Keeping good record for print making

[tkamiya]

I usually keep a record of f stop, timing, and filter in use in my notebook for each frame I print, so I can do the same later. One of my problems is that this timing data is very dependent upon cropping of the negatives. Another problem is, this is somewhat cumbersome to use later.

Other than keeping every print for my records, are there any good practice to keep this straight? One thing I thought was to make a copy of contact sheet and write the frame line and data right on it, but this is somewhat difficult in 35mm. In 645 format, it becomes possible.

I'm thinking there got to be a better way. Anyone care to share?

 

[Nicholas Lindan]

You also need to note the enlarger elevation. If your enlarger doesn't already have an elevation scale you can sometimes attach a tape measure to the column or girders. A yardstick or meter stick measuring from the easel to a fixed point on the enlarger head also works.

If you use a yardstick then there is a scale you can glue to the back of the stick to show exposure changes when you change magnification:

http://www.darkroomautomation.com/support/stopsruler.pdf
http://www.darkroomautomation.com/support/stopstableforruler.pdf

You also need to note the type of paper - maybe also the size and which box it came from as paper from two different emulsion batches can differ in speed and contrast. Also the contrast filter, developer and time (if other than the usual).

 

[grahamp]

The time will depend on the aperture, the filter, the paper type (speed), and the enlarger head height. I think you just need to add the enlarger height assuming you stick to one paper. You may find marginal variations between sessions - voltage drops, chemical temperature differences - but that can be adjusted easily enough.

 

[Christopher Walrath]

I have gradations on my easel so I merely note the format linear dimensions. The enlarger will need to be at the same height in order to reproduce this timing combination and can be readily adjusted for different formats.

 

[mgb74]

It would be helpful if those who have a form/format that they have found "stood the test of time" would post them.

 

[Richard Wasserman]

This is what I use. The blank rectangles are used for sketches that show burning and dodging. I keep them in a 3 ring binder and file them by project, although they could also be filed by number only.

 

[Rick A]

This is what I use. The blank rectangles are used for sketches that show burning and dodging. I keep them in a 3 ring binder and file them by project, although they could also be filed by number only.

I opened your file and nothing is there.

Rick

 

[Anon Ymous]

I opened your file and nothing is there.

Rick

Worked for me.

 

[PVia]

I keep everything in a Moleskin type notebook, 1 or 2 prints per page.

But yes, enlarger height is a big factor noted.

Also, the developer and paper, even though it may be standardized in your particular workflow.

And don't forget the lens used, in multi-lens darkrooms...50mm, 80mm, 135mm, etc

 

[Sim2]

Hallo,

For my 35mm films I have an A4 printed page for each film, hole punched so it can be stord with the neg sleeve and contact print together in a ring binder. Rows marked 1-37 down the left side with notes space alongside each neg no. On the far side of the page is a blank area for a basic printing map for dodge/burn areas and times in f/stops of the base exposure. Am in the process of making an A5 version for 120 film.

As I tend to split grade print everything, I note the G0 and G5 times, f/stop no, paper used, dev used, dry down percentage all as standard. I tend to print full(ish) frame. Anything non-standard will be noted.

With the crop marked roughly on the contact sheet this seems to work well. With the f/stop of dodge/burn it is easy to make different print sizes, as had been said earlier, in reference to the height of the enlarger.

Sim2.

 

[Lopaka]

This is what I use. The blank rectangles are used for sketches that show burning and dodging. I keep them in a 3 ring binder and file them by project, although they could also be filed by number only.

There is some kind of mismatch problem with this Word file. When I opened it, I saw the file, but got a 'windows disk missing' error (never seen before when opening any word file). Required a cold reboot to clear it up!

 

[Sim2]

There is some kind of mismatch problem with this Word file. When I opened it, I saw the file, but got a 'windows disk missing' error (never seen before when opening any word file). Required a cold reboot to clear it up!

Shouldn't giggle about this but as a mac user this is one of the reasons why I dislike MS Word, depending upon what version of Windows you have installed and what version of Word you have running, any Word file can be totally reformatted by the new pc, even down to fonts being replaced without informing the user/viewer. PDF the file if you can.

 

[KenR]

After not being able to find what I needed in a notebook, I switched to an index card system. As I file all negatives by year and by roll number for that year (ie. 10-03), I decided to extend that to the printing file. When I print a new negative the negative number goes onto the index card with a descriptive title for ease of identification. Then all of the information including date, paper type, paper size, enlarger position, f-stop, time are listed and a burning and dodging diagram made. It has really simplified finding the data and reproducing a photo. Obviously test strips still have to be made, but this gets me into the right spot a lot sooner.

 

[Christopher Walrath]

Since I stow my gear around the house in the "strewn-hither-and-yon" system, the notes are merely scrawled on a single page. Number and format are dated. If I ever get to the need for a new page, I will note the next page number and go from there. Nothing so elaborate as a form. Goes against my religious beleifs.

