split printing for the first time

CMoore

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Well.....not THE First Time. But the first time i made it work. The first few times, a month or two ago were disappointing. I did not think i would ever get the hang of it.
But then...Pow.!
I can see where some negatives would print "Easier" or "Better" with splitting. It seems i had a few negatives that were fairly high contrast that were hard to print with just the single filter.
If it were high contrast, where the scene was light field with a faded barn, then above that a Cloudy/Stormy sky, that is different. The negative is, kind of, cooperating by spiting the scene with the horizon. But when the scene has high and low contrast all mixed together, it can turn into a Dodging and Burning gymnastic event.
Seems like the split print makes THAT scenario easier to deal with.....AND it also shows where i am making my mistakes with the Traditional Print style. As soon as i got it to look right via split printing, i could see where i might have made some mistakes with Exposure/Filtering on the "normal" print.
Split printing has opened my eyes a bit more to how everything works together...or is supposed to work together if i do my part.
 

mmerig

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The only advantage of split printing without dodging or burning-in, using 1/2 step filters, is that finer contrast grades can be obtained. Without dodging or burn-in, you should be able to come close to what you get via split printing with an ordinary set of contrast filters (e.g., Ilford's). I think the part in your message after ".... AND it also shows" is what I am getting at here too. I messed around with split printing and it improved my use of filters in the normal (non-split) manner. Perhaps you know this, but if you change the filter, the exposure usually needs to change as well to maintain the same highlight tone.
 

hoffy

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Excellent! I've tried split grade over the years and admit that it was a bit hit and miss.

The last time I tried it, the print was streets ahead of what I produced without doing it. The issue I was having was with blown out highlights on Chrome. With split grading it, I managed to get that little bit of detail I desired. It was a lightbulb moment.

The interesting thing, though, is the different methods that I have now found. I have tried both the Les Mclean and the Ilford Method. In the last 12 months, I stumbled across the young Italian darkroom printer, Lina Bessonova. She does another method again:

I have to admit, I have drunk the kool aid on split grade. How I get the result, the jury is still out.
 

Frank53

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What strikes me, is that there are so many interpretations of split grade.
For me, traditional printing is like an equation with two unknowns. Time and contrast.
You can only solve it guessing, trial and error and some people become experts at this, for most of us it is quite a challenge.
This is where split grade comes in. You don’t have to worry about contrast anymore, it is all about time.
How much time do you need to get detail in the highlights and how much time to reach maximum black. After that it is all a matter of taste and you can dodge and burn or change the times you found earlier.
Imo split grade is not something you only use in some situations or for some negatives, it’s always a good way to get to a good print.
I use the Heiland system, filter unit, control unit and comfort unit. It’s an investment, but I can warmly recommend it.
Regards,
Frank
 

fjpod

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I'm strictly a hobbyist. I learned about split printing only recently. It has improved my printing a lot...mostly with poorly exposed/developed negatives. Split printing the "right way" is time consuming, I must confess, which has stimulated me to expose and develop my negatives better. Lol.

But even on my better negatives, I will print at my preferred contrast and darkness to get nice blacks, then arbitrarily add a few seconds with 0 or 00 for good measure to improve the highlights.

Works for me.
 

John51

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fjpod said:
I will print at my preferred contrast and darkness to get nice blacks, then arbitrarily add a few seconds with 0 or 00 for good measure to improve the highlights.
Click to expand...

That sounds like a plan. Get the shadows how you like them and then an extra exposure with an 0/00 filter does the same as burning in the highlights.
 

Lachlan Young

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John51 said:
That sounds like a plan. Get the shadows how you like them and then an extra exposure with an 0/00 filter does the same as burning in the highlights.
Click to expand...

Better yet, just burn the highlights in at a lower contrast (00 if you like) to taste. It's a case of many legitimate approaches, no doctrines (and split-grade goes worryingly close to doctrine). Learning how to use the grades & their relationships to each other (be it by additive or subtractive filtration) is the more useful approach - 'multigrade' rather than 'split-grade' printing, if you will...
 

Mainecoonmaniac

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Take a look at this video on split grade printing. He's really good.

 

fjpod

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This is how I started learning the technique. But his technique is a bit laborious. I do it if I really needed it for a piece of "art". After you do a bunch, you can guestimate what you need to bring up your highlights.
 

mshchem

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Big Plus One on the Heiland equipment. That's the only real alternative left for new light sources. Everyone seems to love the equipment
 

Paul Howell

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I have tired split screen printing and found not much difference than a properly exposed negative printed grade 2. This morning I again tried both methods, I found that for the most part I liked the prints printed grade 2 better than those printed split. The exception was negative that was very high contrast, I had the camera set to manual exposure and must have misread the LEDs or just took a shot without checking the LEDS. The high lights are very blown out and split filter did a good job of printing texture but I will need to burn and dodge, burn in the face and dodge out the coat to make reasonably good print. see sample below Film Ultrafine 400, MCM 100 stock, paper Multitone Dektol 1:2.
 

