As I delve deeper into teaching myself how to print in the darkroom, I find myself constantly scouring YouTube for videos on the subject. In trying to relay the things I've learned to you, I realized that there's a lot about printing in the darkroom that I had no clue about. In this video, Andrea Calabresi, an educator based in Italy, does a wonderful job of giving an overview of what it takes to get a good print.
From the different types of enlargers to the steps needed to control contrast in a print, there are many steps to consider that photographers who have only dealt in digital would never need to think about. In this video, Calabresi goes through the process of creating a print step by step. First he explains the parts of the enlarger, then he points out some materials needed and why. For the meat of the lesson, he goes through how to find the correct tones in a print and adjust contrast in the darkroom to bring out the tonal range you desire. The process is a bit laborious to the uninitiated, but it definitely gives you an idea of what's involved in making a silver gelatin print.
Of course, this does not represent all that can be done in the darkroom, but it will give you a blueprint that will lead you to basic, successful prints. Calabresi has a smooth, calm delivery that makes creating a print seem like the simplest task imaginable, inspiring confidence in his viewers. Take notes, then check out a local darkroom and get playing!
Great video, but I think that use an entire sheet for a test is a big waste: just place a strip of paper that cover highlights and shadows, and adjust the highlights with the exposure time, the shadows with the contrast filters; it is a lot more efficent and saves both paper and chemicals.
You're right. But while learning as a beginner I think it's sometimes worth sacrificing a whole sheet to get a better idea of the difference between increases in time/contrast. Then when you get more familiar you can use a strip.
Hello Davide,
The method you suggest will not work properly.
First it will eventually work only with condenser heads and a MG filter set, while what I suggest will work in any system.
Second and most important you assume that changing contrast and keeping the same exposure time will not affect highlights, ie that there is a very bright tone that remains unchanged, this is not true with MG papers. In fact, if you can find a tone that remains relatively unchanged that will be more a midtone than a bright one, and generally is not even so stable, and it varies with each paper.
The method you suggest worked long ago with some graded papers.
Thanks for stopping by! It's really a wonderful video for those of us starting in the darkroom. I refer to it often.
I'm a recent convert to darkroom printing, and found this video very helpful.