How to do Split Grade Darkroom Printing

In this video I demonstrate how I make my traditional darkroom prints using the split grade technique. It is a very easy process to use and hopefully I show the advantages and flexibility it affords.
In essence my process boils down to :
1) Make a test strip at Grade 2.5
2) Pick the time that has the best overall balance of highlights and shadows
3) Split that time in half and make one exposure at grade 0 and the other at 5
4) Re-evaluate and adjust the 0 and 5 exposures to get the best looking print
5) Add dodges and burns during either exposure to produce the final print
Hope you find this useful, the print demonstrated can be purchased from my Etsy shop in a fully archival Fibre based form made on Ilford Multigrade Warmtone paper.
Etsy Shop
steveonionsphoto.etsy.com
Contact Details
Email: [e-mail] Twitter: Steve_ONions / steve_onions Instagram: steveonions1 / steveonions1

[@cameronwilson8561]

There is so many ways of doing split grade printing. I never tire of seeing someone else's technique

[@SteveONions]

Very true Cameron and there’s no right or wrong either.

[@arcp_]

this is pure gold. thank you.

[@GrainyByNature]

Great information and well shown.

[@harley1412]

Superb!

[@UncleDansVintageVinyl]

Very, very clear explanation. Great work as always!

[@Subfrequenz]

This is great and I'm now excited to try this myself!

[@sharonleibel]

Finally! someone giving a clear and simple explanation about multi-grade paper.

[@phillipP8848]

Excellent technique Steve. Will give your method a try. Many thanks.

[@EldestSugar918]

Very interesting!!!!!!

[@Ry_Gordon]

Just been getting into enlarging and have been loving your vids!

[@nicolasdemoulin7203]

Great video, I'm getting into split grade printing and this video has been very helpful

[@NefariousDoings]

I really enjoyed the video and useful to see your technique. Just the encouragement I need to get myself to get out into the cold garage to do some printing myself!

[@stephendeakin2714]

Nice to see a little more of your darkroom printing Steve, thanks.

[@SteveONions]

Thanks Stephen.

[@evgenygorshkov9893]

Hi Steve !!! Great !!!

[@zeebier2]

That was beautifully done, steve!

[@SteveONions]

Thanks 😊

[@polokingfr]

thank's ! it's a very cool video.

[@fcolpz]

Thanks for this!

[@SteveONions]

You’re welcome Francisco.

[@VeteranofthePsychicWars]

Very informative, thank you.

[@SteveONions]

You’re welcome Jay.

[@tim_butcher]

Brilliant, as ever, Steve. Great point about increasing accuracy of dodging and burning. Thanks

[@SteveONions]

Thanks Tim, it’s such a great technique.

[@HouseofJello]

Love your videos Steve. Thank you for sharing your expertise, it's been invaluable to me!

[@SteveONions]

That's very kind of you to say :)

[@AliasJimWirth]

Great explanation, Steve. I enjoyed following along. Thanks.

[@SteveONions]

Thanks James.

[@BenHeathcote]

Fascinating video, and a lovely print.

[@SteveONions]

Thanks Ben.

[@stephenscott2802]

Once again, an excellent video with a very clear and informative description of your printing process Steve. Lovely print too! Many thanks for making this available.

[@SteveONions]

Glad you found it useful Stephen.

[@JasonRenoux]

Amazing to see the birth of a print. Fascinating process and great video content as usual, thanks for your work Steve :)

[@SteveONions]

Thanks Jason 👍

[@GONZOFAM7]

This is great thanks.

[@SteveONions]

Thanks Jaime.

[@simonbarnes7124]

Excellent Steve. The final print was fantastic!!

[@SteveONions]

Thanks Simon.

[@davyboyo]

Very informative video, and I absolutely love that image!

[@SteveONions]

Thanks Dav.

[@jacopotassinari]

this is a so great masterclass and superb photo! thank you very much ^^

[@SteveONions]

Thanks Jacopo 😊

[@victordaussy-renaudin8256]

Thank you very much, it was very well explained, I'm looking forward to start printing soon!

