Darkroom Printing Pt4 - Split Grade Printing 101

Today's video covers basic split grade printing. I take last weeks print, taken on FP4+ and developed in Dixactol Ultra, and try to improve it through adjustments to highlight contrast and shadow contrast. The resulting print really starts to shine with a 3D quality!
Darkroom Printing Part 1: • Darkroom Printing Part...
Darkroom Printing Part 2: • Darkroom Printing Pt2 ...
Darkroom Printing Part 3: • Darkroom Printing Part...
Darkroom Printing Part 4: • Darkroom Printing Pt4 ...
Darkroom Printing Part 5: • Darkroom Printing Pt5 ...
John
www.PictorialPlanet.com

[@ccoppola82]

When I split grade, I lock in my grade 0 time. Then on the grade 5 test strip…I first hit it with the grade 0 time established. Then you see the cumulative exposure on the test strip.

[@PictorialPlanet]

I must try this

[@alasdairdougall7868]

I do similar, but I am a grade 2 test strip. It is all about been consistent.

[@TonyCearns]

Thanks for the video - well put together. I also overlay the grade 5 test onto the grade 0 basic exposure, as this then takes into account the effect of grade 5 on the lighter tones.

[@domenicming9551]

same, this is how i learned as well and it works great

[@stephenscott2802]

Congratulations John, this series is building to be a first class introduction to the art of silver gelatin printing. Many thanks to you and your patrons for making it available.

[@PictorialPlanet]

Thank you Stephen.

[@seanchang4442]

I‘ve spent some time in the darkroom, but never tried this technique, the result is stunning. Thank you for the masterpiece tutorial!

[@PictorialPlanet]

Thanks Sean!

[@didierandrieux8467]

Merci pour ce tutoriel de grande qualité. Oui sans doute que faire les tests grade 0 et grade 5 sur la même bande est économique et montre un aperçu global, mais pour cette démonstration, l'approche en deux bandes tests séparées est très pédagogique, on voit bien l'effet des différents grades, le moment où ils agissent fortement ou pas du tout et ca c'est d'une grande valeur d'apprentissage à mes yeux. Donc ne changé rien à votre approche. Elle est parfaite.

[@PictorialPlanet]

Merci

[@Larpy1933]

Here’s a good one. Very good. As a commenter near the top suggested, Bob Carney taught us (test strips) to make the soft-contrast exposure (Gr. 0-2) just a little fainter than if we were going to do a straight grade print, then lay down the high-contrasts tones ON TOP of the base #0 or #2 exposure. Always put the soft filter on the left side of the workbench, hard on the right!!! Mixing up filters in the dark is just TOO EASY. And: in this example, Carney would keep the timer at 5 s. And blast TWICE with #5, then count “1-Mississippi” (twice) to add 2 more seconds. Changing the timer invites wasting paper. Once you have 1 good print, make 2 more for archives. Then move on, smiling.

[@PictorialPlanet]

Thanks, Larry.

[@kyledarrenhanson]

Best split grade tutorial I've come across, answered some questions I had, love the detail of how it works, and how to apply using it.

[@PictorialPlanet]

Thank you, Kyle!

[@markbloor7649]

amazing the difference between the two images. thank you for the clearest demonstration of split grade printing ive yet seen. and ive seen a lot..

[@PictorialPlanet]

Cheers Mark!

[@OskarFilms]

Terrific instructional video, John! You've given me something to think about seriously the next time I'm in the darkroom.

[@PictorialPlanet]

That's great Frank. Thank you for your kind words!

[@ebreevephoto]

best explanation I have ever seen on this subject!

[@PictorialPlanet]

Thank you, Ben!

[@mike747436]

Thanks for sharing your technique John. As you say, there are different ways of achieving this. Having established the low contrast exposure time as you did, I then print that on my high contrast test strip before making the test exposures so I can see the combined results.

[@PictorialPlanet]

I'm going to try this.

[@mvill9898]

Thank you for explaining and illustrating the split grade process. I have just started printing my negatives and I am learning as I go along. It is a hit & miss thing so far and there are times when I just want to give up...but your simple straightforward explanation has filled up the blanks for me...and now, I can't wait to get home and try it again. Thank you for doing this.

[@PictorialPlanet]

Cheers Mark! Don't ever give up, it comes in the end and is so worth it!

[@mvill9898]

@@PictorialPlanet Thank you once again for the tip. I have done a couple of prints using contrast 0 and contrast 5 the way you recommended and I am very pleased with the result.

[@PictorialPlanet]

That's great @Mark Villanueva

[@ChristopherKovacsw0anm]

I just started split grade printing and still working on my own techniques. It's really changed the way my prints look. This is an excellent explanation and video. Cheers!

[@PictorialPlanet]

Thanks Christopher, cheers

[@ChrisVidouras]

Thank you for sharing!! Cheers from Greece!!

[@PictorialPlanet]

Cheers, Chris!

[@nicktydeman1]

Thanks buddy

[@deabaumann4854]

lovely video, great teaching

[@grazianobonoldi7164]

Grazie per lo splendido lavoro.

