Quote Originally Posted by Ray Heath View Post
but sun, why?

why did you think this image needed such complex printing?

I think it's more of what I wanted and not what the negative needed.
It would be OK at grade 3 or 2 1/2 and I could burn or dodge a bit here and there

The local contrast/highlight/shadow though really makes stuff pop out and gives a vibrant feeling that isn't there otherwise.
The main tree is either a little too "there" or a little too "hidden"
The dead trees to the right almost blend in with the dead vegetation
The goldenrod burns in places just a bit at 3 or so grade


I'm not saying that what I did is the simplest procedure to get the same result
I'm not fluent in this stuff
I made it up
I didn't even know "split grade" till I saw a banner here at APUG when replying.

I've done a bit more research into the stuff and it seems as though many do the same types of things I did
..and say it gives the most precise control over local areas that can be had (others not so sure)
So I must not have done anything terribly wrong
To me, the print looks great. Much better than a single grade.




As for the negative itself
It was a bit dense
I thought I was into reciprocity with the TMAX at 4 seconds so I gave 8+-
I used sunny "15" -no meter- and a yellow filter which I gave an extra stop
I tried to give N development in straight XTOL but since I haven't done any testing (yet) and it was hard keeping the tray at 68 and the film was expired..

Too many variables to get precise exposure/development

There was a deer laying under that tree but I spooked him, of course. I took the photo anyway eventhough I wish I had the 90mm.




ALL I was doing here was saying that DODGING and BURNING can be done on small negatives during a contact printing
I thought it was simple. More fun than doing this stuff in Photoshop which is easier than anything.