i have a couple questions, first i have a negative i really like but it's backlit and the main subject is a bit underexposed, however i love the way the background came out and i'd like to be able to print it with details in both areas, the subject seems to have plenty of shadow detail but just darker than i'd like..... is this a candidate for split filtering or is there some other trick i could do lighten up the foreground subject without washing out the highlights (this one looks a little tricky for dodge/burning) in the background? i've not yet done any split filtering but i'd like to learn more about it, any good websites or books yall recommend?

the second question is not related but while i'm here i'll ask, what do the numbers on paper mean? not the contrast grade but like on multigrade i.e. 1M or 44k?

thanks for any replies in advance, happy printing!

joe

-- Joe H (joe1013_@excite.com), May 22, 2001

Answers

As far as the paper goes, 1M is Ilfords glossy and the 44m is the pearl. The true matt surface is .5. Now as far as the printing goes... you have your work cut out for you. Whichever you choose, your going to have to work the print. Whether it is split printing, split develoment, the use of Dr. Beers Developer, flashing, dodging and burning... which ever gets the best print for you is the one you go with. This is what makes darkroom work fun and rewarding. Cheers, Scott

-- Scott Walton (f64sw@hotmail.com), May 22, 2001.

I guess your problem is that if you choose a grade that brings out the shadows and the highlights with detail, the print will look somewhat murky. So split filtering might be the way to go, but it must be *local* split filtering. Printing the entire print using two filters will only result in the same overall grade, maybe an intermediate grade, but a grade you might also have generated using one filtration.

The difficult part is not finding a hard grade where the shadows look fine, and finding a softer grade where the highlights look fine, but combining both of them in one print so that no one finds this unnatural, or sees the transition. This will take some trial and error.

Anchell describes this method for finding the correct split filtration: Make a test strip for the shadows with grade 5 to find the first sample exposure where the deepest shadows print black. Then expose a sheet at that exposure (and, remember, G5). On top of the G5 exposure you now make a test strip with G0. Find the sample where most of the print looks fine. Print one sheet with this combination of exposures. The highlights will probably be burnt out. You can now make a further test strip using G0 on top of the combination exposure to burn the highlights. This will give you the right additional exposure. Now try to combine all of this in one print.

Alternatively, you might want to try a mask for the shadows, but this is a bit more difficult.

Regards, Thomas Wollstein

-- Thomas Wollstein (thomas_wollstein@web.de), May 23, 2001.

Joe, This type of negative can be a problem but not as great as you might think, if you are using the "right" paper and equipment. Different papers offer different solutions to this problem. So - what paper are you using? Agfa, Ilford, Kodak, RC, Fiber, Multi-Grade, Graded? Also what is the printing light source; cold light, condenser, etc? The previous responses are valid, but the results (and more percise solutions) will be more or less depending upon the materials and equipment you are using.

-- jim megargee (jmegargee@nyc.rr.com), May 23, 2001.

thanks for all the info so far, sounds like i have some work to get this right, as for what i'm using: ilford multigrade paper, ilford multigrade developer, a condenser enlarger with a set of contrast filters for the above the lens filter drawer.... maybe that info can help with more specific recommendations?

thanks again

joe

-- Joe H (joe1013_@excite.com), May 24, 2001.

This is a good candidate for contrast masking. Better yet, it is a good example of learning how to properly expose the film and develope the film properly to get the correct contrast spread. Nothing like starting with a properly exposed negative. Split printing is something that takes time to learn to use properly. If the subject doesn't have the necessary exposure then split printing won't give you what you are after unless you've used it a lot and know how your materials work. Try masking. It may be easier. James

-- james (james_mickelson@hotmail.com), May 26, 2001.