Post your enlarging workflow

[ShootsAndLeaves]

So, you have decided on a negative you would like to print. What steps do you take (generally) to get to a print?

Here is my typical routine;

1. Look at my contact sheet, find something that looks ok on the sheet because I know that will be easier to print.
2. Run a test strip at normal contrast at a random aperture, but forgetting what aperture I used.
3. Do a full size print at time determined from step 2.
4. Get confused why full print was too dark.
5. Realize I have accidentally bumped the aperture causing the too dark print.
6. Waste some more paper while I figure out the aperture I used in the test strip
7. Get some terrible prints, but eventually one works.
8. Don't touch anything (aperture, time), and simply replicate whatever I did that worked.
9. Try some dodging/burning/split filter, or whatever I have recently read about.
10. Get progressively tired, hot, hungry and cranky. Just one more print, the 'next print' will be the keeper.
11. Tell myself I knew what I was doing all along. You see, now I have lots of test photos for trying tea staining. Notice dust marks on my dried prints, tell myself that it adds 'character' and it's organic because you can tell it's not digital.
12. Promise that next time I will be more methodical, make a plan, take notes and write down everything I did.

Does anyone else work so haphazardly? Or have you got your routine down pat like a production line?

 

[Svenedin]

Your procedures look pretty normal to me. Doesn't look particularly haphazard.

I would suggest that you make your test prints at an aperture you will remember. This will depend on your set-up but the aim is to produce a print in a reasonable time e.g. 15-30 seconds. Bear in mind that it is best not to make prints with the lens wide open -the picture may be a bit soft with a wide aperture and there is less depth of field. So you could just make test prints at f5.6. or f8 or whatever and stick to that and then you will not forget.

Another thing that helps is to mark the back of the print in soft 3B pencil before you expose the paper. I put the film reference e.g. 10/2017 (the 10th film of 2017) which corresponds to the number on the negative sleeve, the subject, film type, paper type, enlarging time in seconds and aperture. The aim of this is that I can then re-print much later (even years later) with minimal fuss. It seems a tedious step but is really useful.

For dust, a torch/flashlight is handy in the darkroom. A bright pen torch works for me. Examine the negative with the torch and then blow dust off gently with canned air or a puffer/bulb blower. Then use an anti-static brush if needed. Be aware that there can be dust on the paper as well (from manufacturing). I always blow each sheet of paper.

Some people don't bother but I focus on a scrap piece of paper to account for the tiny difference in height compared to focussing on an empty easel. I tend to use only one paper size, 10"x8" and so an easy easel (such as the Paterson single format easels) is quick and consistent but I do have proper easels for other work.

A few other ideas: always use a grain/focus finder (e.g. Paterson) to ensure pin-sharp projection of the image on the paper. If you have to do your darkroom work "as and when" you have time then a slot processor is a useful way of extending the working life of chemicals. Otherwise, the chemicals (especially developer) will go off in open trays in about 12-24 hours.

Working when tired is a way to diminishing returns, mistakes and frustration. It is a hobby to enjoy. Take a break in fresh air, the negatives will still be there tomorrow (and because you have written on the back of your prints in pencil you can get going exactly where you left off)!

 

[Craig75]

Spilling fixer on the floor adds ambience i find

 

[Svenedin]

Chemicals certainly add to the "atmosphere". A slot processor reduces the surface area open to the air and makes it a bit more pleasant if ventilation is not as good as it should be. There are "odourless" fixers and stops that can be used too (e.g Fotospeed FX30, Tetanal Superfix Odourless and stops based on citric acid rather than acetic).

 

[Paul Howell]

After 50 years or so I have a standard workflow that works for me, others will see flaws as there is no one best way to work.

1. I make contact prints of all my negatives, same time same aperture, (F8 8 seconds) grade 2 or #2 filter.
2. Process the print, wash, and dry and use a Loup to decide which negatives I want to print.
3. Make 5X7 work print on RC paper. I have refined my personal ISO for film and develop at 68 degrees my negatives are very consistent, in most cases I don't need a test strip, 5X7 RC glossy paper, Omega D3, 80mm lens for 35mm, 105 for 6X6, 6X9 150 for 4X5, F8, 12 seconds grade 2 or #2 filter for a work print.
4. Wash and dry work print, mark up the work print with a Sharpie up for burning and dodging, crop if needed, decide on final paper and printing grade, I often print at grade 3, RC glossy or FB, think about toning.
5. Set up enlarger for 8X10 or 11X14, Do a 8X10 or 11X14 test strip, often on different papers, wash and dry to see how dry down will effect the print, tone then determine final times what paper will best suites the negative. (currently I have Ultrafine RC, Foma and Salvich FB.)
6. Set up for final print, as I now know how I want to burn and dodge use test squares to test areas I want to burn and dodge time, wash and dry.
7. Print final print at F8, time depends on test strips, burn and dodge, at this point I will print 2 or 3 prints.
8. Process print, developer, stop bath, first fix, second fix, first wash, bleach if needed, tone, wash, (FB paper Permawash the final wash) the dry.
9. Spot.