[@SteveONions]

Glad it was helpful Victor.

[@fionam.1784]

This was brilliant, please do more darkroom videos. Wonderful work.

[@SteveONions]

Thanks Fiona, I’ll include the darkroom from time to time.

[@Francois_L_7933]

It's the first time I see a video that properly explains this. Fantastic.

[@SteveONions]

Thank you 😊

[@irishdavey1]

Brilliant! I never thought of doing an initial test at grade 2.5!

[@SteveONions]

It’s very effective and a lot quicker than establishing a grade 0 exposure.

[@sandrag.3855]

Great video. It shows not only the magic of split grade printing, but also the power of dodging and burning! Very well done.

[@SteveONions]

Thank you Sandra 👍

[@dylangergutierrez]

Excellent timing on this one! I've just recently got a setup where I can do split grade myself, and it's great to see a pro demonstrate their process for it.

[@SteveONions]

Thanks Dylanger.

[@kevinthephotographer9346]

A very clear description leading to a beautiful print. I did my first split-grade print last week and will do some more this weekend.

[@SteveONions]

Thanks Kevin.

[@aabdulrahman4362]

Really clear and succinct explanation, will try this when in next printing, thanks!!

[@SteveONions]

You’re welcome 🙂

[@GraemeSimpsonPhotography]

I've been trying to get my head around using filters but this explanation has helped see it action. Thank you

[@SteveONions]

Glad it was useful Graeme.

[@johnkaiser2698]

Really good video! Just found this channel today and loving everything. You are a great host

[@SteveONions]

Thanks John 🙂

[@JamesPearson]

Great video Steve and really nice print. Love seeing your darkroom work, looking forward to more.

[@SteveONions]

Thanks James, I just wish it was easier to film them 🙂

[@JamesPearson]

@@SteveONions having made just one video for KZbin myself, I totally appreciate that!

[@stemcleeds]

More videos like this please. I wish I knew this 30 years ago!

[@SteveONions]

Glad you found it useful, I also wish I’d known about it when I started out.

[@eugenekutz7626]

Very interesting content!

[@SteveONions]

Thanks Eugene.

[@frstesiste7670]

Learned something new today, thanks.

[@SteveONions]

Glad you liked it 🙂

[@frstesiste7670]

I really enjoy your channel. I haven't had easy access to a darkroom since the late eighties and then I started experimenting first with Photo CDs and later scanning and digital. Didn't know about multigrade and most likely wont get a darkroom again anytime soon, but I'm more and more tempted to try some B&W film again. Watch your and Ben Horne's channels. Both very inspiring!

[@heartthehorse]

Happy to find this video of you doing split grade printing using the Stopclock Professional. Trying to get the hang of the one I just bought so your video is helpful. My wife just bought one of your prints after discovering your etsy shop. Very fine and lovely work!

[@SteveONions]

Glad you found it useful and I’m really glad you like the print too 😊

[@kenjensen5930]

Great to see Steve, I am a complete beginner so this all looks frightening to me however it is something that I can aspire to!

[@SteveONions]

It’s easier than it looks Ken, just start off modestly with resin coated paper and a few 8x10 trays then build up on from there.

[@martinwilsonphoto]

Really nice print and great video Steve. I could never get my head around split grade printing until I watched Lina Bessanovas video on it then it clicked and I’ve never gone back.

[@MB-or8js]

Thanks so much for this reference - to better understand the process Steve describes here, I also needed to watch Lina's video which answered my questions.

[@martinwilsonphoto]

@@MB-or8js glad it helped. She’s a great printer.

[@johnjon1823]

Nice informative video, thanks for the efforts. Years ago I used what they called Kodak poly contrast paper and as I recall they had these thin plastic sheet filters you used to stick in the enlarger head to change from one grade to another. Stay well; God bless!

[@SteveONions]

Thanks John. I think I used polycontrast back in the 1980’s.

