What is your printing process?

[bob carnie]

I set up two enlargers all the time with a third for flashing if required.

I usually print series so I will set up each enlarger with common style negatives. I also make three prints for every image required and I will make slight adjustments.

I spend the first hour testing each negative with various split filter methods, I always use full sheets when I am close so I can see the whole image.

This first hour is most important as it sets the tone for the rest of the day. I am very willing to extend this to two hours if needed to get my LOOK right.

After I have a fininshed print on each enlarger I will set up two more negatives, I try to match negatives to the enlargers.

Second set of prints go a bit faster as I have pretty much established the contrast density and manipulation palette for this series of negatives.

I will finish each negative and then once again move to the next set of negatives and try to be very careful in matching the negs to enlarger.



After about 6 hours of printing I am finished and I take all the prints from the wash and tone, hypo clear and final wash.. If I am going to sepia tone then I do this the next day and do not selenium.

This takes me about 8 hours in total and the prints are airdried overnight and the next day I could just repeat the above with fresh chemicals.

I also try to print what I think are the easiest negatives first to get in a groove.

[ROL]

Too easy (e.g., few forum pixels have been harmed in the production of this response):

Making a Proof
Making a Fine Art Print

[Doremus Scudder]

I'll try to keep this short (background whispering "Yeah, sure".... "Good luck..." "Ha, ha..." etc.).

1. Make proofs. Making good proofs is a huge time saver. I proof everything at the minimum time it takes for the clear negative border to reach max black under "gallery" lighting. I proof everything on grade 2 (my target grade for 75% of my work). Evaluating the proof for everything from cropping to which paper grade to start with saves time setting up.

1A. Have a clear idea of the image you want to achieve. (I added this as an afterthought, since it is self-understood for me from the beginning of the process; and because this post was too short...) Sure there are fortuitous surprises from time to time, but having a clear goal helps recognize these as well.

2. Make test strips on target paper grade. I've decided on which paper grade to start with from the proof (and experience). I'll make one test strip of a key area of the image in 20% increments. I evaluate the highlights. If there is no too-dark and too-light strip, I'll usually make a second test strip. I evaluate the test strip for overall contrast as well. Often I'll change contrast grades and make another test strip before making a pilot print. Only after I have highlight values and contrast I think will be a good starting point do I move to the next step.

3. Make a full-size print on the desired paper grade at the test-strip exposure. I used to always make this a "straight print," i.e., no dodging or burning, but with the years I have come to have a better idea right off of what things I need to do, and I'll often incorporate a "manipulation scheme" into this first print.

4. Determine if a significant change in contrast is needed. If so, choose the new grade are start over from step 2.

5. Take time and evaluate the print. Once the print contrast is close, I'll dry it, tack it up on the white board and sit and evaluate for a while. Motto: "Waste time, not paper." Only if the print is really off will I just start over without "feeling" the print and "listening" to it tell me what it wants.

6. Develop a "manipulation scheme." I take notes while evaluating the print of what changes I will apply to the next. These include: exposure adjustment, slight contrast adjustments (e.g., +10M, usually coupled with a corresponding exposure tweak), development time adjustment (and deciding on developer additives like BZT and/or carbonate). plus the dodging and burning scheme. I note all these in graphic form and in percentages of the base exposure. I'll also decide if I wish to bleach areas of the print at this time. At the end of this, I have a concrete and recorded plan of alterations to the pilot print to try. Don't discard the pilot print! Save it for comparisons.

7. Make the next print. This one with the manipulations. Dry it, hang it up next to the previous print(s) and...

8. Repeat steps 5-7 till you are satisfied. Sometimes I'm not satisfied, so I'll give up. Other times I'll anticipate the effect of toning and give myself a few possibilities. I'll usually toss the rejects after toning. Sometimes I'll keep a range of prints that are not identical; rather different and satisfying performances of the same negative.

Once I have what I want, I'll make a total of 3-5 fine prints (more if the print was difficult). I'll enter all the information in my print exposure record for future use.

There, that wasn't too bad, was it

Best,

Doremus

[tgtaylor]

Recently I have switched from Fred Pickers method to the split contrast method which is:

1. Make a test strip with a 00 filter (199 Yellow) at 3-second intervals to determine the exposure for the whites.

2. Make a test strip with the 5 filter ((199 Magenta) for the blacks.

Once the above exposure are determined make the print. My last print a couple days back required 18 seconds with the 00 and 16.5 seconds with the 5. I continue to use Pickers 3-second burst as it provided for a finer mesh. Both methods are comparable as Picker starts with a grade 2 setting and looks for the exposure that gives him a good white and then tweaks the contrast for the blacks.

Thomas

[Erik Larsen]

Interesting read of other folks methods, here's my approach for variable contrast papers with pyro negs.

1. Make a test strip at 1/2 stop intervals on f stop timer with 25Y dialed in (approximate grade 1 1/2) to find a hint of tone in the highlights. I find going any lower in contrast with my pyro negs on this step makes the print a little muddier than I like.

2. Expose another test strip with the highlight exposure determined in strip one. Then on top of that exposure do a test strip at 1/2 strip intervals at 170M (my highest contrast setting) looking for the lower mid tones to be how I want them.

3. Do a full print at the determined low and high contrast exposures and check out if I have to dodge/burn anywhere. I almost always have to dodge something on the high contrast exposure. If there's sky in the photo I'll usually burn at the high contrast exposure as well. Rarely do I dodge/ burn at the low contrast setting as it muddies up my prints more than I prefer unless I have grossly overdeveloped a negative. I then pop the print in the microwave and study the print for a while. I usually have to tweak the exposure up or down a bit to get what I want for the final print and then do few prints that vary a bit.

4. Put all prints that have been in a holding tray through a second fix and then selenium tone to taste and into the versalab then onto the drying racks. I wake up the next morning and look at the finished prints and wonder what the hell I was thinking

[Kevin J. Kolosky]

I don't think anyone else can tell you how to make the right print for you.