>
> Er...no. But if you want to keep the analog theme going, you'll have to
> mail
> us all a print.
Benefactors first...
I just admit, however, that "modern technology" and analog are not mutually
exclusive. The RH Designs StopClock Professional and ZoneMaster II were
heavily leaned upon to assist this aging brain.
I'll never attempt to print in a darkroom without these tools. Case in
point:
Making a single-grade print:
1. Clear Meter and Timer.
2. Load negative, compose, focus and stopdown to desired aperture.
3. Meter the projected negative with the ZoneMaster II. Using the up/down
increase/decrease buttons move the dots around on the grayscale until you
are satisfied. This gives you a starting point for exposure and contrast.
The timer is automatically updated with exposure time.
4. Load filter for indicated contrast grade.
5. Test strip - Optional
-5a. Press the exposure down button on the timer four times
-5b. Press the Test Strip button
-5c. Load paper
-5d. Press the foot switch to start exposure
-5e. When exposure ends, cover up an inch of paper and press foot switch
again. Repeat till all of paper is covered.
-5f. Process and examine wet print.
-5g. Determine which "strip" is correct exposure. Count the steps from the
lightest. Press the UP button that many times. Exit test strip mode.
6. Press the Compensation button to automatically correct for "drydown"
7. Load paper
8. Press the foot switch to start exposure.
9. Process, wash, dry, enjoy.
10. Write down the settings so you can repeat it in another session.
To add an additional burn-in (as possibly determined through the production
of a test strip, just press the program button and press the exposure up
button the number of 1/4 f-stops you want. Repeat as necessary. (I think 10
additional steps possible per grade/step).
To do a split-grade exposure, the timer defaults to Grade 2.5, but with the
timer not in split-grade mode, you can adjust the two exposures separately.
(Split-grade printing is essentially adjusting the gamma of the print, not
directly the contrast like single-grade printing). After you adjust the two
exposures separately to correct for contrast, enter the split-grade mode.
The timer will give you an estimated equivalent paper grade. Now, while you
are in split-grade mode any exposure adjustment affects both exposures as
well as the additional 10 burn-ins PER exposure. Exiting split-grade mode at
any time allows you to tweak the soft/hard exposures and then reentering
will compute the new grade.
Just examine the wet prints for all your proofing. When ready to make the
final print, just press the compensation button and your drydown offset is
automatically applied to each exposure and burn-in. If you goof and are
still too high/low, just adjust your base exposure and all burn-ins follow.
If one of the burn-ins is off, just enter program mode, step to that oneand
adjust it as necessary.
Just remember, other than for ad-hoc dodging, you always work in burn-in
mode. Work by adding exposures, not by subtracting. This provides you with
repeatability.
Sounds more complicated than it is. As always, knowing where to draw the
"X" is where the talent is.
AG
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