This is the process for final print, but I usually do not work a single print in a given session. I may contact print recently developed negatives, while the contacts prints are washing and drying move on work prints from contact prints I made last session, then move on final prints from 2 or 3 sessions back. Keep good notes.

 

[dasBlute]

<grin> thanks for the laugh, yes it often feels like chasing rainbows with a leaky net

For me, good music helps, good notes are essential, and clean negs reduce spotting...

keep it up, at least one good print makes it all worthwhile

-Tim

 

[Ko.Fe.]

RC: Enlarge. Dry. Wait few days to see if it doesn't turn grey.

FB: Enlarge and Dry. This is it.

 

[jvo]

skip steps, 4, 5, 6, 7 and 12. precede all steps turning on the music of choice, ensuring a nice wine is at hand. write notes on the back of the print. sit often, sip the wine and contemplate what's working.

i spend many an afternoon this way; sometimes i make some great prints, sometimes not. usually something of value. i always have nice time - some more productive than others. i think it why i love using film!

thanks for bringing it up!

 

[rpavich]

Hahaha..this was a great post and I'm guilty of that work flow all too often.

 

[teejay]

Spilling fixer on the floor adds ambience i find

Or in my case spilling fixer on my best shoes because I couldn't be arsed to change them

Great post though - that list is me down to a tee. But I've entered a "New Beginning" and and trying v hard to write down / analyse / amend my workflow - plus the new Analyser Pro is working out a treat.

 

[M Carter]

Look through the contact sheet, choose a neg. Some negs I just go straight to lith, if the shot calls for it, I get more involved:

Cut some 8x10 fiber into quarters and do some test prints. I start with a scrap of the clear leader and find the max black time. If I go much astray of that, something went wrong with exposure or developing.

Check the test print and decide if I want an unsharp mask, dodge mask, shadow mask, etc. Decide if I want to replace a sky or anything crazy like that.

Spend an afternoon punching film and making masks.

Dial in the exposure strategy at 4x5; then go to 8x10 and re-calculate times. Take detailed notes. Check mask registration on the larger print.

On a later day, get out the lith developer and warm it up - move up to 11x14, recalculate times at the new height and triple the exposure.

Run a good sized test strip in the lith dev. Usually go "holy cow, lith, that's a cool idea" - lith always seems to point me in some new direction with the first test, subtle or huge.

Re-think my strategy based on the lith print, dial in a couple good ones.

File all the masks with the neg and my straight-print notes and lith notes. Staple a test print to the folder so it's easy to find.

 

[RalphLambrecht]

So, you have decided on a negative you would like to print. What steps do you take (generally) to get to a print?

Here is my typical routine;

1. Look at my contact sheet, find something that looks ok on the sheet because I know that will be easier to print.
2. Run a test strip at normal contrast at a random aperture, but forgetting what aperture I used.
3. Do a full size print at time determined from step 2.
4. Get confused why full print was too dark.
5. Realize I have accidentally bumped the aperture causing the too dark print.
6. Waste some more paper while I figure out the aperture I used in the test strip
7. Get some terrible prints, but eventually one works.
8. Don't touch anything (aperture, time), and simply replicate whatever I did that worked.
9. Try some dodging/burning/split filter, or whatever I have recently read about.
10. Get progressively tired, hot, hungry and cranky. Just one more print, the 'next print' will be the keeper.
11. Tell myself I knew what I was doing all along. You see, now I have lots of test photos for trying tea staining. Notice dust marks on my dried prints, tell myself that it adds 'character' and it's organic because you can tell it's not digital.
12. Promise that next time I will be more methodical, make a plan, take notes and write down everything I did.

Does anyone else work so haphazardly? Or have you got your routine down pat like a production line?

1.do a test strip of the same neg area in 1/3 stop increments at grade2-3.
2.determine best exp time from above and do a whole sheet with that.
3.examine highlights and shadows to make experience and contrast adjustments or prepare a dodging and burning plan to optimise exp and contrast.
4. done!