This is precisely why I have centered my technique 100% around split-
grade printing.
This cuts out absolutely all forms of metering, calculation, in-
between grades, etc. etc.
The only thing that counts is the aesthetic of the final print. With a
lot of practice,
it's extremely efficient on paper. In at least 75% of my prints, I
achieve my exact desired
end-result using 1.5 sheets - two test strips of 0.25 sheets, plus the
first (and final)
print. For really difficult prints, I may use one or two additional
sheets. I think my record
is about 4 testing sheets, but this was with a print with extreme
dynamic range, and a complex
sequence of dodging and burning. Man, I still need years of practice
with my hands to dodge/burn
areas accurately. I find this very complex, and the ergonomics of my
enlarging setup (height, etc)
is not quite perfect yet for this - or I am just not very good at it
yet.
As a visual artistic process, I wanted to go for something completely
different to the
in-camera image-capturing process, which is inherently technical.
Split-grade printing
is almost as much fun as sketching or painting, i.e. no calculation,
no technicalities.
What you see, is what you get.
On 04 Jan 2010, at 6:38 AM, Ken Norton wrote:
> I just got wrapped up recalibrating my Zonemaster II. What a royal
> pain that
> little task was. For some reason everything about my darkroom was
> completely
> shifted and I couldn't get an accurate meter reading no matter what.
> One
> thing that had me completely puzzled was known combinations were way
> off.
> The only thing I can think of is a shift in color temperature of the
> enlarger bulb.
>
> But now I've got this Adox MCC paper fully calibrated with the meter
> and can
> get pretty bloody close with the meter on even the most difficult
> negative.
> This is beautiful stuff.
>
> Sometimes technology can really bite when you try to rely on it and
> it isn't
> working right.
>
> AG
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