[@wojciechneprostipotocki]

To jest bardzo dobra metoda. Przez cala moje studia tak robilem.

[@azfactor7875]

Reminds me of when I was printing my final Photo II class project and using a similar method for split exposures, but your results are much better than mine were.

[@SteveONions]

Thanks Bob - I did cheat slightly by using a negative that almost prints itself!

[@luismartins3262]

This video brought back good memories from when I used to do split grade printing, back in the nineties. I did my split grading to get the Michael Orton effect where the dark areas had a bit of a dark glow and the highlights were sharp. I still do this to this day but now in digital form. Unfortunately, both back then and now, I still find that many times I let technique rule over a not so good image, thinking I can make it a quality picture out of a shot I should just discard.

[@SteveONions]

Same experience for me Luis, nowadays I only work on the best negatives and don’t try to rescue the bad ones.

[@hanskallafrasonen]

Very informative and a good tutorial, but holy s**t what an image! Awesome

[@SteveONions]

😊

[@hanskallafrasonen]

@@SteveONions Infrared?

[@fbraakman]

Great video Steve. I have started using the same split grade technique myself. I just ordered the RH Designs Stop Clock to go along with the RH Designs Analyzer. Both are great tools for the darkroom. A video explaining how you use the Stop C Clock would be useful as well. Love that photo.

[@SteveONions]

Thank you. I love the timer and used the same model back in the noughties. It’s so intuitive once you get the hang of it and I can’t imagine using a linear timer now.

[@Guscastillonj]

Thanks for this! This is a much more straight forward way to use the analyzer for split grade than I have been using! Would be great to see. Video on your thoughts of the timer alone!

[@SteveONions]

It’s a great timer Gus and I couldn’t work without it.

[@raybeaumont7670]

Nice one Steve. I've been split printing for years but use G1 and G4 for most of my negs - I always pull my film exposure/dev by a full stop - just something I've used for donkeys. All the best.

[@SteveONions]

I also prefer to give more exposure and cut back development Ray, stops the highlights getting too dense.

[@duncandip]

Steve, thank you for yet another clear and concise video. I'm sure that many more viewers (other than myself) would be interested in purchasing an f-stop timer. I can't find your promised video on the subject and wondered if it ever materialised, please? Thanks again.

[@SteveONions]

Oooh, I’ve not done it yet (apologies). I must do some more darkroom videos 👍

[@DizinEire]

A useful video on a useful technique Steve. Whilst its not my 'go too', I tend to use S-G when making prints larger than 12" I find it gives me far more control. Cheers Diz

[@SteveONions]

Thanks Diz. I’ve also had good success with conventional methods but find that sticking to one makes it easier to get to a decent result quickly.

[@lostintransitphoto]

Great video! While I do split grade printing, I do it differently but will give your way a try. After all isn’t that what makes the darkroom so much fun?

[@GavinLyonsCreates]

very useful insight! I've an old Durst 606 which I got a set of Ilford filter for. I'm hoping to try out this soon with Ilford Multigrade papers. Hope it works :-)

[@SteveONions]

It’ll work fine Gavin, just make sure to switch it to white light if you use the Ilford filters.

[@norbertstepien9185]

great video Steve. The only comment I would make is that, like you, I use F stop printing and have both the Analyzer and the StopClock controlling my Devere 504, but I think this needs to be explained to the majority of printers who still use traditional seconds when timing exposures.

[@Francois_L_7933]

I've been doing stop based printing with a regular timer for quite some time and it's fairly simple. Once you realize that all you need to do is know how to multiply and divide by 2 to change the exposure by a stop, it gets to be real easy.

[@SteveONions]

It’s definitely easier with an fstop timer Norbert, I’d be sure to make mistakes if I had to calculate shorter exposures manually.

[@eddybax1]

Would love to see you process a black and white image in the digital darkroom as well!

[@SteveONions]

I’ll do a comparison one day Eddy 👍

[@jonjanson8021]

I'm now the proud owner of a Meograde head. It only took five years to find one. Split grading is so much easier.

