Developing a black-and-white print using Multigrade filters and photographic paper in a traditional darkroom involves several steps.
Exposing a photographic print in the enlarger is a fundamental step in traditional darkroom printing. The process involves projecting the image from a negative onto photosensitive paper, such as Ilford Multigrade, using an enlarger’s light source. The exposure time is a critical factor that determines the print’s overall brightness and density.
Exposure times vary widely based on several factors, including the density of the negative, the type of paper, the contrast grade, and the desired effect. Exposure times can range from a few seconds to several minutes.
Exposing a print in the enlarger is a creative and technical process in traditional darkroom printing. The use of Multigrade filters, burn and dodge techniques, and careful consideration of exposure times allows photographers to exercise artistic control over the final print’s contrast, tonal range, and visual impact. Experimentation and practice are key to mastering these techniques and achieving desired results.
Here’s a discussion of exposing prints in the enlarger, including differences when using Multigrade filters, burn and dodge techniques, and other creative considerations:
Exposing without Multigrade Filters:
When using variable contrast paper like Ilford Multigrade without filters, the exposure time is primarily determined by the density and contrast of the negative. A denser negative or one with higher contrast will typically require a longer exposure to achieve a well-balanced print.
The choice of paper grade (contrast grade) on variable contrast paper will also impact exposure. Lower grades (e.g., 00 or 0) may require longer exposure times than higher grades (e.g., 4 or 5).
In a typical workflow, you would start with an initial exposure time, often determined through test strips, and then make adjustments based on the desired print contrast and tonal range.
Using Multigrade Filters:
When using Multigrade filters, you can adjust the contrast of the print while keeping the exposure time relatively constant. Lower-grade filters (e.g., 00 or 0) reduce contrast, while higher-grade filters (e.g., 4 or 5) increase contrast.
With Multigrade filters, you can experiment with different filter combinations to achieve the desired contrast for your print without significantly changing the exposure time. This allows for precise control over the final print’s contrast and tonal range.
Exposure times when using Multigrade photographic paper
The exposure times when using Multigrade photographic paper in a darkroom can vary widely depending on several factors. Here are some key considerations that influence exposure times:
Enlarger Type and Light Source: The type of enlarger and its light source, such as an incandescent bulb or LED source, can affect exposure times. Different light sources emit different amounts and qualities of light, which can impact the required exposure time.
Enlarger Height and Focus: The height of the enlarger head and the focus of the image projected onto the paper affect the intensity of light hitting the paper. Properly adjusting the height and focus is essential for accurate exposure.
Contrast Control Filters: If you’re using contrast control filters with your Multigrade paper, the filter grade you select will influence the exposure time. Lower filter grades (e.g., 00 or 0) typically require longer exposure times, while higher grades (e.g., 4 or 5) need shorter times.
Paper Sensitivity: Different Multigrade papers may have varying sensitivities, affecting exposure times. Always consult the manufacturer’s recommendations for the specific paper you’re using.
Darkroom Conditions: The ambient conditions in your darkroom, such as temperature and humidity, can impact the paper’s sensitivity to light. These conditions may necessitate slight adjustments to exposure times.
Negative Density: The density of your negative (how much light it allows to pass through) is a crucial factor. A dense negative may require longer exposure times than a thin one.
Personal Preferences: Your artistic preferences also play a role. The desired look for your print and the creative effects you’re aiming to achieve can influence your choice of exposure time.
As a general guideline, you would typically start with a test strip to determine the correct exposure time for a particular print. Here’s how you can do that:
Test Strips:
- Set up your enlarger and negative as you would for the final print.
- Place a sheet (or a strip) of Multigrade paper under the enlarger easel. Place the strip in an area of the image that samples highlights, midtones, and shadows.
- Cover most of the paper strip with a piece of cardboard or dark paper, leaving a small section (e.g., 1 inch) exposed to the enlarger’s light.
- Expose the small section of paper for a short time, such as 5 seconds.
- Move the covering slightly to expose another section next to the first one, then expose for another 5 seconds. You will now have one section exposed for five seconds and the second section exposed for ten seconds.
- Continue this process, adding another 5 seconds for each new section, until you’ve exposed the entire sheet of paper.
- Develop the test strip as normal to give a print with exposures of 5, 10, 15, 20 and 25 seconds.
- Evaluate the different exposure times and choose the one that gives you the desired print contrast.
