Quote Originally Posted by Katie View Post
So my question ... when you go into the darkroom, do you know EXACTLY what you are going to print?
Yes, I make proofs of all LF film and contact sheets of MF rolls from which I select frames to be proofed. I keep and store all proofs in numbered file boxes for future reference (see story for Mono Moon Proof). The proofs all have basic printing notes (paper grade, exposure, dodges and burns see Making a Proof). There are rarely any surprises, in that regard. Either it's all in the proof, or it won't get printed: technically, tonally, compositionally or emotionally.

Quote Originally Posted by Katie View Post
I don't need to sell prints to be happy, but I'm wondering how to come out of the darkroom feeling like I "did something". Not thinking - "this is all I got from those 3 hours?"
Neither do I, thank the Lord. I am only doing fine art prints for me. Previsualization (admittedly a difficult concept for some to both appreciate and execute) and its associated technical advantages from exposing and developing film to making a fine print is all that is required.

Quote Originally Posted by Katie View Post
Do I need to make a goal before going in?
Ansel Adams pretty much summed it up this way, nothing worse than a sharp photo of a fuzzy concept.

Oh, and be nice.