[@SteveONions]

I love mine Jon, so quick to work with and that ND filter is a godsend - I use it to vary light levels when moving to bigger print sizes ( saves adjusting the lens or timer settings).

[@DAVE211147]

Its amazing what can be done now with a bit of cardboard and a light bulb.

[@SteveONions]

Even the cardboard is optional Dave 😀

[@paulh6591]

For maximum productivity what I'd do back in the day was eschew the use of test strips; I learned to read the contrast and density of the negative and make a full straight print at a grad and time/aperture. Then I'd mentally note any adjustments and make the final print: do the primary exposure first at the correct overall contrast, dodging out areas as needed, then changing the contrast to burn in areas at a different contrast if needed. Then I'd take the negative out, stop down the lens all the way, and direct raw light onto certain areas , not enough to fog the paper but to bring out details and visible density in areas which received image light but just not enough to get over the "toe" of the log exposure curve. Then on to the next image. Working for a newspaper, then a commercial photoduplication service, my aim was to sling out as many prints per day as I could.

[@SteveONions]

That’s definitely a more productive workflow Paul but it does require a level of competence and practice that I’ve never been able to achieve 🙂

[@708photog]

Wonderful print! It appeared you were using the f-stop printing technique when dodging/burning, but not when you made the initial test strip (which was linear). Wondering if you've covered f-stop printing, or might? Thanks so much for all the great content!

[@SteveONions]

It wasn’t so clear on the video but I do use the fstop method for the test strip too - usually half or quarter second increments.

[@kit441]

Hello Steve. Interesting and informative.....I have a question.., I've been looking at purchasing the Ilford multigrade filers kit until I watched your vid. I noticed that you dial in, on the enlarger your settings rather than using the above set of filters, I'm not sure if I would disturb the focus by manually using the dials? So I'm not sure if I should spend the eighty quid on the Kit,or dial in??? The enlarger I have is the LPL 7452.

[@SteveONions]

It’s a good point about knocking out the focus Kit, I worry about this and recheck constantly. I have seen it go off occasionally but that can also be due to tiny movements in the fine focus in my Meopta. I have also used under the lens filters in the past and found them to be very good.

[@philippedubois2005]

Very interesting! I wonder though, why don't you double the time for the grade 5 filter? I thought it was necessary to double the exposure time for filters 4 and above.

[@SteveONions]

The grade 5 usually requires greater exposure time Philippe but it doesn’t matter with the split grade technique. Once you’ve made a base exposure using grades 0 and 5 you adjust them to suit the look you are seeking. If you were using a single grade and moved from 4 to 5 you would need to compensate with the additional exposure.

[@valdezapg]

Final print looks very good. Interesting process, am I correct in assuming that this kind of result is impossible just with a scanned negative and processing in Photoshop, or with a raw picture taken with digital camera?

[@SteveONions]

You could achieve results like these a lot more easily with digital than film. The digital workflow, even with scanned negatives is considerably more powerful than darkroom techniques but perhaps not as much fun 🙂

[@crappfoto]

👍

[@Normanskie]

Right every time I watch this something new crops up. Love the phot but what if I want to make it twice as large, (e.g. 2x2) that would require 4 times as much light, would I do another test or would I just increase the light by 4 stops. Going to have to get the enlarger out of the cupboard.

[@SteveONions]

That’s correct Norman, twice the size means four time the light. To avoid problems with reciprocity failure I use the ND filter in my enlarger head. I make the smaller prints with 2 stops dialled I’m then reduce it when making bigger prints. This also means my timings never need to be changed so all the dodging and burning is the same.

[@justindavisphotography]

Hello Steve, I have been wondering about the loss of shadow detail with split printing. I understand that using a low contrast filter for the highlights and mid tones will provide a maximum level of detail, but when you switch over to a 5 or so for the blacks, aren't you losing a lot of recorded detail in the dark areas of the image?

