exhibition prints (and shown them), but they have been few and far between. I have to admit that my black and white picture taking skills are lacking. While I can do the technical part decently, I think color. Black and white is an entirely different game, and thinking color hurts. You have to develop an entirely different esthetic for black and white, and that is not automatic for me. As for the darkroom, I keep trying, and sometimes I even get a presentable print. I keep telling myself I'll improve. Maybe I am improving with practice. In any case, I'll enjoy the challenge.

 

[andrew.roos]

I suspect your paper development time is too short. Paper is usually developed to completion, so additional development time shouldn't affect the image much. I would suggest you try a much longer development time - say 5 minutes. If your image goes too dark, then reduce the exposure but do not change the development time. Once you've found the correct exposure, you can start reducing the development time.

I would also suggest you try contact printing, to eliminate the possibility that it is a light leak from the developer. If your contacts come out well, but your enlargements don't, then that's probably the problem. When you contact print, leave the enlarger head at the same height as for an enlargement; that way, you should get the same exposure on the contact print as on the enlargement.

I would also try a fresh stock of "known good" paper. For me, "known good" would be Ilford. Although Ilford Multigrade IV is what I use, it might be worth getting a few sheets of graded paper (Ilfospeed RC deluxe) in Grade 3 (since that is what you used to print with). That way, you will eliminate the possibility that your projector bulb or contrast filters are faulty.

And like everyone else says, test your safelight. Or at least develop a print in the dark!

Essentially, if you contact print onto fresh Grade 3 graded paper and develop for plenty of time in the dark using fresh developer, then you will have eliminated all the likely causes of poor contrast (assuming your negs are good, of course). Once you've got a print that shows good contrast (even if it's not the final print you want) then you can start adding the variables back - develop for a shorter time; turn the safelight on; use multigrade paper with the appropriate filter; print an enlargement instead of a contact print. (Don't make all these changes together; make them one at a time). This should show you where the process problem lies - bad safelight, bad filters, enlarger bulb, development time, etc.

Good luck and please let us know how it works out!
Andrew

 

[snapguy]

When I was knee-deep in b&w photo prints at a large international photo news service we used variable contrast paper and also single grade paper in grades 4, 5 and even 6. Multiple grade contrast printing paper will give you about a 3.5 grade at the most, compared to the single grade 4,5 or 6 papers. Some of these "harder" papers are still available. I'd try some, just to see what happens.

 

[pentaxuser]

[QUOTE=snapguy;1672701Multiple grade contrast printing paper will give you about a 3.5 grade at the most,

I think that Ilford would disagree strongly with you. While some dichroic head enlargers might struggle beyond 4-4.5 Ilford believes that fresh paper, fresh developer and decent multigrade filters will get you to grade 5. I am inclined to think likewise.

Of course if the OP needs grade 5 to "correct" his negative then he needs to look at his negative exposure and development but this isn't the same as saying that if he needs grade 4 or 5 for a print he may as well abandon MG paper

pentaxuser

 

[Simon R Galley]

Indeed I do disagree.....

You can get a full grade 5 and a grade 00 with ILFORD VC paper.

BUT : Unless you are split printing if you are up at 5 or down at 0 something ai'nt right !

I know I bang on about it and I have the luxury to bracket exposures ( which I do )
but the basic requirement of a good print ( and easier printing ) is a well exposed
negative, I print on GALERIE FB Graded paper because I love it.....but between 2 and 3
on VC paper ideally is where you need to be.

I saw a rather sad comment from NWorth that he only occasionaly gets a 'presentable' print......

Printing to me is as joyous as the photography ( if not more so ) and to feel that you are not good at it is sad, I became reasonably proficient through practice, nothing else......thousands of negs and thousands of prints, in a commercial darkroom I saw lots of fellow printers ( some better than others ) but none failed training and had to leave the darkroom some just 'got it' quicker than others, and others had higher 'waste' which was recorded... good kit helps... but apart from a good lens ( not negotiable ) you do not need expensive kit AT ALL.

In other words absolutely EVERYONE can produce a good print.....

True... there are 'tricks of the trade' and some challenging techniques and of course some outstanding and gifted printers that would be rather hard to emulate but 99% of people should be able to get a thouroughly presentable print of which they would be very happy very quickly.

Simon's 'tip' : Put aside two full days : buy a single box of 100 sheets of 7x5 VC Paper, get 4 of your negs 1 underexposed / 1 overexposed and 2 correctly exposed.

Then write down on a sheet of paper your exposure, f.stop and grade used ( + any dodging and burning how long each area etc ) on a piece of paper and number the back of the prints to match the written details of what you did.... Dont do test strips !

Do the correctly exposed negs first and get to what you think is your ultimate 'good' print WITHOUT dodging and burning STEP 1 ) .....3 or 4 prints should do it then STEP 2 ) use the exposure from what you think is the best print is from STEP 1 )and practice your dodging and burning to get your hands working and PLAY AROUND.... make the sky darker, graduate, lighten other areas... just see what effects you can actually produce on a finished print, you can change everything! When you have printed a total of 18... look at all 18 and write down what looks best from all of the 18 prints, use the last 7 sheets on this neg to get all the best from the 18 into one print...

At the end of this you will not be a great printer, but you will know what and how you can influence a print and make it look how YOU want it to look.

Then do the more challenging negs, this will help in two ways 1) it will help you to able to print and recover a poor neg with an acceptable print and 2 ) it will encourage you to expose and process PROPERLY !

Using smaller size paper is obviously cheaper.. but it also helps to challenge your hand shapes in dodging and burning, then when you use bigger paper its a lot easier...

HINT don't get any shorter than a 20 second exposure ( adjust the f. stop further down to elongate the exposure ) it makes dodging and burning easier when you are learning and less obvious on the print.

Finally, lots of books available from the basics to the masters... but get the 'basic's first and then move onward, upward and to print nirvana !.

Simon ILFORD Photo / HARMAN technology Limited.

 

[mklw1954]

Other things to check to reduce fogging:

- Seal light leaks from your enlarger as best you can (turn it on in the dark with the lens cap on to observe). --

- Any reflective surfaces near your easel (e.g., metal/glass shower doors and tile walls in a bathroom darkroom) can cause fogging; hang non-reflective fabric in these areas.