 

[Konical]

Good Evening,

All the necessary information can go on the back of your contact sheet: Paper type, filtration, lens used, f-stop, exposure time, dodge/burn times, and (as Nicholas properly noted) enlarger head elevation. Keeping a record of the head elevation will, in most cases, eliminate any need to describe image size or cropping.

Konical

 

[Richard Wasserman]

How's this?

 

[Reinhold]

Here's another variation...

I keep these in 3-ring binders filed by negative number.

A quick scribble to show cropping.
Another scribble showing dodging (angled lines imply "minus light")
Another scribble showing burning (cross hatch lines imply "plus light")
A notation if an N.D. filter is used (none in this example)
One of my enlargers has a Zone VI variable contrast head: (lo/hi notation).
I have a variety of easels, so that's noted on the record.
Sometimes I dodge and burn by a percentage of the base exposure (handy when doing several different sizes).

This concept was Fred Picker's, in one of his newsletters a few eons ago.

Reinhold

www.classicBWphoto.com
if that doesn't work, try: http://mysite.verizon.net/res14rg7y/

 

[PVia]

Shouldn't giggle about this but as a mac user this is one of the reasons why I dislike MS Word, depending upon what version of Windows you have installed and what version of Word you have running, any Word file can be totally reformatted by the new pc, even down to fonts being replaced without informing the user/viewer. PDF the file if you can.

Shouldn't giggle but why is it that Mac users have this smug superiority complex?

Never have the problem you're referring to, btw...

 

[Toffle]

I use a somewhat similar sheet. As I rarely do prints larger than 8x10, I do a full size sketch on my note paper right on the easel. I note all dodge and burn areas, and record lens, paper, filter, split grades, developer, toning, etc. (ad nauseum) Using this information, I have gone back to a negative a year or two later and "almost" duplicated my results. I suppose I could do it exactly, but my whims override my notes... (I'm a compulsive tweaker)

What I haven't figured out is how to carry these notes over to a different enlarger. I've got two new setups going (a Beseler 45mx and a Saunders 6700 LPL) and have retired my trusty Hansa. I suppose some data will be transferrable, but I will have to redo my test strips to get my timing.

Cheers,

 

[tkamiya]

I am just amazed how elaborate some system can get...! Thank you very much for sharing. For my current purpose, I think, I am going to start by adding enlarger head height to my record. That will, at least, keep the exposure constant.

 

[Morry Katz]

All this record keeping seems like a giant make-work project. There are so many variables involved that even the most detailed notes will be inaccurate. I've tried it and the information was not really useful. If you really need to duplicate a print, take it into the darkroom with you and use it as your guide. When I reprint an image, I start from scratch and make the best print I can, as I see it, that day.
P.S. I've been printing for about 50 years.
Have fun in the dark.
Morry Katz - Lethbridge, Alberta

 

[Christopher Walrath]

I do a full size sketch on my note paper right on the easel.

I really like this idea. I might incorporate this into my notebook. I side for notes. The other for the sketch and more room for that than I presently take advantage of. Thanks, Tom.

 

[Toffle]

All this record keeping seems like a giant make-work project. There are so many variables involved that even the most detailed notes will be inaccurate. I've tried it and the information was not really useful. If you really need to duplicate a print, take it into the darkroom with you and use it as your guide. When I reprint an image, I start from scratch and make the best print I can, as I see it, that day.
P.S. I've been printing for about 50 years.
Have fun in the dark.
Morry Katz - Lethbridge, Alberta

Morry, I wouldn't argue with you for a second... and seeing as I've only been printing about 5 years, you definitely trump me on that score. But I will say this... for me, the sketch is an important part of getting a feel for the negative. It helps me focus on what I want to see in the final print. I would say that my sketching/record keeping saves me on average two sheets of paper per print - more if I am reprinting a negative. In terms of time, those two sheets of paper add up to at least 15 minutes per negative, and that's a savings I really value.

Cheers,

 

[Mats_A]

Do you use a rolling number to identify a roll of film or some other system?
When I insert a new roll I make a new page in the notebook where I note camera, date, type of film, if I over- or underexpose it. Then I will give it a code that is date + inc number that day. First roll today would by 21-02-10/1. When taking out a roll I write this on the roll. In the notebook I write down the usual data which I later transfer to spreadsheet for printing.

I use the same notebook when printing and then I refer to picture as 21-02-10/1-4. If you can't guess my profession is in IT

r

 

[Worker 11811]

I always just used my test print and made notes on the back.

You can put the negative in the enlarger and the print on the easel then align the images to get an almost perfect reproduction of your original print crop/composition. Mark your dodge and burn areas right on the test print with red Sharpie marker. Use a three hole punch and put it in your notebook with your negatives and proof pages.

I still have most of my notes from when I made prints years ago. I am pretty confident that I could make virtually identical copies whenever I need to.