Paper grade effect on low zones

Every time I raise the paper grade, do I need to te-run a test strip ? Does a grade equals a zone (I mean approximately) both in the shadows and highlights ? I ask because if there is a formula that can approximate with certainty, It would save me paper. I think I know every type of paper is different, but I had to ask. Whatever helps saving in paper and time is welcome. I found myself printing 5 or 6 sheets last night in 1/2 grade increments to be able to see or tell. And I don't like either..... .

I use dichroitic filters. For not too large changes in let's say magenta filtering, the exposure time for the shadows remains the same.

No, I'm not talking about exposure. I'm talking about zones, that is how dark and light the shadows and hightlights will get when changing paper grade. Assuming same exposure.

By the way. I have both but I was printing with condenser enlarger and ilford filters.

lhalcong said:

Every time I raise the paper grade, do I need to te-run a test strip ?

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Yes.

lhalcong said:

Does a grade equals a zone (I mean approximately) both in the shadows and highlights ?

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No.

lhalcong said:

I think I know every type of paper is different...

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Now you know you know. Happy printing!

What Oren said clearly, only more emphatically. If you've got your original supposition in your head, you really need to get rid of it NOW. You are conflating two ideas which though ultimately related, are not addressed by physical materials in this manner. While conserving resources is laudable, skimping in the DR while learning is not. Study up on a zone system, as in Adams' The Negative, before you go any further.

An enlarger exposure meter can help. I use an old Beseler PM2L that I got for $20 plus shipping, once I got the hang of it my paper use dropped a lot. You still have to figure out each paper or know it's ISO.

lhalcong said:

Every time I raise the paper grade, do I need to te-run a test strip ? Does a grade equals a zone (I mean approximately) both in the shadows and highlights ? I ask because if there is a formula that can approximate with certainty, It would save me paper. I think I know every type of paper is different, but I had to ask. Whatever helps saving in paper and time is welcome. I found myself printing 5 or 6 sheets last night in 1/2 grade increments to be able to see or tell. And I don't like either..... .

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The Ilford and Kodak contrast filters are "speed matched" - to a point.

That means that if you change filters, the exposure you use and density you achieve will not change - if you look at the particular tone they are speed matched to (usually a mid gray).

This applies for the low contrast through moderate high contrast filters (up to about 3.5 usually). The higher numbers usually require something like an additional stop - the data sheets on the internet give the rules.

Generally it works best if you do tests to determine the highlight exposure, and then adjust the contrast to vary the shadow density.

You still have to do tests when you change contrast, but you can use small pieces of paper to check highlights and shadows separately.

lhalcong said:

Every time I raise the paper grade, do I need to te-run a test strip ? Does a grade equals a zone (I mean approximately) both in the shadows and highlights ? I ask because if there is a formula that can approximate with certainty, It would save me paper. I think I know every type of paper is different, but I had to ask. Whatever helps saving in paper and time is welcome. I found myself printing 5 or 6 sheets last night in 1/2 grade increments to be able to see or tell. And I don't like either..... .

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the good old test strip is unavoidable if you want to get a perfect print. electronic meters and timersget you relatively fast to a good work print but,after that you need test strips again. John Sexton reckons,he needs a whole box of paper (50sheets)before he gets his perfect prints.saving paper in wet printing is futile.

Changing Grade

I see the whole process as fine tuning an engine until it runs optimally,or continuing to chisel at the sculpture until every aspect of it is exactly the way you want it. Thats part of the fun.

I subscribe the the line of thought that I cling onto a print like a Bulldog until I get everything right. I may burn through a box of paper (and an month in the darkroom) before I get the print to where I want it to be ~ the point at which you look at it,and look it at it, and look at it, and can't find anything you want to change. Then, you look at the print a few weeks or months later and decide you want to create a different rendition.

My advice is: don't try to automate the process Rather, enjoy the process itself. It s like riding a motorcycle … the destination is not important; it is all about the ride (the process).

When things are getting frustrating, walk away from the darkroom and re-tackle the project at a later date, with a fresh eye and renewed attitude.