[@MrJollybox]

Nice print. Have you considered the intermittency effect? "Having made a test strip in a series of intermittent short exposures, the subsequent print is mistakenly made with one long composite exposure. For example, if the test strip showed correct exposure at seven one-second exposures, the print is then made with one seven-second exposure. Due to what is known as 'the intermittancy effect', this is wrong. The single longer exposure will produce significantly greater density than several intermittent ones of the same total duration. Even many professional printers are unaware of this..... .. So make your actual prints exactly as the test strip, in exactly the same multiple intermittent exposures" Quoted from Elements - by B. Thornton (p22 par5) and Edge of Darkness (p124). An interesting approach to setting G-0 and G-5 exposures - well worth a try judging by the differences in your print examples.

[@PictorialPlanet]

I do think if that as shown on my FX55 developer series and others. Certainly for three exposures it make little practical difference in my experience.

[@stratocactus]

I reckon it's an issue with shorter test exposures (1s as you mentionned). IMHO with 3s or longer interval test exposures, the intermittancy effect is lessened and not quite an issue with the final longer print.

[@PictorialPlanet]

Thanks for your comment, Julien. Agreed. Certainly in practice it's not an issue with my prints. For fine work, such as pre-flashing paper or ascertaining film speed I use multiple short exposures.

[@pierrelievens]

very educative

[@PictorialPlanet]

Thanks, Pierre!

[@martin-f5482]

very good, explained and demonstrated, thank you so much

[@PictorialPlanet]

Thanks Martin

[@michaelspahn3675]

nice simple explanation, thank you.

[@PictorialPlanet]

Thanks, Michael!

[@maheshmagalage1886]

What a great lesson!!! Thanks a lot.

[@PictorialPlanet]

Thank you 🙏

[@russellsprout2223]

...or better still; make a test exposure using your 17 seconds @ grade O, and then make an incremental test strip @ grade 5 *on top* of your grade 0 strip. Develop the twin grade test and select the optimal combination.

[@PictorialPlanet]

This might work too but my work flow is effective.

[@russellsprout2223]

@@PictorialPlanet The method I described above, is widely attributed to master printer Les McLean. This system has the distinct advantage that, instead of exposing for highlights and shadows separately; you get to see/judge the results of the *combination* of both contrast grades incrementally before making the final print.

[@PictorialPlanet]

Thanks Russell

[@russellsprout2223]

@@PictorialPlanet You're very welcome. I look forward to seeing the results of your revised test strips... Atb 👍

[@sheelios]

thank you for this! will definitely try this process.

[@PictorialPlanet]

Thank you!

[@jbezerk]

This is a phenomenal tutorial. I'm guessing, as a rule of thumb, that O and 5 filters are used as they cover both extremes of the spectrum, correct? I'm very excited to try this and it seems like it would great much more vibrant images with significant less trial/error on test strips. Thanks again!

[@PictorialPlanet]

Have you tried it? What's your opinion?

[@jbezerk]

@@PictorialPlanet I haven't been back to my darkroom yet, but will be hopefully be trying soon!

[@davidottman9501]

Thank you for your video, John. I've been getting mixed results with split grade printing but somehow I hadn't yet tried making separate test strips for low and high contrast. My trial and error process has been inefficient. (lots of wasted paper even as test strips...) Looking forward to putting your knowledge to use in my darkroom!

[@PictorialPlanet]

I had the same issue but this seems to work for me. I don't do it all the time, just certain prints.

[@daveh6177]

Hi John, wonderful class. I’m just grasping the split grade concept. Is there a possibility of you of doing another class using a traditional land or seascape? The image you created have very subtle tonal separations and I would think an image with wider totality with clouds, sky and foreground might make the spilt grade process more apparent. Anyway, just a thought. Your ability to teach is a gift.

[@PictorialPlanet]

This is a good idea, Dave, and I've added it to my video list. I'm sure there will be some opportunities soon enough. Thank you 🙏

[@jacopotassinari]

Great class, thank you very much! I wish you could do a work around about dual toning a print. I'd be really interested. Thanks^^

[@PictorialPlanet]

Thanks for the idea, Jacopo.

[@DavideRizzo78]

Nice video; I only have a couple of years of darkroom printing experience but I learned using split grade so that is what I know...and I'm puzzled about the way you choose the 0-grade...you said you choose the exposure where things are "formed". The way I learned is 1) choose the LONGEST exposure that will give you PURE WHITE with grade 0 2) choose the SHORTEST exposure that will give you PURE BLACK with grade 5 and then adjust slightly as indeed 1) + 2) are additive hence you might lose a bit the pure white

[@DavideRizzo78]

the advantage of this method is that is should give you the "best" contrast and the "maximum" extension of greys; the disadvantage is that pure white is not as easy to find and with baryta paper you also have the dry down effect to take into account

[@PictorialPlanet]

Yes, you explain it very well, thank you!

