Printing session, whats your work-flow?

[brian steinberger]

I've been trying to figure out my personal work-flow for printing over the past few years and can't seem to get comfortable with one yet. I tend to choose one negative and go into the darkroom for up to 8 hours in one session. This includes everything from running test strips to toning. To me this seems a bit extreme, considering I'm only working with one negative.

I've thought about some different work flows, especially doing my toning during a separate session. But another idea I had was taking a half dozen or so negatives into the darkroom and just running test strips for a session. That way during the next session (the making of the print) I would have a basis already laid.

What work-flow do you feel comfortable with?

 

[Tom Kershaw]

Brian,

My work-flow depends on what needs to be done but generally I split up the printing process into multiple sessions specially with regard to toning. However, I often run off work prints, think about exposure times etc. while processing film with the Jobo.

 

[wclark5179]

I checked #3. That's for final enlargements.

But for contact prints, I determine the time then everything is run the same way with a little tweaking here & there.

 

[removed account4]

i can usually print about 1+ print / hour depending on the negative ...
the only thing i ever tone in has been jello, reed dye and tea ..
(1991 was the last time i toned anything .. )

 

[phaedrus]

I like to tone visibly in selenium toner, that so much changes the end result that I can't do it in a separate session.

 

[schrollphoto]

I selected "other" due to a change in my habits. For years I made test strips and final print with toning in one session. Sessions usually last 4 to 5 hours. About 4 years ago, I started making test prints (including final toning) in one session, walked away from them for a week or so, then took a fresh look and selected the ones that really held my eye. The final print session was just that, nothing but final prints and toning. After 35 years in the dark, I still love the feel and smells. Even an old dog can change his ways.

 

[Dan Henderson]

Making a photograph that satisfies me is a process of elimination. If I have a lot of exposed film from a trip or specific subject, I typically develop all of the film, then make contact sheets of the entire shoot. From there I will identify images that I think are worthy of more time and materials, and make larger proof prints of those (if they were shot on medium format film.) After I have proof prints of all the likely suspects, I will study them and decide which ones to make final prints from, usually with an entire printing session devoted to one print. I find that for me, it takes 1 to 2 hours to arrive at a final print including toning, and that working beyond that time becomes less efficient. But that's just me.

 

[snallan]

For my own work, it is rare that I would go from the negative to a final, toned print in one session. Though I have occasionally done so.

I like to live with work prints for a few days, giving me a chance to weigh them up against my original visualization before committing to my final prints. Some prints also get local, or overall bleaching. Which I would perform in a separate session, or before toning in one session.

Work for others I proof completely in one session with no toning, no test strips but using an RH Designs analyzer. Then selected final prints are made in one session, and toned if I am using selenium toner. Otherwise toning is carried out in a separate session.

 

[brian steinberger]

Thanks, these replies are great!

About the work print, do you guys usually make these on RC or FB paper? I usually make quick work prints on RC simply because it's quick to wash. The times and contrast grades carry over to FB most of the time (Ilford papers), but not always, and I know that's a disadvantage.

 

[Andrew Moxom]

I usually average around 5 prints from start to finish and that includes all bleaching/toning steps within a 4 hour period... Then 1 hour for a final washing. I know others print more, for me this is about right. It also seems pointless to me to print, wash dry, then do the toning steps as another seperate stage. Others may disagree, but I view a wet print as vulnerable, and why I risk/stress the print one time for 5 additional minutes in the extra toning baths while it's wet rather than run the risk of drying, rewetting, toning, washing, and drying again twice.

 

[brian steinberger]

Thats a good point Andrew. I'd be interested in knowing if re-wetting a print after dry actaully does put some stress on it.

I think another advantage in toning in a separate session is for lack of space. When it comes time for me to tone I clear off my developing trays to make room for the toning trays. If it's anything more than selenium toning it does take some time, especially when going between sepia and selenium.. with the washing in between.. etc.

 

[Nicholas Lindan]

Very variable: anywhere from running off 50 different prints from a number of 36 exposure rolls for event photography to less than 1 print/day. If it is a print worthy of hanging on the wall (and not taking down the next day) then spending several days on it isn't untoward, I feel I sort of owe the image that much involvement; if I then run off 10 copies of the print I do it in one session and refrain from working on another print.

I would say I separate toning and printing only for 'production runs'. If it is the first print from a negative then I will tone on the same day as quite often the final results after bleaching and toning aren't what I wanted and it is time to start over with a bit more/less exposure/development/contrast/dodging etc. or a different paper or developer. I almost always use a little bleaching to clear highlights - it's a touchy proposition, given to error, and another reason for being able to make a reprint quickly.

 

[Doremus Scudder]

I'm a #2!

I proof all of my negatives and spend time with the proofs, choosing possibilities for making enlargements. "Proper proofs" on the same of similar paper to what I will be enlarging on helps to choose grade and plan manipulations.

A printing session consists of choosing a neg to print and working on it till I either reject it or make a "keeper." This takes several hours if not the whole session. In the process, I dry down the prints and evaluate them along with other versions under as close as I can come to gallery illumination. A dry print is very different than a wet one, and just figuring in a "drydown factor" doesn't cut it. Often, I'll keep a group for a day or two before I decide to make further changes, or which "version" I want to make prints from. Sometimes, I'll keep several slightly different versions: "different, but equally valid, performances of the same score." At the end of the printing session, I usually make five "identical" prints. I must mention that at this point, bleaching gets incorporated, but not toning. Also, I only give these prints a first fix, wash and dry.

The toning session happens after I've collected a bunch of prints to tone. I like at least 40 (8 batches of 5 or the equivalent). I tone slightly in selenium and therefore print a bit less contrasty than I want since I know that the selenium toning increases contrast just a smidge. In the meantime, I may have discarded or reprinted some of the prints from the "keepers" group. Toning work flow is: Soak, fix 2, toner (no rinse between fix and toner), wash aid, rinse, wash. Toning is done with rather dilute toner under display lighting and is completely subjective. Some subjects want more toning, some less. I pull the print when the toning is "right" for the image. Often I'll dry a print down to see if I've overtoned (if so, into the trash...). The second fix is "print strength" rapid fix. I used to use plain hypo fixer, but see no advantages to this now. The rapid fix I use (Ilford) is not so acid as to cause staining. This would likely be a good place for an alkaline fix, but I've yet to try one.

After prints are dry, I try to mount at least one of each. Before mounting, spotting, etc. is done.

Best

Doremus Scudder
www.DoremusScudder.com

 

[SuzanneR]

I often make 4 to 5 prints in a session of about 4 or 5 hours... about an hour a print from test strip to final print. I usually tone prints in a separate session. Inevitably, the school bus arrives, the kids are home and I've run out of darkroom time. Often, I'll do two print sessions, then one toning session, which isn't as time consuming, so I might get 4 or 5 prints done one day, another 4 or 5 the next, then tone them all on the third day. All during school hours!!