Making multiple prints

[Jeff Dexheimer]

I am sure this is a simple question but since I am new to film I have no idea how this works.

After several days of experimenting and wrapping my brain around getting my prints to mostly look the way I want, I am finally satisfied with my result. Is there a way to duplicate my print in the darkroom without having to burn and dodge all over again? Say for example, making a contact print from my original print?

[E. von Hoegh]

No. What I do is take a work print and mark the areas and times for burning/dodging, as well as any tools used.

Don't despair, this takes time to become proficient at.

edit: Keep the annotated work prints on file.

[Jeff Dexheimer]

unfortunate

[E. von Hoegh]

unfortunate

Just think, WWAD? (What would Ansel do?) His book, "The Print" is a great one to have.:)

[Jeff Dexheimer]

I have his first two, but I haven't read "the Print" I will get to it soon.

[jeroldharter]

Timers like RH Designs and Darkroom Automations make it much easier to repeat complicated burn sequences by having multiple easily programmable sequences.

Also, you can try exposing one sheet after another and storing the exposed paper in a paper safe or box. Then you can batch process many sheets at once. If you batch process, you want to standardize on a long development time so that you develop to completion. Also, you want to use ample volume of solutions so you do not exhaust them. I use nitrile gloves to handle the prints in the trays.

Fiber based paper is much easier to batch process than RC paper because RC paper tends to stick together when wet.

[Oren Grad]

Is there a way to duplicate my print in the darkroom without having to burn and dodge all over again? Say for example, making a contact print from my original print?

You can rephotograph the print and then print the copy negative. It would require very careful technique to not introduce artifacts from the copying process, to more or less match the original tonal scale, and to minimize the inevitable losses in sharpness and detail. But it can be done.

[Larry Gebhardt]

Learn to make burn and dodge masks for your negatives. The mask will contain all your dodging and burning, so you just need to get the exposure and contrast right for the next prints.

[Robert Oliver]

or cheat and work the photo up in Photoshop and output to 4x5 film, then print from that negative... but that wouldn't be any fun

[Vaughn]

I keep notes, then ignore them in order to approach the image afresh. As the Man said, every print is a performance. I am not a copier machine...;)

Vaughn

[jnantz]

try it ...

i have made a paper negative then contact prints of an original print ..
the " reprints " looked as good as the original ...

[Bill Burk]

When you have prints with subtle variations, intended or not, you can see which ones are better by comparison. Knowing that you can recognize these variations builds your confidence that you know what you are doing.

If you make every print exactly the same, you deny future collectors the conversation "oh this one is vintage, made during his dark phase"

[Dcohio]

Rf t

[Dcohio]

My phone was in my pocket and I guess my pocket decided to post. Sorry

[Brian Ellis]

Not really any way to do it without starting from scratch. I developed a form I used for every print, showing detailed information about everything from enlarger head height to paper type to diagrams showing where I dodged and burned and for how long but no matter what I did if I went back later to try to duplicate the print it never came out exactly the same as the original. Sometimes it was so far off I thought my notes must have been wrong. Starting over from scratch as Vaughn suggests is probably as good a way as any.

If you're new to film and darkroom work you'll soon realize that most of your time in the darkroom is spent doing tedious manual labor that a trained monkey could do as well. Which is why photographers who can afford it hire darkroom assistants. The time spent doing anything that's really creative is very small relative to total time. You just have to get used to it. I actually enjoyed darkroom work but I didn't kid myself that I was doing anything especially creative for most of the time I was in there.

[Jim Noel]

I'm with Vaughn even though I own an enlarger head with built in computer which keeps track of all my contrast and times for each print.
I prefer to start fresh each time I print.

[Jeff Dexheimer]

Again since I am so new to this, I am still figuring it all out. I like the sound of it though. Each print gets a slightly different look, making each photograph a unique experience. :)

[E. von Hoegh]

Again since I am so new to this, I am still figuring it all out. I like the sound of it though. Each print gets a slightly different look, making each photograph a unique experience. :)

If you ever decide to sell a series of prints, it would be best to have them as identical as possible. The negatives are unique enough.
For now, just concentrate on learning to print. Once you can print well, mass production is just a matter of choreography.

[ataim]

I normally make a "working" print from each negetive. after looking at them I will choose the best looking. Some images are not worth the time and effort to go any further. (I'm not good enough to make a really good fine art print from a crappy negitive) On those good ones, I'll take the extra time to dodge, burn and bleach as necessary to make a good print, this process normally take me anywhere from an hour or two each. I take carful notes on times, contrast, where and how long for each burn and dodge, split contrast..... I then look at those to see which I want to really spend some time on. On those I'll spend hours getting them to "art" print. Once I reach that point I'll make at least 5-10 prints RIGHT THEN, by this time it only take 5-20 minutes each.

[ic-racer]

I am sure this is a simple question but since I am new to film I have no idea how this works.

After several days of experimenting and wrapping my brain around getting my prints to mostly look the way I want, I am finally satisfied with my result. Is there a way to duplicate my print in the darkroom without having to burn and dodge all over again? Say for example, making a contact print from my original print?

Do all you dodging and burning on Ultrafine positive film (http://www.ultrafineonline.com/ulcotodufi.html) (or negative film processed as reversal (http://www.alternativephotography.com/pdf/enlarged-neg-by-reversal.pdf)). Then just contact that.

[cjbecker]

I keep notes, then ignore them in order to approach the image afresh. As the Man said, every print is a performance. I am not a copier machine...;)

Vaughn

Beautiful

[davemiller]

Again since I am so new to this, I am still figuring it all out. I like the sound of it though. Each print gets a slightly different look, making each photograph a unique experience. :)

You've got it. :)