splitgrade vs. single filter

[anyhuus]

Is there an easy way of calculating a single filter exposure having established a set of splitgrade exposures?

It seems to me that determining contrast and exposures through splitgrade is more controllable and efficient than doing the same with single grade filters.
However, once the contrast and exposure has been found through a splitgrade methode, wouldn't it be more efficient if one could converge to a singel filter with a singel exposure?

 

[Dave Miller]

Split grade filtering is only required if different grades of contrast are required across a print. It follows therefore that a print made at a single grade cannot give the same result.

 

[anyhuus]

I might be a bit imprecise or sloppy in using the term splitgrade. What I mean is the tecnique where one finds the shadow-exposure by making a teststrip with the "shadow" filter, then finds the highlight exposure by using the "highlight" filter (or vice versa) for the whole picture. And then, if these two exposures can be converged in to a single filter-setting and a single exposure.

Further manipulation by using different contrast for different parts of the picture is further up my leraning curve

 

[Dan Henderson]

I see the logical and linear process of determining the soft grade exposure followed by the hard grade exposure followed by necessary burning and/or dodging with either grade to produce the finished print is one of the advantages of split grade printing. Trying to figure out how to combine both into a single exposure would be a needless complication, for me anyway.

 

[jstraw]

I've never done split-grade printing. Is there a good article or tutorial that one would recommend?

 

[Lee L]

Ralph Lambrecht has a tutorial on basic split-grade printing on his web site: Dead Link Removed look for the basic split grade printing .pdf link down the page.

The book from which this was drawn, Way Beyond Monochrome, has more info on split grade printing, and you can get info on the book from the web site.

Lee

 

[anyhuus]

Both these books describe it (how well is for others to judge, as I'm far from an expert on this):

"The Variable Contrast Printing Manual" by Steve Anchell
"Way Beyond Monochrome" by Ralph W. Lambrecht, Chris Woodhouse

 

[anyhuus]

(sorry Lee L. Didn't see your reply that came in just before mine.)

 

[roy]

Most negatives, if correctly exposed for the conditions, would normally print at the grade you have selected but split grade printing, enables you to print a negative better where there are problems, eg extremes of light and shadow. In other words, you can fine tune the print more effectively. Even then you are going to give the paper at least two exposures.

 

[Bob Carnie]

Split printing for me is the ability to separate the negative , by using two or more filters and creatively using these separate filters to balance a print.

With graded papers one is locked into specific grades *exception being soft and hard double development* . Sometimes this locking in has its drawbacks , specifically one using a higher grade paper and burning in highlights. This for me was always problematic, as though the mid tones and shadows looked great, the highlights would look unnatural.

With split printing I would now print on a softer grade to hold beautiful highlight detail and I would control the shadows and midtones with a secondary exposure with a high grade filter to give rich blacks and contrast.
During the main exposure for highlights I would dodge the midtones and shadows, so that when the second exposure is given the higher filter creates the overall print contrast that I am trying to get.

You do not have to worry about the highlights during this second exposure as the work is all being done in the midtones and shadows and the density is not reaching up into the highligts.

Sounds complicated but really it is a piece of cake with practice.
For practice sakes heres what I did to learn this split printing method.

take 3 or 4 of your favourite images.
print each one on MC paper using only one filter to see what each filter is doing.
you will find out how long the shadow , mid tone and highlights, take to emerge.
This will also show you basic printing times for each stage.
Then start merging these tests by combining two exposures with different filters at the times you have already established.
What I think you will find is that when you merge the two or three filters the accumulated effect will make too dark of a print.
Basically back off your initial times for proper print density.
Now try making a very hard print with details in the highlights.
Now try making a very soft print with a hint of pure black.
Now try a ridiculas difficult negative and try to put good tone in each region.
Les Mclean and others will tell you how to flash the paper to make the most difficult image have good detail in highlights.
Its all a matter of practice and trying to visulize how each region*shadow,midtone,highlight* reacts to different filters.

 

[Nick Zentena]

To address the first question. You'd need to chart what grades are equal to what split exposures. Basically you'd do a contrast test at several points. Making up some numbers.

60seconds max yellow 0 seconds magenta
55 seconds max yellow 5 seconds magenta
...
...
..
0 seconds max yellow 60 seconds max magenta.

You'll end up with a series of results that will tell you what grade each point is.

