I usually keep a record of f stop, timing, and filter in use in my notebook for each frame I print, so I can do the same later. One of my problems is that this timing data is very dependent upon cropping of the negatives. Another problem is, this is somewhat cumbersome to use later.
Other than keeping every print for my records, are there any good practice to keep this straight? One thing I thought was to make a copy of contact sheet and write the frame line and data right on it, but this is somewhat difficult in 35mm. In 645 format, it becomes possible.
I'm thinking there got to be a better way. Anyone care to share?
You also need to note the enlarger elevation. If your enlarger doesn't already have an elevation scale you can sometimes attach a tape measure to the column or girders. A yardstick or meter stick measuring from the easel to a fixed point on the enlarger head also works.
If you use a yardstick then there is a scale you can glue to the back of the stick to show exposure changes when you change magnification:
You also need to note the type of paper - maybe also the size and which box it came from as paper from two different emulsion batches can differ in speed and contrast. Also the contrast filter, developer and time (if other than the usual).
The time will depend on the aperture, the filter, the paper type (speed), and the enlarger head height. I think you just need to add the enlarger height assuming you stick to one paper. You may find marginal variations between sessions - voltage drops, chemical temperature differences - but that can be adjusted easily enough.
I have gradations on my easel so I merely note the format linear dimensions. The enlarger will need to be at the same height in order to reproduce this timing combination and can be readily adjusted for different formats.
Thank you
-C
Fear not the future of which you were deprived. Be thankful for the past which has been bestowed upon you. - Me, five seconds ago
This is what I use. The blank rectangles are used for sketches that show burning and dodging. I keep them in a 3 ring binder and file them by project, although they could also be filed by number only.
This is what I use. The blank rectangles are used for sketches that show burning and dodging. I keep them in a 3 ring binder and file them by project, although they could also be filed by number only.
For my 35mm films I have an A4 printed page for each film, hole punched so it can be stord with the neg sleeve and contact print together in a ring binder. Rows marked 1-37 down the left side with notes space alongside each neg no. On the far side of the page is a blank area for a basic printing map for dodge/burn areas and times in f/stops of the base exposure. Am in the process of making an A5 version for 120 film.
As I tend to split grade print everything, I note the G0 and G5 times, f/stop no, paper used, dev used, dry down percentage all as standard. I tend to print full(ish) frame. Anything non-standard will be noted.
With the crop marked roughly on the contact sheet this seems to work well. With the f/stop of dodge/burn it is easy to make different print sizes, as had been said earlier, in reference to the height of the enlarger.
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Originally Posted by Richard Wasserman
