filter, perhaps a #1, in the enlarger’s filter drawer; if it has too little
contrast, use a high-contrast filter, such as a #3. Or, dial in the desired contrast
if you are using a variable-contrast enlarging head. With graded papers, the
lowest contrast is usually a #1 or #2 and the highest is #3 or #4.
4. Make a new print, using the same exposure. Sometimes you can tell from the
test strip whether you like the contrast of the new print. If the contrast
seems too low or too high, don’t bother to make a new print; simply choose
a higher- or lower-numbered contrast and make a new test strip.
5. Examine the new print for both density and contrast. In general, shadow areas
on most prints should be dark, but still retain some detail or texture; they
should not become solid black. Most light areas should be bright, but still
show detail; they should not become solid white.
6. Adjust the exposure time if the print is still too dark or too light, and/or replace
the variable-contrast filter or graded paper if the print is still too low or too
high in contrast. It is very common to have to go back and forth a few times,
adjusting exposure and contrast, until you get the results you want.
Some variable-contrast filters hold light back to varying degrees, so you
may need to adjust exposure after changing filters. How much depends on
the filter you use; magenta or reddish-orange (high-contrast) filters require
more exposure than yellow (low-contrast) filters. If you use graded papers,
you also may have to make exposure changes as you change contrast grades.
Like good print density, good print contrast is somewhat subjective. Some
photographers like their prints with a hard (high-contrast) edge; others like a
soft (low-contrast) look. Also, different kinds of pictures might benefit from different
treatment—for example, you may like your landscapes high in contrast
and your portraits softer.
Here are some other things to keep in mind about print contrast:
• Print contrast is in large part determined before you even begin printing—
when you take the picture and develop the film. Such factors as subject lighting,
choice of film, film exposure, and film development all contribute to the
negative contrast, which goes a long way toward determining print contrast.
• The effect produced by variable-contrast filters and graded papers is relative.
Using a #5 filter with variable-contrast papers does not necessarily produce a
high-contrast print. It only produces a higher-contrast print from the same
negative than a #4, #1, or any other filter with a lower number than #5
would. If your negative lacks contrast, you will need a high-contrast filter or
paper grade to produce a print of normal contrast. If your negative has
inherently high contrast, you will need a low-contrast filter or paper grade
for a normal-contrast print. Print contrast also is affected by the print size. Enlarging an image reduces
print contrast. So if you make a good 8" x 10" print with a #2 filter, you may
need a #21⁄2 or #3 filter (or so) if you make a 16" x 20" print from the same
negative.
• You will get somewhat different results depending on the brand and type of
filters and papers you use. A print made with a Kodak #4 filter and Agfa
variable-contrast paper may have more or less contrast than a print made
from the same negative, using paper and filters from the same manufacturer.
The brand of filter also may make a difference. And a #3-graded Kodak paper
won’t necessarily produce the exact same level of contrast as a #3-graded
Agfa paper.
• Other factors, such as changes in the type of print developer or its dilution,
temperature, or development time, also affect print contrast—although such
differences are usually fairly subtle. For instance, some types of developers
are formulated to produce prints with more or less contrast than others.
Part VII: Burning-in and Dodging
A print may have good overall density and contrast, but still have areas that are
either too bright or too dark. Burning-in is a technique used to darken a specific
area of a print by selectively adding exposure. Dodging is a technique to lighten
a specific area of a print by selectively holding back exposure. Most prints require
some burning-in and/or dodging for best results.
Burning-in and dodging are critical fine-tuning steps—often making the difference
between an adequate print and an excellent one. With some prints, you
only have to burn-in or dodge one area to produce a satisfactory print. But be
patient: it’s not uncommon to have to burn-in and dodge multiple areas.
Burning-in. To understand burning-in, imagine a well-exposed print made at
f/11 at 10 seconds with a #3 filter. Once developed, the print may show good
overall density and contrast, yet have an upper left corner that is too light. You
can make that corner darker without affecting the overall brightness of the rest
of the print by making another print with the same settings, then adding extra
exposure only to the area that needs darkening.
Follow these instructions to burn-in an area of a print:
1. Place a fresh sheet of printing paper in the easel, and expose it for the time
needed to produce a good print—in the above example, f/11 at 10 seconds
(with a #3 filter).
2. After the paper has been exposed, hold a piece of cardboard or other opaque
mask just under the lens. Examples of other masks include a book, a notebook,
your hand, or a commercially made burning-in tool; do not use a piece
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