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  1. #11
    Saganich's Avatar
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    In my limited experience I've found this to be usefull with high and low contrast negs. For low contrast I test first at 5 then test 0 over the 5. for high contrast I test 0 first then test 5 over the 0. It helps to have a timer with two channels. With well exposed negs I haven't seen an advanage and I think your better off managing slight contrast variations with chemistry.

    chris
    Chris Saganich
    http://www.imagebrooklyn.com

  2. #12
    c6h6o3's Avatar
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    Here's a novel method which produces some of the world's finest prints. Read On Printing here:

    http://www.michaelandpaula.com/mp/index_skip.html

    I'm sorry I can't link to the article directly. Their site uses those accursed frames; you therefore can't bookmark anything deeper than the main page. Click on Writings at the bottom of the page and then scroll down a little. You'll see the "On Printing-and why..." article.

    I use both a metronome and outflanking to contact print on Azo developed in Amidol and for enlargements made on a Saunders enlarger with VC paper. The principles are the same in both cases and allow me to zero in quickly on the best possible print that a negative is capable of producing. I use very few sheets of paper to achieve the results I want. I haven't made a test strip in years.

  3. #13
    MurrayMinchin's Avatar
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    Thanks, that was an interesting read.

    I'm big on using a metronome too. My enlarger light source gets turned on with a foot switch, so both hands are free and ready to go when the light comes on. Handy.

    I think l like the 'outflanking' idea. It's funny how different photographers come to a solution for the same problem. Ansel, who used test strips, advocated making another test strip if the last step of the first test strip looked right...how could you be sure the next step wasn't better unless you made it? David Kachel says to 'always go too far'. His reasoning is that to know a prints exposure or contrast is right you always have to go too far, like focusing a lens...you have to go out of focus on either side of what you're focusing on in order to *know* it's in focus.

    Michael goes at the same problem from the outside, then works in. In my head that makes a heck-of-a-lot of sense. I'll see if it makes as much sense in the darkroom!

    Murray

  4. #14
    c6h6o3's Avatar
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    Quote Originally Posted by MurrayMinchin
    I think l like the 'outflanking' idea.

    His reasoning is that to know a prints exposure or contrast is right you always have to go too far, like focusing a lens...
    I determine both contrast and print development time this way, too. For me, it is the key to fine printing.

  5. #15
    Bob Carnie's Avatar
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    hi bighead
    I use split printing in a slightly different way.
    I prefer to find a mid balance for skin tone or mid values. I slightly decrease the exposure time and I then do a grade 5. step off to bring in the blacks. I have used the 0 and 5 method for years and I prefer a three filter method rather than 2, I use the 0 and 5 for increasing/decreasing contrast as I wish and use the middle filter for a base.
    This method is very easy and with a condensor enlarger with the flip top lid for the filters very simple practice

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