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Paul Howell

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Here are scans, one printed at grade 2, the other split filter. Film Ultra Fine 400 developed in MCM 100 stock, printed on Ultra Fine VC RC developed in Dektol 1:2
 

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Frank53

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Paul Howell said:
Here are scans, one printed at grade 2, the other split filter. Film Ultra Fine 400 developed in MCM 100 stock, printed on Ultra Fine VC RC developed in Dektol 1:2
Click to expand...

I can use split grade and make 10 different looking prints. I can do the same without split grade. That’s all about taste.
Split grade or no split grade, when done properly should give the same result. The advantage of split grade is that it makes it all a lot easier.
Regards,
Frank
 

Ron789

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Split grade is great when you want to influence contrast in parts of the image. Burning and dodging during the 0 or 5 exposure enables you to locally manage contrast. Without local burning and dodging, split grade will result in the same image as a "normal" print. One may prefer one or the other method for control or convenience, but without local burning and dodging to obtain local contrast differences, split grade will not result in a different / better print. I use split grade when I feel I need it but I print most of the time using single grade.
 

Paul Howell

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That's been my experaince, my negatives are scaled to grade 2 and usally print without excessive buring or dodging with either graded or VC paper. As much as others rave about split grade printing I guess I always have then nagging thought I'm not doing it correctly. Following the guides on the 2 vidoes I now know for sure I'm spilt filter printing using either method correctly, I just dont see the big resutls folks claim. But, seems to have value if working with a negative that is over exposed.
 

eddie

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Split grade allows an extra degree of precision, as the difference between the exposure times of the high/low filters translates into grades unavailable from the half-grade separated filter options. Not always necessary, but a good tool to have available. (I do use the Heiland system on my LPL 4550XL, which is a huge plus for split grade printing.)
 

Frank53

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+1
I’m using the same setup. It’s making life so much easier.
Some posters here seem to think that using different grades for differen parts of a print is split grade printing. Afaik it is not. Split grade means splitting the exposure in 2 different exposures, usually 0 (or 00) and 5. It is a way to find the right grade, without worrying about the grade. It also gives you the opportunity to dodge during one of the exposures, which is a lot more precise than trying that during a single exposure. Just making a print the traditional way and than using another grade filter to burn ie the sky is not what I would call split grade printing.
In the end you may have the same print, but split grade is easier to do. It is like going from an equation with two unknowns to one with one unknown.
Regards,
Frank
 
OP
OP

CMoore

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As i say, i just had some great success with split printing, but i assume it is just One Tool.?
From most of what i have read and seen, guys set the 0 Filter, make a test strip, and look for tone to just start in Zone 8.....then set the 5 Filter and watch the Blacks/Shadows.
I was printing a negative that was pretty much Zone 2 through 7. Precious little Zone 8, probably no Zone 9. Just a spot or two of Zone 1. It is a very gray scene.
How do you make a test strip with the 0 Filter when there is just a tiny bit of Zone 8.?
Or is that not how you guys do it.?
I wish i had a scanner.
It is a scene, walking up cement steps, lots of vegetation on either side, trees over head like a jungle, a small piece of a lite gray house with a window, and the morning sun bursting through the tree and bushes at the top of the stairs. You cannot see any sky in this frame.
I had a hell of a time trying to split this frame.
I ended up flashing the sun bursts for 0.3 seconds, printing at 70M for 30 seconds and then did a gradual burn with 110M for 15 seconds.
I started at the bottom of the stairs, and gradually covered up the 110M, so that only the Top Of The Stairs/Sunburst got the full 15 seconds of 110M.
Anyway, it is always hard to explain this stuff via a keyboard.
My main question is............Assuming you start with the 0 Filter...Do you guys look for the "first" sign of tone in Zone 8 when you split print.?
Thank You
 

Anon Ymous

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I'd say forget the zones for a minute, just think about highlights and the way you want them to look. You do the soft filter test strip and decide the exposure that would make highlights look right. The hard filter exposure will not affect highlights, but shadows.
 

Doremus Scudder

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Any overall exposure you can arrive at by split-grade printing is achievable as a single-filtration exposure with the right filters (e.g., color head). If you're using a filter set with discrete steps, then split-grade printing will enable you to get between-filter grades. Still, that's not the real advantage. Being able to dodge and burn with different filtration is where this technique really shines.
FWIW, I found the "Darkroom Dave" video on split-grade printing totally worthless. I can get the same result faster by simply changing filtration on my color head. He did absolutely no dodging or burning, just made another print with different (and not very good, IM-HO) contrast.

Best,

Doremus
 

Anon Ymous

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Doremus Scudder said:
... Being able to dodge and burn with different filtration is where this technique really shines...
Click to expand...
Agreed, that's by far the most unique and important advantage split grade printing has.

Another advantage I'd also add is that it requires minimal experimentation to get to a "right contrast grade" if you have no idea what that might be and all you're interested in is a straight print with a full tonal scale. Not necessarily the best print, but a passable one.
 
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