Batch printing and consistency

[David R Munson]

This is related to my question about printing portfolios. Essentially, I'm looking for tips people might have for ensuring consistency when printing a group of prints from the same negative. I've printed as many as 35 prints from one negative in one printing session (headshots, oh how I hate thee) and I've had better luck with it recently, but there's always a little more variability between some of the prints than I'd like. Obviously establishing a consistent working method is important, as is keeping an eye on your chemistry so you don't let something go a little too long, but other than that what ideas do you have for making sure you can put together a consistent group of prints? If I'm going to make 20+ prints from one negative, complete with dodging, burning, etc, what can I do to make one print as close to another as possible? Your thoughts are appreciated.

[Bill_1856]

Don't feel like the Lone Ranger. Ansel Adams, and Paul Capinegro both have said that they have to make 10 prints to get 5 usable ones.

[David R Munson]

Oh I still anticipate over-printing and using the best ones, I'm just trying to minimize variances within everything I print.

[Ralph Barker]

Depending on how complex the dodging and burning is, I think the best one can do is to watch the timer closely, and try to start each action at the same time in the countdown. The other alternative would be to make a mask that would allow straight printing.

[Hans Berkhout]

One source of inconsistency, in my experience anyway, is the electronic timer. I have had two of these, different brands, and I don't trust them anymore, I could tell and later see that the timing was off. A metronome works better for me.

[Robert A. Zeichner]

I have found that several things are important to assure printing consistency. 1. Take copious notes when making your first "final" print. These notes should include enlarger elevation, lens f.l., aperture, filtration, exposure time and specific routines for dodging and burning, paper type and developer type/dilution. 2. Always try and do things the same way with the same materials. 3. Don't be afraid to retest when starting a new session or using a new batch of even the same paper type. 4. Always keep a sample of the finished print nearby and make certain you have a feel for how that print "dried down" so you will be able to make adjustments accordingly. 5. If possible, make a doging/burning mask to avoid any but the simplest types of burning, such as edge or corner burning. This way you will save a lot of time and avoid mistakes. 6. If you are making a series of portfolios and you know the number you will end up with, try and print just one image during a session and complete the whole run at once.

I routinely make as many as a dozen clones in a session with total consistency. I ruin only a print or two when getting started as I will often find a hair or dust speck on the neg that I didn't notice at first. After all, why have to retouch the same hair or dust speck 12 times?

[Michael A.Smith]

Use a metronome.

Print all pictures from same negative at the same time and only from one box of paper or from one emulsion number.

[Ed Pierce]

Use a compensating enlarger timer and a compensating developer timer.

Use paper from one box only.

Write out a detailed exposure 'script' with all dodging & burning steps.

Expose several sheets and develop them all together in cool developer.

Check out Adams' 'factorial' method of determining print development time.

These things help me achieve about 90% consistency within a session. Oh I forgot the hint for the final 10%: don't make any mistakes:).

[Steven Buczkowski]

One method that always worked for me was to tape record myself describing the steps I was going through. Subsequent prints were made while listening to my 'script'. Gives you both timing information and direction about technique.

[Paul Butzi]

The path to consistency is to ruthlessly eliminate variables. Before tackling the bigger problem of making prints with burning/dodging/bleaching/etc. make sure that you can make two straight prints which match exactly.

I found that I could do this only after I started timing print development and establishing a fixed pattern for print agitation (I flip the prints by hand in trays).

Once you have that nailed, move on to burning and dodging. I find that using a programmable timer and a foot switch were keys to getting consistent burning and dodging - the programmable timer I use (a RH Designs StopClock Pro) allows me to program each burn/dodge as a separate independently adjustable timed exposure. I hit the footswitch, the enlarger comes on for the next step, then goes off. When I'm ready for the next step, I hit the footswitch again, and get the next exposure. Between exposures, the safelight comes on so I can read my printing notes.

[Scott Walton]

For head shots with extensive B/D, do the perfect print and then make a copy neg with say, Techpan or Ektapan. With the right processing TP will render an extremely long scale neg (I use Divided D76 and rate it at 80). This way you will do production runs and by using Ethol LPD (a very long lasting print developer), you can pull this off easily with hardly any degradation!!

[Bruce Barlow]

I use 3 second bursts of light, mostly. So, for instance, my "basic exposure" might be six 3-second bursts, then I might burn in each edge for an additional burst or two, depending on what an initial pilot print showed me I needed. If I need to dodge, I would dodge, for instance, for two bursts in the initial exposure.

If I need to practice where to burn or dodge, a card goes over the easel to protect the paper, and I can practice with three second bursts until I'm confident, then remove the card and expose the paper as I have practiced.

Everything goes onto a piece of paper as a "recipe" that I can follow for each print. My LPL enlarger and Zone VI timer are solid enough that I can print time after time and see no difference. I have routinely made batches of 35 to 40, and they all look the same. The 3 second bursts add an additional level of precision for me.

Ansel was inconsistent because he wrote his recipe on the back of the unexposed paper, and then forgot what he wrote and did something else! My separate sheet gets filed with the proof sheet with that negative so that next time I have to print it I have a reference point to start from (no, it probably won't be the exact same, but I have a starting point, at least).

Good luck!

Bruce

[KenM]

As the previous post mentioned, I used to write my notes on the back of a print I had just made. I'd process the print, and then be unable to remember the steps I just performed, especially if the series of maniuplations was complex.

So, I started writing notes on a separate piece of paper, using a dark black marker or pen that would show up under a red safelight. I'd make a rough sketch of the print, and then mark it up as I progressed through the prints. Once I hit the right sequence, I'd then proceed to make a few prints. As the end of the printing session, I'd take the notes, and rewrite them so they were legible :-)

I found that this technique works *very* well for me. It may work well for you as well.