Need help getting systematic on _everything_ - get me past the beginner plateau!

[PFGS]

Doing test strips is an art in itself .
Start by acknowledging that the negative is a bit low in contrast, and try again at grade 3.
When you do your test progression, do some exposures that go farther - you need to be sure that you are attaining full black.
When you evaluate the tests for exposure, you need to key on an upper mid-tone or low highlight - something like the circled area here:

View attachment 252733
Once you arrive at a base exposure that gives you satisfactory upper midtones, adjust the contrast to give you satisfactory shadows. If you based your exposure determination on an upper midtone, using the speed matching capability in most variable contrast systems should allow you to change contrast with little or no change in exposure.
When you have a result that is satisfactory as to overall contrast and exposure, use judicious amounts of dodging and burning adjustments to enhance the results - I would guess that a bit of dodging of the tomato highlights might add some sparkle.

Matt, I will try again. But do you think there was a problem in my process? The test I did covered four full stops, yet the strips are all very dark and hardly distinguishable, yet never fully black. The cutting board is quite uniform across the width of the picture - I feel like between 2 seconds on one end and 22 seconds on the other, there should be more difference? I can scan the test print if that helps. Even at my most erratic, I've never had this much trouble with the basic mechanics. so maybe something's up?

 

[MattKing]

It does look like the results one gets from old paper, bad developer or safelight fog.
Have you done a safelight test. Here is the fully detailed version I use: https://www.kodak.com/uploadedfiles..._motion_products_filter_K4_Safelight_1106.pdf

 

[cowanw]

Matt's advice is good but your response does not seem to accept that the choice of exposure time is a separate process as to the choice of grade. If your shortest time on the test strip is too muddy, you must go up in grade barring Matt last post.

 

[PFGS]

It does look like the results one gets from old paper, bad developer or safelight fog.
Have you done a safelight test. Here is the fully detailed version I use: https://www.kodak.com/uploadedfiles..._motion_products_filter_K4_Safelight_1106.pdf

Paper is brand new. I have tested the safelight, but it can't hurt to do again. I don't fully trust the developer - it's freshly purchased but there's no date on it. I did get a decent range out of that other negative.

 

[PFGS]

Matt's advice is good but your response does not seem to accept that the choice of exposure time is a separate process as to the choice of grade. If your shortest time on the test strip is too muddy, you must go up in grade barring Matt last post.

No, I do get that those are two different factors. Knowing when to change one vs. the other is one of the things I want to learn. My plan is to take both of your suggestions and try again at 3 as well as 5.

 

[cowanw]

No, I do get that those are two different factors. Knowing when to change one vs. the other is one of the things I want to learn. My plan is to take both of your suggestions and try again at 3 as well as 5.

Yes knowing what to change can be a process.
If you want more white you decrease time or increase grade
If you want more black then you increase time or increase grade
Changing time will not change the dynamic range ( if we can use that word)
Changing grade will alter the dynamic range on either side of the midtone; which is the point of what Matt was referring to in post 50

 

[PFGS]

Yes knowing what to change can be a process.
If you want more white you decrease time or increase grade
If you want more black then you decrease time or increase grade
Changing time will not change the dynamic range ( if we can use that word)
Changing grade will alter the dynamic range on either side of the midtone; which is the point of what Matt was referring to in post 50

Awesome summary, thanks! And you are right, just re-read this bit in Matt's #50: "Once you arrive at a base exposure that gives you satisfactory upper midtones, adjust the contrast to give you satisfactory shadows. If you based your exposure determination on an upper midtone, using the speed matching capability in most variable contrast systems should allow you to change contrast with little or no change in exposure." I think I failed to fully process that on the first read.

 

[MattKing]

If you want more black then you decrease time or increase grade

I think Bill meant to say "If you want more black then you increase time or increase grade".
I find it easier to adjust exposure to achieve the high midtone/low highlight tone I want. That works better for me than keying on a middle tone.
I then adjust the grade to change the appearance of the mid-tione details and change the black.
Each to their own.

 

[PFGS]

I think Bill meant to say "If you want more black then you increase time or increase grade".
I find it easier to adjust exposure to achieve the high midtone/low highlight tone I want. That works better for me than keying on a middle tone.
I then adjust the grade to change the appearance of the mid-tione details and change the black.
Each to their own.

I knew what he meant, I think.

High mids to low highlighs is the soul (or lack thereof) of most photos, IMHO, so attention there makes sense/

 

[cowanw]

yes

 

[PFGS]

Just wanted to dig this thread up one more time, to say thanks to everyone who contributed here and elsewhere: after a few weeks of reading, asking questions, and taking my time, last night I did my first real session in my new little home darkroom. I took a roll of fresh Delta 100 I had exposed (mostly) intelligently and carefully made the best contact sheet I could, and was able to almost effortlessly run off straight prints from half a dozen negatives, all grade 2, using the contact sheet to judge the minor adjustments needed between them, and in general had by far my most productive and least frustrating printing session ever. Turns out that playing it straight, using fresh, quality materials, reading and following the instructions, and just generally not shooting one's self in the foot, works really well!

 

[Old_Dick]

I would suggest that you request a free download of Fred Picker's DVD, just PM me. Free, no strings attached to anyone who request it.

 

[pentaxuser]

Turns out that playing it straight, using fresh, quality materials, reading and following the instructions, and just generally not shooting one's self in the foot, works really well!

A good recipe for tackling most things in life successfully, now I come to think of it

pentaxuser

 

[MattKing]

Just wanted to dig this thread up one more time, to say thanks to everyone who contributed here and elsewhere: after a few weeks of reading, asking questions, and taking my time, last night I did my first real session in my new little home darkroom. I took a roll of fresh Delta 100 I had exposed (mostly) intelligently and carefully made the best contact sheet I could, and was able to almost effortlessly run off straight prints from half a dozen negatives, all grade 2, using the contact sheet to judge the minor adjustments needed between them, and in general had by far my most productive and least frustrating printing session ever. Turns out that playing it straight, using fresh, quality materials, reading and following the instructions, and just generally not shooting one's self in the foot, works really well!

Well done!