[@rlfsoso]

@@PictorialPlanet well that exactly is my problem when doing the usual splitgrade twist. As a slight variation I use an older RH design fstop clock with two channels, one for grade 5 and grade 0. Getting it properly matched in combination is the challenge. One way is to use an exposure of say grade 0 on a strip I then use as a test stip with grade 5 and vice versa. Obviously a lot depends opn the tones on that particular strip… ending up with a working print to get an idea what additional exposure (burning in) or retraction/dodging I would need at what grades… on different parts of an image. and yes dry down is a pain, even when properly drying (no microwave in my darkroom, a hair dryer must do) the strips…

[@patrykjanota7519]

I just wonder how it's possible that split grade printing make your image 'sharper' I understand we put more contrast to the image, that's why we have illusion of sharper image, isn't it that way ? But indeed it look much sharper on video :)

[@PictorialPlanet]

Good question, Patryk. I think the micro-contrast is enhanced sharpening the lines between dark and light areas. This is captured by the negative but not shown as clearly on the print.

[@iggyzone]

it may sound silly but i have to ask this. Should't we make the grade 5 test strip on a paper that have previously been exposed to grade 0 for the amount of time determined from the grade 0 test strip?😀

[@PictorialPlanet]

Interesting idea.

[@NasserAlhameli]

I have been printing so long, but I have learned so much from your videos.. Thank you! Is this paper your holding a warm tone Ilford mat paper?

[@PictorialPlanet]

Thanks for your comment, Nasser! The paper in this video is Ilford FB Gloss regular.

[@NasserAlhameli]

@@PictorialPlanet Thank you🌹

[@henrivandenheuvel5477]

But where is the additive lighting from the 5 sec/grade 0 teststrip? You made a grade 5 teststrip and chose 17 sec lighting, not taking in consideration the 5 sec/grade 0 previous lighting. The endresult should be darker than the grade 5 teststrip. What am I missing?

[@PictorialPlanet]

Because I choose the lightest grade zero strip (5 seconds) it's only subtle. There's not the bigger difference that you'd see with straight grade printing.

[@Studiorafael]

Great explanation! o/

[@PictorialPlanet]

Thank you, Rafael!

[@alasdairdougall7868]

To me, split grade printing is something I go to before dodging and burning. The reason is to be able to duplicate my work with a high level of consistency.

[@alasdairdougall7868]

Should also mention, I will bump the grade to 5 and do a 50% exposure to gently boast the contrast and “sharpen” the image. (This is through the increase to contrast between areas.)

[@PictorialPlanet]

Interesting idea. I'm going to give it a try. Thanks for your valuable input Alasdair

[@christoframpitsch8750]

Question: why would you not make the second (Gr5) test strip on paper that has already been exposed at Gr0 for 5 seconds? This would eliminate some of the guesswork for the Gr5 exposure.

[@PictorialPlanet]

I'm going to try this. It does make sense. I was trying to separate my decision of exposure time for both grades but your suggestion (and others) has made me think it would save a step. Thank you.

[@francoismassin8649]

Thanks for another informative video John Is the sequence of the grades important ? I mean grade 0 before grade 5 In my understanding, exposing grade 5 before 0 should yield the same result. But who am I to know that ? LOL

[@PictorialPlanet]

Hi Francois! I don't think the order matters at all. It's all about exposing those three emulsions with blue and green light. Should work either way.

[@davidventura1424]

I wouldn’t make a print without split grade printing and consider it a fine print…. Blacks just give a slight more punch to image

[@PictorialPlanet]

Thanks for your comment David!

[@mikeadam7267]

Thank you sir for your clear explanation. So, i understand that you always use grade 0 and grade 5 for your test strips? you prefer the grade 0 and always u print based on it? Thank you

[@PictorialPlanet]

Hi Mike. I ascertain my exposure for grade zero and grade 5 and then replicate this mix on my print. I tweak the final print contrast by adding more grade 5 for more contrast or vice versa for less. But, most of the time I use straight grade printing and not split grade.

[@mikeadam7267]

@@PictorialPlanet Thank you Sir. So i understand that you prefer grade printing rather than split grading. right? By the way, i was searching about your book that i will purchase (about film developing), does it talk about developing ilford pan f50 since my negatives have a little magenta color on them after developing them.(im following ilford's rules..). Thank you Sir so much

[@PictorialPlanet]

Yes, my usual printing is just regular grade printing which I find perfectly adequate for many of my landscapes. The apple photograph did benefit from split grade I think. My new book is still in the writing stage and does feature PANF and others :)

[@PictorialPlanet]

Mike, your magenta cast won't effect your prints so no worries there.

[@mikeadam7267]

@@PictorialPlanet Sir, for split grading, do you recommend if i give firstly the 0 grade exposure (after doing a test strip) and then make a test strip with grade 5 directly on the whole paper which i gave 14 sec of grade 0 lets say. Thanks a lot and please let me know when you publish your book of film developing. 🙏

[@py1824]

I really like your tutorial and explanation. Would there be any reason to use alternate filters - 1 & 4 or 2 & 3 ?

[@PictorialPlanet]

You could do that and it would lower the contrast.