Re: [Leica] Split printing

[Mark Rabiner <mrabiner@concentric.net>]

leica@olemiss.edu wrote:
> 
> Dear Mark Rabiner,
> 
>      I don't know where your anger comes from but, the confusion about
> this myth stems from logical thinking:-). In the multigrade paper, there
> are two emulsion components (they are mixed rather than being in actual
> layers). They are both of the same contrast. One is sensitive to blue
> light only, the other is sensitized to both blue and green. There is
> also a differential in sensitivity, the green component being about
> twice as sensitive as the blue one.
>      Low contrast images are obtained by exposing one component less
> than the other, high contrast by exposing both components.  As you know,
>  the filters normally used for VC printing are minus-color filters so
> that the visual brightness of the image on the paper will remain high.
>      There is no difference between exposing the emulsion through a
> single filter or through two selective filters
>      I don't mean to say that the technique is not useful. Simply that
> it can not change the curve shape of the paper, which is implied by some users.
>      But, if you are happy with your prints, that's all that matters. I
> have been discussing  this topic off-the-list with several members such
> as Joe and Ian, in a civilized manner. You are welcome to join us. With
> your  34 years of experience and my 40 years of
> shooting/printing/teaching,  may be we can learn to to see eye to eye.
> 
> Cheers,
> K. Turk

You are right in stating that the same contrast is obtainable with
either consecutive or combined filtration and although that might have
been your main point which I misinterpreted you also implied there would
be no advantage to the consecutive and stated no direct experience to
back that up. I got as hot as I got because it was as if you were
stating the direct experience of myself and others was illusionary and
we were spinning our wheels to our own detriment. I would have gotten i
imagine less hot if I realized you were really saying that we were just
spinning our wheels not to our detriment, but just to our own expense.
(waisting our time)
In printing with combined filtration the tendency is to guess high with
contrast and dodge and burn like crazy to make up for it. To change your
mind with contrast usually means starting from scratch and looseing the
density points that you've arrived at.
With split or consecutive filtration printing you go progressively and
linearly to a point where both your blacks and whites are where you want
them. Often with less or no dodging and burning. When you dodge, often
with your second exposure which is your green light used for the lighter
areas you are also increesing contrast to that area because that area is
getting a lower ration of green over blue... and that is the area that
needs it. With traditional printing you are limited for instance in how
much you dodge a face before it washes out. In split printing you are
almost always going to retain your blacks because you have established
them with your blue exposure beforehand (or conceivably afterhand for
those who work green to blue instead of the more obvious to me; blue to
green). When you burn in the sky with the green you are lowering the
contrast which is what that denser more contrastier area needs, not the
opposite especially in black and whtie where grainy skies are
objectionable, lowering the contrast lowers the grain but most
importantly gives you the highlight detail you are going for.(clouds)
So the point is not the curve but how you get there, and then what you
do when you get there.
Clear as mud? If you come to Portland I'll show you my darkroom.
Mark Rabiner