What determines contrast in your prints?

[JeTexas]

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I just set up a darkroom at the house for the first time since 1995. I re-read some chapters of The Darkroom Book to sweep out the cobwebs, but there was still a learning curve as I tried to produce a print last night.

 

It probably didn't help that the enlarger bulb of unknown age burned out while I was setting up, so I swapped in a regular bulb from a lamp. Then the strange brand of photo paper I found in my boxes said Copyright 1972 on the package, and I tried printing with a home mixture of Caffenol-C instead of a real developer. It was Sunday night, so I had to make due with what I could find at the house, and I was anxious just to try it all out.

 

There were a few failed attempts.

 

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So after getting my exposure down and figuring out the timing on the chemicals, I finally got a couple prints with good detail, but they're very lacking in contrast. (Both the negatives were TMAX 100 although one was 35mm and one was 6x6.)

 

 

I'm headed to the shop at lunch today to get some real chemicals, a new bulb and some fresh paper, but my question is, what determines contrast in prints?

 

Do I need a certain developer for more contrast or is there a type of paper with more contrast? Or is it the way I developed the negatives that is causing lack of contrast?

 

Any tips would be appreciated.

[M.Hilo]

Many things have an influence on the contrast, but to be honest I feel it is better you first get new paper and chemicals, and try again. I have the feeling you will do fine . . .

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[250swb]

Test strips are more revealing. Do a test strip, develop it fully, choose the correct exposure time from the test strip (it should be somewhere in the middle, so balance your aperture and exposure time), and if the print is low contrast go to a higher contrast grade of paper, and then.....do another test strip.

 

But without any attempt at doing it properly you have no hope in hell of getting it right except by accident, which is frustrating (for you and everybody else) and expensive (for you).

 

Steve

Edited July 22, 2013 by 250swb

[Jeff S]

... but my question is, what determines contrast in prints?

 

This can be affected at numerous points along the chain, from subject, to camera exposure, to chemicals, to processing techniques (both negative and print), to papers, and so on.

 

Maybe a refresher in some of the basics is in order, but beyond that, I agree with Steve regarding the importance of isolating and controlling each variable. Without 'one foot on the rock,' so to speak, you'll drive yourself nuts.

 

Jeff

[Broadside]

B&W contrast (in the printing stage) is contolled by paper grade. These run from grade 0 (very low contrast) to grade 5 (high contrast)

In pre-multigrade days paper came in graded boxes so you needed to stock various grades of paper. Multigrade paper contrast is controlled by filters on the enlarger, different filters providing different grades of contrast, using one box of paper

Fresh paper and chemicals will work wonders.

[JeTexas]

Ok, picked up fresh paper and real chemicals yesterday. Unfortunately I had to order the 120V 75watt bulb for the Omega enlarger, so I guess I've got a few days to shoot more film before I try printing again.

[Jeff S]

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... so I guess I've got a few days to shoot more film before I try printing again.

 

Or time to run some film speed tests, to get the first foot on the rock.

 

Jeff

[Hugh 38]

Now you have some resh paper and chemicals you have ruled out two items which could be wrong.

As mentioned some paper is graed and some is multigrae . I use Ilford Multigrade and change the contrast by altering the magenta ( Harder ) or yellow ( softer) filters as I have a colour head on my V35.

 

If you are using multigrade I would recomend using white light to start before you change filtrations.

Do some test stips with different times . I use cereal boxes and cut them up to make masks etc .

Keep things really simple to start with . I had not done any printing for about 2 years so went back to basics to remind myself how it all works.

[tobey bilek]

Haste makes waste. Start fresh.

 

Contrast of film is from time in developer, more time =more contrast.

 

Contrast of paper is filter # or contrast grade. A little by time and you can split developer into low and high contrast baths. Use low first, then go to high.

 

Buy stock regular photo chems and quit experimenting until you get the basics down.

[dant]

OP...

 

I try to go for pure black to pure white. But sometimes whites look better with a touch of grain in them. Other times you have to go with paper white if the white is your light source. Just depends on the image. Just depends on your final use too. Reproduction files may be different than viewing file.

 

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I prefer darker, higher contrast photos myself. Some pure paper white keeps them balanced.

 

Photography of Daniel D.Teoli Jr. : Photo

 

Some of my photos lose shadow / black detail which is fine with me. I am not looking for a commercial catalog image. I'm looking for an image I like.

 

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Dodging and burning can make or break an image.

 

(nsfw)

 

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Good luck!