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  1. #11
    vpwphoto's Avatar
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    No just enlarger cranked up a bit...

  2. #12

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    Quote Originally Posted by jnanian View Post
    hi chris

    how dense are your 4x5 sheets and other films ?
    i have found that when i contact print my sheet film ( even roll film exposures cut and contact printed )
    the density of the film really makes a difference in the final print.
    if the film is too thin, the optimal exposure will be short, you will need to boost contrast with
    filters, or different strength developers and water baths to bathe the print in ...
    and it really makes a more difficult task, not that it can't be done ...

    les mclean has a great article on split grade ( filter ) printing, and i use it often when printing film on the
    thin side ( thin meaning not as bullet proof as my contact printing film )
    http://www.lesmcleanphotography.com/...ull&article=21

    using a hard filter and a soft filter really makes muddy tones rich and crisp ..
    it takes a little bit of practice but in the end the prints speak for themselves

    good luck !
    john
    Thanks for the tip. I was thinking about giving split grade a shot for the muddy shadow detail. I am going to try to print the over exposed negative first. I think since there is an incredible amount of shadow detail in that negative, I should be able to print it ok if I use a hard filter to increase the over all contrast of the print.

    I am going to also try shooting at a lower EI and souping the film in a lower dilution of Rodinal as well to increase the compensating effect to get the shadows out of the toe of the film. This should fix that problem because I do not want to be doing split grade printing in the future unless I have to. I guess the old saying is true -- expose for the shadows and develop for the highlights.

    Thanks for the help guys,
    Chris Maness

  3. #13

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    Quote Originally Posted by vpwphoto View Post
    No just enlarger cranked up a bit...


    i guess you have the same contact printer as me
    i use a 350W flood light ( azo paper ) or
    my regular enlarger like you for regular paper ...

    edited:
    maybe it is a 300w bulb?
    Last edited by jnanian; 10-03-2011 at 07:50 PM. Click to view previous post history.

  4. #14
    c6h6o3's Avatar
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    Quote Originally Posted by jnanian View Post
    i guess you have the same contact printer as me
    i use a 350W flood light ( azo paper ) or
    my regular enlarger like you for regular paper ...
    Where did you get a 350 watt R40 flood?
    Jim

  5. #15

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    Quote Originally Posted by c6h6o3 View Post
    Where did you get a 350 watt R40 flood?
    hey jim

    i got it at grainger ... maybe it is 300w ... ?
    anyways i couldn't find them anywhere
    and you sent me there

    http://www.apug.org/forums/forum55/6...-bulbs-al.html

    thanks again !
    john

  6. #16
    X. Phot.
    Have you tried dodging the area in question, in the process of printing?

    I just recently read about this in "Photography" by Charles Swedlund, pg. 220-223
    ISBN 0-03-056699-1

    . . . says you can use dodging to bring out detail in deep shadows. To lighten and clarify.

    Another option might be to use a two-bath developer technique (for negatives) to bring out a range of intermediate tones. Covered on pg. 171

  7. #17
    c6h6o3's Avatar
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    Quote Originally Posted by jnanian View Post
    hey jim

    i got it at grainger ... maybe it is 300w ... ?
    anyways i couldn't find them anywhere
    and you sent me there

    http://www.apug.org/forums/forum55/6...-bulbs-al.html

    thanks again !
    john
    Yeah then it must be a 300. That's the biggest they carry. They're getting damned hard to find.
    Jim

  8. #18

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    Quote Originally Posted by c6h6o3 View Post
    Yeah then it must be a 300. That's the biggest they carry. They're getting damned hard to find.
    i bought 2 when i was there ... and checked, it is a 300 -
    they said it was going to remain a stock item for a long time,
    but that was a year ago, and a lot can happen in a year i suppose ...

    good luck finding one !
    john

  9. #19
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by kq6up View Post
    Thanks, Thom I have a daylight tank for 4x5" so 13' @ 1:50 is no big deal (I invert VERY gently with Rodinal). However, that is REALLY long for tray processing. I guess I will have to get some music going or I am going to be board in the dark :o)

    Thanks,
    Chris
    Ha. Well, your choice then. Quality and consistency, or getting done quickly. Up to you, good buddy.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  10. #20

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    The 5 stop over exposed (and pulled 1 stop) negative printed pretty well with a grade #4 filter. A little hot, but my filters are old and need to be replaced. The 3½ grade filter has faded to something much lower.

    I didn't think it would be such a tame negative considering the horrendous over exposure. Now I am wondering if I should rate this 100 box film EI25 if I want to soup it in Rodinal 1:25. The 4x5 film I develop in a daylight tank, and I don't mind long dev times in a tank. Have you guys also noticed that souping a film in a stronger concentration of Rodinal lowers the EI? That does make sense because there would be less compensation by local developer exhaustion.

    Thanks,
    Chris Maness

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