Help, my b&w is TOO black and white

[Tim k]

Tim,
Where in Arizona are you located? I won't even try to suggest what you should do based upon a monitor presentation...that leaves too many variables that could amount to you meaning oranges while everyone is talking about apples. Rod at Photomark in Phoenix would be a good resource for you.
Donald Miller

I'm down in Tucson. I've met Rod, and your right. Evil genius salesman. Talking to him can be, and has been expensive. Don't get up to the big city very often, but when I do, I like to stop in.

Agreed, about the monitor. I'm all about a piece of paper in my hand.

[Tim k]

Tim,

How long have you been using HP5? You shouldn't pass up on it just yet. You really should stick with one film and work the hell out of it by trying different developers. A good conventional developer for this film is D76 and Xtol both diluted 1+1. Eventually you might want to try a staining developer like pyrocat-HD.
I sometimes us Ilford MG fibre papers, and have had great results.

I agree, about sticking to a film. I'm still learning and don't need more variables to foul me up. I wanted to buy locally, so I started out with TMX and TMY, cause thats what the local guys had in stock. Got my testing all done, then the bozos at the shop switched from Kodak to Ilford, and Fuji. So, I have just a few months of hp5 under my belt. I did order some Xtol, in fact it just arrived today, so I haven't had a chance to try it yet. Pyro, is next on the list, but its a ways off.

[PViapiano]

Always use fiber paper, tones and bleaches better than RC.

Try toning with thiocarbamide (non-smelly) and selenium as well, and even the two together sequentially...you'll be in like Flint.

And dig Jon Shiu's recommendation to look at toned prints every chance you get. The fellows he recommended are the plum place to start.

Oh, and regarding toning...subtlety is where it's at.

[percepts]

Well I'd suggest that you start by using warmtone papers and dilute developers because you can get an awful lot of tone in a print without resorting to the additional process of toning. Toning should be done judiciously to achieve what is not achievable through normal development.
i.e. learn what is capable from paper / developer combinations before jumping to toning. Not suggesting you shouldn't tone but I don't think you need it to get to where you want to be. But if you want green prints then maybe you do.

[Tim k]

PViapiano, Thanks, fiber it is, came in yesterday. I did enjoy the websites Jon recommended, just wish I could see the real thing hanging on a wall.

percepts, my current plan is to stick with hp5. Switch over to Xtol 1:1 and live with the pair for a while. If along the way, a print or two should fall in to some toner, it probably wouldn't derail the train on the way to the end goal.

[jazzypantz]

I need some advice.

Its taken me a couple of years to reach this point, of having a decent negative printed and hung on the wall. I've been using hp5 in ilfosol3, and printing on ilfords rc mg, and mg fiber paper with the same color results, mainly due to local availability.

Here is my issue. I don't like it. Its just too black white and grey. I'm all analog, and would like to stay that way for a while. I suspect the solution is some sort of toner. But I really have no idea as to which way to move.

Ken Lee has a flower gallery that I think is just great. http://www.kenleegallery.com/html/flowers/index.html
Specifically one shot of a plant or some type of grass with drops of water has a "color" that I cant explain, but I like it a lot. http://www.kenleegallery.com/html/flowers/8.html

I have read on Kens site, where he converts a film scan to monochrome via software, but I prefer to stay all analog.

I sure would appreciate any opinions, or suggestions.

Thanks for your time.
Tim

Too black and white? Are you meaning that the contrast of your images are too high? I've had this problem also, but I don't mind mixing analog and digital. So, if I'm unsure about the exposure in shooting, I shoot a decent exposure and save it later in PS.

But, to keep it all analog, have you considered using filters in the darkroom? Are you familiar with split-filtering (a more advanced way of controlling contrast in analog prints that allows for more control of tones)?

[Tim k]

Thanks for the quick response, "he said with a little smile",

I did come grips with my printing issues, back about 2011 or so.

[Lenny Eiger]

I sure would appreciate any opinions, or suggestions.

Thanks for your time.
Tim

You have two issues. First, it is a very contrasty subject. Second, you are simply developing the film too long. There is no big technology to deal with here, but the difference between your work and Ken's is considerable in the contrast area. The developer won't matter that much, its just the length of time you leave it in there.

There are better developers, and better film, IMO. (Delta 100 and Xtol or Pyro.) But first get yourself a softer neg...

Lenny

[Colin Robertson]

Tim K- what was your issue? I get the impession you were just using a paper that didn't suit you. Something like Ilford warmtone or Kentona was what you needed. Or, a toner like dilute Viradon. Having seen a thread-from-the-dead, what was the outcome?!?

[C_Remington]

Your style looks like it would lend itself well to Lith Printing.