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Old 14th February 2009, 08:13 AM
Dave miller Dave miller is offline
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Default Split Grade Printing

In another thread Bill Mar said:

"Perhaps because I have never tried it, I have no knowledge of split grade printing, does it really give a better print than a straight single grade print?"
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Last edited by Dave miller; 14th February 2009 at 08:17 AM. Reason: This question has been moved here from the book section,
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Old 14th February 2009, 08:30 AM
Dave miller Dave miller is offline
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My experience of split-grade printing is that the technique is of use for creating local contrast variations within a print. If, for example we burn in part of a sky at grade one, or make a vignetting burn at G5, then that’s a form of split grade printing. However if we split-grade the whole print, then the resulting contrast must have an equivalent composite grade, although it could be one that’s not achievable with under-lens filters.



Les posted an article here about the subject.
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Old 14th February 2009, 10:25 AM
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Dave, like you I do a lot of split grade printing, both localised, e.g. base exposure at a one grade + burn at another grade. I also print using just G5+G0. However I tend to favour producing a print at G2.5 then fine tune it using G5 or G4 and/or G0 or G1. If the print is too soft at G2.5 I reduce the G2.5 exposure and add G5 or G4 (depending on brand of paper) to the mix, likewise if too hard I add G0 or 1 (again depending on brand of paper).

I find this slight variation works well for me.
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Old 14th February 2009, 03:32 PM
Richard Gould Richard Gould is offline
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I tend to favor localised split grade printing,most often burning in at g1 or 0 after a main exposure at g2 or 3, Richard
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Old 14th February 2009, 11:02 PM
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For an intro to split-grade printing look no further than elsewhere on this site here: http://www.film-and-darkroom-user.or...read.php?t=376
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Old 14th February 2009, 11:07 PM
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It depends... If a print has a fair amount of highlight detail I want to preserve when I will generally split-grade the whole print as a quick way of getting exposure and grade in (hopefully!) a couple of test strips. In that case I may dodge part of the print for part of one exposure or the other.

Other times I may use a single grade exposure. In either case I will often burn detail at grade 00 or 5 after the main exposure(s).
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Old 15th February 2009, 11:49 AM
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I use both methods of split grade printing. Ever since the advent of VC papers I used local splits when needed but a few years ago I read a book by a chap called Harry Fearn. He talked about the method I work with now, I have adapted it for myself. First I make a test strip, at grade 0, that will take in my highest highlights that I want detail in (zone VII and VIII areas), usually sky. I dry my test strip in a microwave. Then I select the first sign of detail and set my base exposure for one bar less (like when you test for pre-flashing). I then make a test on a full sheet starting with the grade 0 base and re-setting to grade 5 + 1/4 stop increments.

This method has almost completely eliminated the need for pre-flashing.

I might burn in highlights using a soft grade and I give a 1/4 stop edge burn using grade 5. I have an image that I made several years ago of a couple reflected in a car wing mirror (homage to Elliot Erwitt). Because it is a reflection it is like two different negs. Outside of the mirror needs a full exposure on grade 0 while the reflection needs all grade 5. It's on my wedding web site, in the intro. www.steventaylorphotography.co.uk . If you would like to see it you will have to open the flash site and sit through the introductory slide show I'm afraid.

Good thread Dave.
Steven
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Old 15th February 2009, 09:53 PM
Victor Krag Victor Krag is offline
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Interesting Steven, I'll try this method later today with a neg that I'm on a groove on printing multiple copies. The interjection of a new method will be easy to sight differences. There are highlights in the neg that require two spot burns, one 15 sec at G2 and one larger area of 25 secs at 70cc Yellow - on a LPL Dichro.
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Old 16th February 2009, 09:25 AM
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Quote:
Originally Posted by Victor Krag View Post
Interesting Steven, I'll try this method later today with a neg that I'm on a groove on printing multiple copies. The interjection of a new method will be easy to sight differences. There are highlights in the neg that require two spot burns, one 15 sec at G2 and one larger area of 25 secs at 70cc Yellow - on a LPL Dichro.
I would be interested to hear about your findings. I feel that it has made a difference to my prints but it might be psychological, changing methods encourages one to look more carefully and maybe asses more successfully.
Steven
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Old 16th February 2009, 10:19 AM
Dave miller Dave miller is offline
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Quote:
Originally Posted by Steven Taylor View Post
I would be interested to hear about your findings. I feel that it has made a difference to my prints but it might be psychological, changing methods encourages one to look more carefully and maybe asses more successfully.
Steven
Prompted by your post I must unearth my copy of Harry Fern’s book for a reread, which is overdue.

I chuckled at your reference to the psychological aspect of printing. About four years ago I had a particularly difficult negative to print and after much testing and many trials and waste paper I managed to draw up an eleven stage split grade burning and dodging regime to achieve the intended result.

Last year I had reason to reprint it, and being in a bit of a rush produced a work print at a guessed grade, which turned out to be almost spot on, only needing a hint of Grade 0 cloud burn to complete! During the earlier printing attempt I think I had managed to convince myself that I had a much more difficult task than I actually had and was probably correcting corrections.
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