Repeat the process with a new strip of paper to trial different Multigrade filters so you can select the filter and exposure time to suit your desired effect. After determining the correct exposure time and filter with the test strips, you can use those for your final print.
Keep in mind that this is a starting point, and you may need to make further adjustments based on your specific darkroom setup and creative preferences. Additionally, using a timer with a stopwatch function can help you achieve precise exposure times.
Trial and error, as well as test strips, are essential tools for determining the correct exposure time for a specific image and creative intent.
Burn and Dodge Techniques:
Burn and dodge are darkroom techniques used to selectively control exposure in different areas of the print.
Burn: To darken a specific area of the print, you can block some of the light during exposure. This is often done by holding a small card or mask between the enlarger light and the paper, allowing extra exposure time to that specific area.
Dodge: To lighten a particular area, you can reduce the light exposure by shading or blocking part of the paper during exposure.
Burn and dodge techniques require careful control and practice to achieve the desired results. These techniques are especially useful when you want to emphasize or de-emphasize specific parts of the image.
Basic Darkroom Procedure
Now that we’ve discussed selecting the exposure time and Multigrade filter for your desired contrast, here is the basic procedure in the darkroom. We discuss the chemicals used, including dilution, development times, etc in more detail here.
Materials You’ll Need:
- Multigrade Photographic Paper: Make sure you have the type and size of Multigrade paper you want to use.
- Darkroom Enlarger: This is used to project the image from the negative onto the paper.
- Contrast Control Filters: Ilford Multigrade filters or similar filters to adjust the contrast.
- Enlarger Timer: For controlling the exposure time.
- Developer, Stop Bath, Fixer: Chemicals for processing the print.
- Trays: For holding and processing the chemicals.
- Safelight: A red or orange safelight for working in the darkroom.
- Thermometer: To ensure chemicals are at the correct temperature.
- Print Tongs: Use seperate tongs for each step to handle the paper and chemicals.
- Print Washer: For washing the print after fixing.
- Drying Rack: To allow the print to dry without being touched.
Steps for Developing a Print
- Prepare the Darkroom:
- Ensure the darkroom is completely dark, except for the safelight.
- Set up your materials within easy reach.
- Enlarger Setup:
- Place your negative in the enlarger’s negative carrier.
- Set the enlarger height and focus to get the desired image size and sharpness.
- Install the appropriate contrast control filter for the desired contrast grade.
- Adjust the enlarger timer for the exposure time.
- Paper Exposure:
- Load a sheet of Multigrade paper into the easel, making sure it’s flat and secure.
- Turn off the safelight and turn on the enlarger.
- Expose the paper by turning on the enlarger for the preset time. This time can vary based on your negative, paper type, and desired print density.
- Turn off the enlarger.
- Paper Development:
- In total darkness, place the exposed paper in the developer tray. No need to use tongs at this stage, as the paper has not come into contact with photo chemicals.
- Agitate the tray gently to ensure even development.
- Monitor the paper, and development time can vary (usually around 1-2 minutes) based on your developer and desired look.
- When the image appears to be properly developed, move the print to the stop bath tray to halt development using a rubber tipped tong.
- Stop Bath and Fixing:
- Agitate the paper in the stop bath for about 30 seconds.
- Transfer the print to the fixer tray using a rubber tong dedicated to this step to avoid cross-contamination of chemicals, and agitate for the recommended fixer time (usually around 2-5 minutes) until the print is no longer cloudy when viewed under safelight.
- Rinse and Wash:
- Rinse the print in a tray of clean, running water or use a print washer for about 20-30 minutes to remove fixer chemicals thoroughly.
- Drying:
- Hang the washed print on a drying rack or place it on a clean, dry surface to air dry. Be careful not to touch the wet emulsion.
- Inspect and Finalize:
- Once the print is dry, inspect it for any flaws or imperfections.
- If necessary, you can spot-tone or retouch the print using appropriate tools and chemicals in the darkroom.
Remember that the specific details may vary depending on the paper, chemicals, and equipment you are using. Always follow the manufacturer’s instructions and be patient and methodical in your darkroom work to achieve the desired results. Darkroom printing is both a skill and an art, and practice will improve your abilities over time.
Visit the Ilford store on Amazon
Related stories
What is Ilford Multigrade developer & paper
Using Ilford Multigrade developer chemicals in the darkroom
History of variable contrast paper in the darkroom
Guide to Collecting Vintage Film Cameras
Hasselblad camera ° medium format film camera
Polaroid Land cameras ° Polaroid instant camera
