Detailed Test Strips for Split Filter Printing - Learn a New Darkroom Technique

In this video, I demonstrate how I make a test print (as opposed to a test strip) when I use split filter printing, measured in stops instead of equal time increments. This allows me to judge contrast and exposure at the same time. This video will be useful to anyone who makes silver gelatin prints in the wet darkroom and is familiar with split filter printing.
The process is:
• Using a no. 5 magenta filter (or magenta=200), expose 4 seconds, followed by increments of 2, 2, 3, 5, and 6, in horizontal strips
• Using a no. 0 yellow filter (or yellow=80), expose 4 seconds, followed by increments of 2, 2, 3, 5, and 6, in vertical strips
• Develop, stop, and fix the test, then evaluate in the light for both exposure and contrast
00:00 Intro
00:08 Expose the test
02:47 Develop the test
03:38 Evaluate the test
04:56 Expose the print
05:47 Dodge and burn the print
06:59 Develop the print
#filmphotography #darkroom

[@jamiegray3245]

Ryan what did you just do! This is genius.

[@igaluitchannel6644]

I liked the square where the bass player was.

[@robert.aleksander]

You just save me from cutting unimaginable amount of test stips and save's a lot of paper! thank you very much. Pawn Star's be like: Best I can do it's a sub.

[@justlikeswimming5988]

Thanks so much for this demonstration, I do like this approach and will be trying it soon!

[@TheUoduck23]

This is genius. Thanks for putting it out there and teaching me a new darkroom technique.

[@rolft.7697]

Thanks for sharing ! Best Video on YT about splitgrade printing IMHO

[@gountberlin1669]

well done mate. was trying to do both: get the most information out of test strips and save on material. but in the long run your approach is best. often i need a few strips anyways.. but here you get a very good overall idea. thanks a bunch and keep up the great work (ill check on that, mind you.. i subscribed) much love

[@6199665]

genius, i'm gonna use this, shall name it the RJ Matrix test strip

[@dariozollet6484]

Thank you for your tutorial, super useful!

[@MickyLicky]

You have put it perfectly. thank you very much.

[@tumaprints]

I like it. I have always wanted to get a dichroic enlarger to experiment making B/W prints from color negs and seeing how different colors can be rendered in grey scale via different cyan, magenta and yellow levels. Tried color to b/w with standard enlarger and contrast filters and a couple camera lens filters of various color. I have a couple interesting results but nothing noteworthy.

[@Jacksymmar]

I first cranked Cyan filter all the way to its max to cancel out deep orange film base colour to rescue the soft contrast, followed by dialling magenta and yellow filters.

[@JasonRenoux]

That's a premiere 😅 I have to try this. Anyone knows how to match the Y and X axis in the darkroom?

[@shervinsardari]

Fantastic video! One question of understanding: Do I need to select the desired contrast grade (magenta value) before doing the teststrip, or do I always use the hardest grade, and the amount of contrast is determined by the exposure time for magenta?

[@silverandplatinum]

Always use the hardest grade, and contrast is determined by magenta time

[@martykimble9999]

I have noticed that I have had to increase my highlights filtration to as much as a #2 filter using under lens filtration with a LED light head. Do you have a good source for a time chart for f stop printing? My head is very bright and exposure times much lower. Great video. BTW

[@silverandplatinum]

Yes, some people like to do split grade printing with the yellow not quite all the way to a zero filter. There are so many variables that I could never rely on a time chart; I just make a new test for every negative I print

[@MacShrike]

That was just what I have been trying to cook up. This is the way! Thank you.

[@sheelios]

super cool technique! thanks for this. something ive read recently is that split grade printing gets you to a middle contrast filter. Example: exposing the sheet at grade 5 and grade 0 (For whatever amount of time to get a good contrast) would in theory just get you the same or similar result as just using a grade 3 filter. is this right? this is a fun technique though will try to use this!! thanks

[@silverandplatinum]

Great question - in theory yes, if you expose for an equal amount of time with each of a 5 and 0 filter would get you roughly the same contrast as a print with a 3 filter, but in practice there are a lot of other variables such as the enlarger you’re using, paper type, etc. - I think the biggest advantage of split filter printing though is that you can dodge/burn the shadows and highlights separately, which you couldn’t do if you just printer with a 3 filter

[@sheelios]

@@silverandplatinum ah yes that makes sense! awesome thanks. cant wait for more videos!

[@jbezerk]

Hi Ryan! How come you initially expose the whole sheet for 4 seconds for both magenta and yellow? Is it so you don't get the most extreme side of the filters (complete black/white)? Also, the time increments will always be the same since they are stops, right? Very excited to try this out! Thanks for the video

[@silverandplatinum]

Great question - yes, it’s because I’m almost sure that each filter will need more time than that; the extremes under 4 seconds are almost always unusable. And yes, I always use the same increments. Good luck!

[@bluzizalright]

Excellent explanation of the split filter printing technique. The music however is too overpowering (it's also damn good!) when you're talking; it's competing at times, I found myself listening to the bass lines and then having to go back to hear what you had just said. :)

[@silverandplatinum]

Ha! I was a professional musician for a short time and I learned to play a little upright bass, so I probably put it louder in the mix out of solidarity. Thanks for watching my channel, and glad you liked the technique!

[@kortwoycheshin4191]

Hi great video, I tried this and found when I did the vertical lines with magenta at a grade 5. There were no lines and no differences. Any suggestions on what might be causing this?

[@silverandplatinum]

Intresting. If the yellow is working and the magenta isn't, I'd guess it's some kind of issue with the filter

[@kortwoycheshin4191]

@@silverandplatinumhello, I just did some more tests and found that the times for the red filter were not sufficient to achieve any sort of increase in the blacks. I had to nearly triple the time to get a sequence. Is there a way to still achieve the stop differences at much higher times?

[@kevinbrowne3089]

I’m confused with your description of stops with time. If you want a stop increase of exposure, don’t you need 8 seconds after the initial 4? I’m confused why you are using aperture values. Help!

[@silverandplatinum]

True, I suppose these are actually half-stop increments

[@kevinbrowne3089]

Agreed. At least an approximation. There are ALL kinds of paths to the top. I enjoyed your process!@@silverandplatinum

[@olegboldyrev5113]

Who does play on double bass? Bryan Bromberg?

[@silverandplatinum]

Close - John Patitucci. Thought it was appropriate music for this image