Re: Over/Under Confusion

Judy Seigel (jseigel@panix.com)
Fri, 3 May 1996 19:48:20 -0400 (EDT)

On Sat, 4 May 1996, Clyde Soles wrote:
> In response to my request for suggested film/developer combos (thanks!) to make
> in-camera negatives for platinum prints, a few folks suggested overexposing and
> overdeveloping the negative. Dick Arentz however recommends (in his booklet)
> underexposing one stop and developing 1 1/2 to 2 times normal (he uses Tri-x Pro
> and D-76). He has also stated (in an interview) that he gives negs destined for
> straight palladium more development than those for platinum/palladium.
>
> I know what a good silver neg should be but I have never seen a good neg for
> platinum -- looking at a final print doesn't help much. I don't have a
> sensitometer so I'll just have to eyeball it. Though I've already bought
> supplies, I'm reluctant to even start in with printing til I've got something
> decent to work with. Hope my newbie questions aren't boring you to tears.

Clyde, You're asking an excellent question. However to answer it exactly
would be, aside from hubris, a lie. Because each paper/emulsion/developer
combination has a different profile. Not to mention your aesthetics.

You may not be able to afford a densitometer, but you can get a Stouffer
21-step for $5.50, or $2.70 each in large quantities. Get a bunch. (I
posted address info this week.) Now print this little piece of film (1/2
inch by about 6 inches) on a little piece of the paper you plan to use. Do
everything as you would for a photograph, except you need only a couple of
drops of everything, & small pieces of paper, so the cost of false steps is
negligible.

When the print of the 21-step is good and dry examine the steps. When
you've made one with nice creamy highlights and good rich darks, note the
numbers of the steps -- where the dark separation begins, where the
highlights start to disappear or veil.

That range is the range negative you want. Say rich shadow with separation
starts at #4, highlights vanish at #14, that's 10 steps. On the 21-step
in question, each step is a half a stop, so that means you want a 5 stop
negative. Match your negative to this range with the hole-punched cards
on a light table as I described a day or two ago.

Of course your particular negative doesn't have to start & end at exactly
those steps, if the *number* of steps is the same. You may also want to
experiment with contrast controls in the print and/or different papers
and/or different emulsion application techniques to modify this range.

Incidentally, once you have the "profile" of a paper/emulsion combination
on the print of a 21-step, you no longer need to do test prints --
assuming you haven't changed a variable. In other words, "read" the
negative via the 21-step through the punched holes, and adjust your
exposure time accordingly. This is actually better than a test print
under the negative because you don't know the final tone for at least a
day. Your little guide print has already aged. Besides which, sometimes a
print takes an hour or more to make -- a gum print can take a day to
soak. That's no fun.

Judy