But while I guess it's possible it sounds like a lot of effort for very little return IMHO. The added time you spend making two exposures versus one isn't that great. Plus like Bob has explained you get to handle all the areas of the print with personal control

 

[lee]

make a test strip with the highlite filter find a time you like for the highlites
make a new test strip with the time you liked with the highlite filter now leave the new test strip in place and change filters to the shadow filter and make a new test strip. find the time you like for the shadow. Put the highlite filter back in place and make a print using your time for the highlite filter then change the filter (dont move the paper) to the shadow filter and use its time. Process the paper. you now will have a full tone work print. For this you will need a filter 0 and a filter 5 filter 0 is for the highlite and filter 5 is for the shadow. you also can use a Green 58 for the highlite and a Blue 47b for shadows. That is approx the filter color with the Aristo VCL head and the Zone VI. I use this technique for EVERY print I make and have for over 10 years.

lee\c

 

[Les McLean]

Have a look at the articles section on my website where I have written a piece on Basic Split Grade Printing and will follow it up with further articles describing increasingly more advanced procedures. The website is lesmcleanphotography.com

 

[JBrunner]

I started split grade filtering some time ago. Going back to single filters would be a severe handicap to my printing ability at this point, IMHO.

 

[lee]

As a side note I have a print of the car door handle used in the article and I can assure you it is on of the finest prints I have in my collection. Les McLean is one of the best printers in the world IMHO.

lee\c

 

[Will S]

I'll throw in a recommendation for Les's book as well, but if you really want to learn split-grade printing try and take a workshop with him. He does a great job explaining and demonstrating how to do it expertly.

For split-grade printing, I think what is really an interesting question is whether a splitgrade print made using 0 and 5 is the same as a print made using a single filter provided that the amount of filtration to time needed for exposure is equal?

I happen to think that, theoretically anyway, you could get exactly the same results using either 0/5 filters or one single filter, but that in practice it is far easier to get quality results using the split-grade technique. Not being a scientist, I don't know why. Is it because of the sensitivity of the different layers in the paper to particular filters? Is it because of the ability to get grades that are "between" the grades available with a single filter? Is it because of the ability to control highlight and shadow contrast more easily when printing? How does microcontrast figure in? I don't really know, but it works.

Thanks,

Will

 

[anyhuus]

Thank you everybody for a number of comprehensive and informative replies. Even if the thread moved slightly away from the original question, I do now realise that I asked the wrong question. But due to your willingness and competence I got the right answers anyway, if you see what I mean.

You have all given me every reason and motivation to try split-grade printing next time in the darkroom. Thanks all for taking the time to explain this to me.

 

[Maine-iac]

Split grade filtering is only required if different grades of contrast are required across a print. It follows therefore that a print made at a single grade cannot give the same result.

I don't have an answer to anyhuus's question about a formula or method for converting split-grade settings to single filter.

However, while you're correct in saying that different grades of contrast across a print is one good reason for using split-grade, it's not the only reason. I've been using split-grade for years, and I originally went to it because of the improvement in local contrast within the print. The tones have a luminance or they "sing" more when I print split-grade than they do with single filter printing. The difference is not huge, but there's a definitely discernible glow.

Larry

 

[butterflydream]

I don't think split grade printing is necessarily an advanced technique only for experienced printers. It is, also for me as a beginner, very good way of contrast control when I can't decided which single grade filter to be the best.

 

[Bob Carnie]

Ernie

You are absolutely right. It is a very good method of printing

 

[timeUnit]

I tried split filtering yesterday on a difficult print and it worked magic! Personally, I have never gotten familiar with grades 12345. I've always worked with a color head and therefore used yellow and magenta "numbers" instead of grades. Finding the right contrast for a print can be quite difficult and split filtering provides a straitforward way to get there.

 

[Roger Hicks]

The important thing to remember is that while there is always a single filter grade that will give the identical result for an undodged/unburned negative, split printing will allow you to burn different areas at different contrast grades. Also, some people find split-grade more intuitive.

There is however no merit in the idea that you can expose the highlights at one grade and the shadows at another unless you dodge or burn differentially during the two exposures.

Cheers,

Roger (www.rogerandfrances.com)

 

[lee]

My thoughts are that with split filter printing you dont have to worrry about the contrast of the print other than selecting the right time with the hard filter. (either Magenta grade 5 or Blue) Beginners especially seem to GET the proper contrast much quicker and with less waste of material when using split filter printing.

lee\c

 

[JBrunner]

My thoughts are that with split filter printing you dont have to worrry about the contrast of the print other than selecting the right time with the hard filter. (either Magenta grade 5 or Blue) Beginners especially seem to GET the proper contrast much quicker and with less waste of material when using split filter printing.

lee\c

I agree, I never thought of it as an "advanced" printing technique, but rather one that made controlling contrast obvious and easy. The ability to dodge and burn at different contrasts? Well some of my best work would be pretty normal, without it.

 

[jstraw]

I love the fact that materials that were developed for the sake of economy and convenience were discovered to provide capabilities that graded papers cannot provide.

Can anyone shed any light on the origins of split-grade printing? When did it first appear in the literature?