[@SteveONions]

You certainly have to use the grade 5 exposure with caution which is why most of my exposures are biased towards grade 0. By having a separate grade 5 stage I can selectively apply burns using this filter, usually to the sky and corners, whilst avoiding the shadows entirely.

[@lensman5762]

Very well explained and presented as usual. It is a shame that my darkroom days are over. The new generation of variable contrast papers seem to be miles ahead of what was available in the early 80s. I experimented with Ilford Multigrade once, and that was enough. Different grades exhibited different casts and the results were very poor compared to Ilford Galerie or Kodak Elite that I used to use. This new paper appears to be of very high quality. Is it available with fiber base as well?

[@SteveONions]

The modern Multigrade papers are superb, as good as any fixes grade I’ve used. The same emulsion is available in FB too so it’s seamless to move between that and RC.

[@lensman5762]

@@SteveONions Good news. Thanks for that.

[@benjaminvleugels5609]

What if you pre-flash and split grade? I haven't seen any results on that I would be super curious to see that. maybe I can try it myself. I'm following a beginner's darkroom course now its super fun.

[@SteveONions]

I have done that quite a few times Benjamin and much like single grade printing it lowers the overall contrast. If I’ve got a good basic exposure for my grade 0 and 5 filters then decide to pre-flash it really messes things up and it’s not so easy to work out the new times. If possible I’d prefer to ore-flash just the necessary part of the paper but as we all know, that’s not so easy!

[@keeszondervrees8787]

Thanks. Lift printing?

[@SteveONions]

Lith printing - it must be my accent Kees 😊

[@cheeseblog]

Do you teach photography any where else besides KZbin? Another great video!

[@SteveONions]

Just KZbin for now I’m afraid, no time for anything else 🙂

[@MB-or8js]

Question in regard to your filter setup - I assume you are using the color channels on your enlarger color diffuser setup? Which selection in yellow/magenta/blue channels do you do for filters #2 and #4?

[@steveweston5902]

I am certain that if you look closely Steves enlarger has the Meograde head fitted rather than a colour head.

[@MB-or8js]

@@steveweston5902 I wasn't sure and only saw the dials on top, I am not familiar with his enlarge model either. Then I suspect he used standard filter plates.

[@SteveONions]

As Steve says it’s a Multigrade head which makes it a bit simpler but using yellow and magenta can give the same results.

[@dalkapur]

Very informative, thank-you. The most logical approach to split grade printing I have seen! It encouraged me to try it for the first time, and was happy with the results, definitely reducing the need for dodging and burning. However, the real point of my comment is your actual photograph. It is really beautiful, but confuses me. It looks like it is hand-drawn using charcoal or similar. I don't know if that is youtube. Or maybe a long shutter to blur the leaves on a slightly blowy day?

[@SteveONions]

Thanks Richard. The shot was taken with Rollei Infrared film which gives that unique look. I also shot it with Tmax 400 at the same time but that image is instantly forgettable.

[@dalkapur]

@@SteveONions Its lovely, I will have to give that film a try.

[@dalkapur]

@Steve O'Nions Your beautiful work has convinced me to buy some Rollei 400S and a Cokin IR filter and try it out when the trees finally leaf. More detail on shooting IR on film and developing it might be a useful theme for a Vlog (hint ;-) ). I'm planning to use Rodinal which I have sitting at the back of my darkroom cupboard. What developer do you use for it, and what dev time, if you don't mind me asking?

[@millerviz]

Can you explain how the filters work?

[@SteveONions]

There’s a very good description on Ilford’s site Curtis but to simplify it there are two different emulsions coated into the paper. One is sensitised to low contrast and the other to high so the use of a particular filter will allow different amounts of light onto the paper.

[@MpenziYako]

Really great instructions on this very important technique, I will be doing my best to use it in future. Just a general question, I see you have the similar grain focuser as I have, but I am never quite sure what the grain looks like. I see tiny moon craters all over the place which could be the grain but I'm not sure it is; features of the negative seem out of focus when using the moon craters! Would appreciate your advice on this Steve as none of my reading has covered exactly what one should see to have the grain properly in Focus. Any thanks again. Mark

[@SteveONions]

Hi Mark. I usually focus with the lens wide open and turn the adjuster back and forth to see when the image snaps in clearly. I also pick a part of the image with a clear line or element that has high contrast, this makes it a lot easier to see than something like the sky.

