Split-grade printing & the dry-down effect

[RalphLambrecht]

If dry down also results in dry up in the shadows, would a slight (?1/12) increase in VC contrast, instead of a decrease in exposure time, be an idea worth pursueing?

Do both! Deduct a 1/12 stop from the exposure for the highlights, and either add a bit of contrast for the shadows or selenium tone the print to do the same.

 

[brian steinberger]

Do both! Deduct a 1/12 stop from the exposure for the highlights, and either add a bit of contrast for the shadows or selenium tone the print to do the same.

This is what I do as well, though my f-stop timer only works in 1/10th stop increments so I just deduct 1/10th of a stop. Selenium toning will make up for any lightening of the shadows that would occur. Now if you don't selenium tone then a slight increase in contrast may be necessary.

I also want to add that I usually microwave my test strips and have been doing so for years. I agree with who above said the sometimes there is highlight detail that is just not there in a wet print. So how can you evaluate it if you can't see it? I'm torn as to what to do with my work-flow. I've always dried my test strips, but I find in the end that it's always 1/10th of a stop. So I guess when it's super fine highlight detail that needs to be seen, dry the strip! Other times just take away 1/10th of a stop.

 

[RalphLambrecht]

... I agree with who above said the sometimes there is highlight detail that is just not there in a wet print. ... I've always dried my test strips, but I find in the end that it's always 1/10th of a stop. So I guess when it's super fine highlight detail that needs to be seen, dry the strip! Other times just take away 1/10th of a stop.

That's also my experience with the exception that my f/stop timer works in 1/3, 1/6 and 1/12 of a stop.

 

[Doremus Scudder]

Here's another wrinkle to the topic.

I selenium tone my prints to various degrees of image color change, and use a variety of papers. After toning, prints are rinsed and then transferred to a tray of hypo-clearing solution (homemade, with sodium sulfite and a pinch of metabisulfite).

I have observed that the image changes when immersed into the hypo-clearing solution; it darkens a bit in a way similar to dry-down. I have also noticed that a wet print in the hypo-clear and an identical dry, toned print, do not exhibit the marked difference in tonality that a wet and dry print before toning and immersion in the hypo-clear do. Also, I notice that, after washing, the dry-down for these prints is somewhat less noticeable. This seems to occur for all papers and most degrees of toning.

I have always assumed that the emulsion swells in the hypo-clear, which would seem to add to a difference in image density... So I have no clear idea about the cause of this phenomenon.

Anyone else experience this? Do any of you have an explanation? I'd love to hear.

Best,

Doremus Scudder

www.DoremusScudder.com

 

[RalphLambrecht]

Very interesting. Likely another swelling issue, but I like to hear PE's opinion to this.

 

[Vaughn]

Gelatin does soften and swell in an alkaline solution. This property is used as an optional tool in developing carbon prints (using Sodium carbonate). Sodium bisulfite (or metabisulfite) is used to clear the dichromate out of the print...and it is recommended to use it after the print has dried -- otherwise one runs the risk of it softening the gelatin too much and destroying the print.

And the instructions for Kodak sepia toner recommends re-hardening after toning.