When I meet a stranger and make a portrait we will generally share contacts and socials and I’ll offer to email the images over once developed and scanned. Since building my darkroom I’ve started making prints from the negatives and posting a print as a thank you.
This photo, from a set of portraits I made of Liam, has some intricate shadow details I wanted to retain but at the risk of blowing out some of the highlights. I tend to aim for a flatter, low-contrast print and bring in some contrast with a split grade adding in some blacks. It’s easy to lose detail in the shadows but I’ve more control by starting with a flatter contrast and adding some black where necessary.
8” x 10” Silver gelatin print on Ilford Multigrade V RC Glossy
Thanks for reading my latest letter. You can see more of the shots from the meeting with Liam on my website.
Hey Ed. It doesn’t really matter which order you expose each filter. I go for the flatter, low contrast print because I prefer it and add in the blacks when needed. I don’t always use a split grade. Maybe a little to do with how I was taught too. My exposure times are short because my bulb is probably too strong, even with the lens stopped down😎
Interesting. When split-grading I tend to go the opposite way and do the higher contrast grade first and add in highlight detail with the lower grade second. That's the way the former darkroom print technician at Kiln Photo has taught me. Your times are also much shorter than mine, though they may not be your final print settings. I tend to settle on having the bulb on for 10" or more to allow some time for control when dodging and burning. Just interested in your method and how you've come to it - would you be able to elaborate a bit more?