[@MpenziYako]

@@SteveONions Thanks Steve I've been trying to find the mysterious grain to focus on but clearly when the image Snaps Sharp we are on the button. Many thanks again Mark

[@Normanskie]

Confused, what is grade zero and grade 5. We have the f stop and the time so what is the other.

[@SteveONions]

The grades are the contrast Norman, 0 is soft and 5 hard.

OK so if I understood properly, you first check the middle contrast time, then you divide it by two, use one half time for each extremes, with low and high contrast exposures. Then you adjust the whites by changing the time using the low contrast filters and the darks by changing the times using the high contrast ones? That's just clear and effective, especially to get an efficient workflow for many prints! That leaves me wondering what could some added exposures with middle grades filters do ? I love peaking the contrasts in the shadows adding some lighter grays while keeping the whites in check! That's of course coming from somebody trying to figure out how to transpose the digital curves tool into his analog workflow 🙄 but why shouldn't it be possible with VC papers?

[@SteveONions]

Whilst you could add add exposure with a middle grade filter it would lower the overall contrast of the print. The whites and blacks would both become darker so it would probably need very careful burning to affect selected parts only.

@@SteveONions Thanks for your answer ! It's all clear! One more question, I was wondering how you count stops in printing? In the camera, that's clear, but here in the darkroom, what are stops referring to and are they reciprocal with the aperture stops of the lens ? I'm about to do a few tough prints for an exhibition with Rollei RBM3 self-made photo paper and I wanted to be able to reduce the Intermediate prints as much as possible...

[@michaelbailey1578]

That was an excellent how-to exposition. Are you familiar with the method propounded on KZbin by Darkroom Dave, a long-time Ilford printmaker? I tried it a few times last year before Covid got me, but now I'm raring to get back to it. It will take a lot of practice on my part to get anywhere near your level of proficiency, but what the hell. Thanks Steve. If you wish, I'll send you my address and you can send me your enlarger; West coast USA couldn't cost that much; just a thought.

[@SteveONions]

I did a darkroom course with Dave about 15 years ago Michael and used the split grade method for a few years before abandoning it. Since returning to the darkroom I've learned to appreciate the flexibility and now use it exclusively (not for lith printing of course).

[@russellsprout2223]

@@SteveONions I did the same course and hated it! The so-called 'Ilford Way' - awful method requiring more than a degree of guesswork for exposure adjustments. I much prefer the method taught by Les McLean (and others) wherein a g5 (shadows) exposure is 'laid over' the chosen g0 (highlight) exposure. Each to their own, I guess.

[@danem2215]

I'd likely split grade all my prints but my enlarger is too unsteady. Opening and closing the filter drawer has moved the head just enough to be slightly off from the first exposure on a couple of my prints. Could be neat for ghosting effects, but definitely don't want it on my landscapes.

[@SteveONions]

I’m quite lucky Dane, the head of my Meopta is very sturdy and moving the dials doesn’t disturb the focus.

[@danem2215]

@@SteveONions I'm tempted to buy another, more professional enlarger. I have good rapport with my local photographic store and he's got a ton of disused ones he'd sell me for a song.

[@iNerdier]

Interesting that you make a video about split-grade printing on the day Matt Marash has a video out touching on it. He says he uses it only as a method of last resort and I have to say I'm with him there, the added overheads in thinking means I always find it much easier to make mistakes with it and tend to only try to use it to save otherwise hopeless images. Good to see how other people work on these things.

[@SteveONions]

I tend to find split grade easier as when it comes to dodging and burning it’s easier to know how it will affect that area.

[@davidventura1424]

Learned Split grade few years ago and there is no other way to print!!! Unless it’s a contact!!!