>
> This is precisely why I have centered my technique 100% around split-
> grade printing. This cuts out absolutely all forms of metering,
> calculation, in-
> between grades, etc. etc.
>
A lot of that, though, comes from just being able to read the negative
correctly and having all your in-camera exposures relatively close. Often
times, my negs are all over the boards and changing from one film to another
alters the printing exposure so substantially. For example, this Fuji Neopan
SS film prints a lot like Ilford XP2 in that the base is so dark that the
exposures are at least doubled.
> The only thing that counts is the aesthetic of the final print. With a
> lot of practice, it's extremely efficient on paper. In at least 75% of my
> prints, I
> achieve my exact desired end-result using 1.5 sheets - two test strips of
> 0.25 sheets, plus the first (and final) print...
That's pretty good. When I'm "in the groove" and my ZoneMaster II is being
used correctly, I can nail most straight prints in a single exposure. If I
need to dodge and burn, I'll run a test sequence and usually can nail the
burn sequences without further ado.
Using the RH Designs timer and analyzer I usually avoid dodging (except for
the obvious spots where ad-hoc dodging works), and almost always work in
burn-in mode. It's easier for me to work additive than subtractive. Again,
some exceptions exist, but I build from a base exposure and keep adding
(darkening) to it. Even when dodging, I'll usually do so with two
exposures--one for the proper exposure for the dodged portion of the image,
and the second exposure to finish off the rest of the image. This way I
don't have to do any counting and duplicate copies of the print are exactly
the same.
The advantage to split-grade printing, as you indicate, is that the response
curves and exposures for Grade 00 and Grade 5 really don't shift around
much. With most papers, as you change from Grade 2 to Grade 3 the mid-tone
exposure will shift about 1/3 a stop. As you change from Grade 3 to Grade 4,
the mid-tone exposure will shift over a full stop. When split-grade printing
you really don't give a rip what "paper grade" the neg wants to print at,
you are actually adjusting gamma more than you are adjusting contrast.
Depending on what school of thought you run on, you either do the highlights
first or the shadows first and then do the alternate exposure to fill in the
blanks.
I groused about the calibration of the meter. This was a lot of work, but
once done, it takes the majority of the guesswork out of the darkroom. The
challenge is to always do your spot-readings in meaningful places. The
ZoneMaster II operates nearly identically to the OM-4Ti/3Ti in manual
exposure mode. After you spot-meter the highlights, the shadows and a few
tones inbetween, you have four buttons to move the dots around. You can
increase exposure, decrease exposure, increase grade, decrease grade. All
you are doing is moving the dots around on a gray scale. Once you get the
dots lined up were you want, just read the indicated paper grade and
exposure time. Mine is attached to the StopClock Professional (timer) so the
exposure time is automatically programmed into the timer and all I have to
do is grab the appropriate Ilford filter (or dial in the contrast on the
color head).
The beauty of the StopClock Professional is the test-strip mode. Prior to
entering that mode, I hit the down-exposure button four times (1/4 stop each
time). Then I load my test strip of paper in the easle and press the
foot-switch. Then I cover up a little bit of the paper and press the switch
again. I repeat this for as many steps as I want to do (usually 8). Press
the exit button on the timer and go. Once the paper is developed, I look at
the strip of 1/4 step exposures and pick the one I want. Just count the
steps from the lightest one and hit the exposure up button that many times.
If there is a portion of the picture to burn in, just count the steps needed
for that burn in and program it in. I think I can have up to 12 additional
exposures on each base exposure (two base exposures for split-grade
printing). If I happen to screw up on my entire exposure and need to adjust
exposure, all of the additional exposures reprogram with the appropriate
offset. With the StopClock Professional's "Drydown Compensation" mode, I can
view all my test strips wet. When it's time for the final print, I press the
Drydown Compensation button and it automatically offsets ALL exposures for
the user-defined compensation percentage.
Since buying the RH Designs gear several years ago I have stewed on which
one I'd keep if I had to choose between the two. StopClock Professional or
the ZoneMaster II. I've concluded that it would be easier to choose between
my two children. Inotherwords, I'd give up B&W printing altogether if I had
to give up one or the other. I keep doing a sell-job on this stuff, but for
good reason. Once you really experience the benefits of this equipment,
going back to a dumb timer is a stone-ages experience.
AG
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