[pure-silver] Re: Split printing C41

Thanks, Ralph and Richard. 

I was not referring to the Innocent Form of split printing, that involves 
burning and 
dodging. Rather, I had in mind that Cruel and Insidious Trickery detailed by 
Anshell.

What caught my eye, Ralph, was what I **thought** seemed to be your declaration 
that 
with C41, you are wasting your time trying this at all, as opposed to using it 
with silver 
halide. I thought you were referring to some emulsion difference I wasn't aware 
of, and 
meant to discount the functionality of split printing with C41. That's why I 
asked. I'd 
never heard of or experienced any such difference between the films themslves. 
The 
idea seems implausible, or at any rate irrelevant to a discussion of either 
type of split 
printing. Obviously, though, this isn't what you meant. And I thought I had 
stumbled onto 
some well-kept Secret!

Mike

On 1 Oct 2004 at 2:14, DarkroomMagic wrote:

> Michael
> 
> As Richard explained in his note, there simply is no difference
> between two split-grade exposures or one equally balanced exposure
> unless you do some local dodging during one of the split-grade
> exposures. Mixing light in one go or doing it in two separate
> exposures results into the same thing. The power of split-grade
> printing lies in the ability to dodge only during the hard or soft
> exposure, which is something you just can't do in a single-grade
> exposure.
> 
> For more info go to my site at www.darkroomagic.com and look for the
> pdf on 'Basic Split-Grade Printing' in the 'Book' section. It is a
> great technique, but there is no magic to split-grade printing.
> 
> 
> 
> 
> 
> Regards
> 
> 
> 
> Ralph W. Lambrecht
> 
> 
> 
> 
> On 9/30/04 9:17 PM, "Michael Healy" <emjayhealy@xxxxxxxxxxxxx> wrote:
> 
> > Ralph, I'm curious to know why you say this. In printing to color
> > papers, yes, split printing would seem to be pointless; but b&w
> > papers are dealing with light and dyes - blue and green dyes. By
> > split printing (using a color head enlarger, anyhow, with magenta
> > and yellow), you capitalize on this by severely narrowing the
> > spectrum of the light color so it more or less affects only one of
> > the dyes. Magenta will register the shadows, yellow will bring out
> > details.  I can't for the life of me see how film type would negate
> > this.
> > 
> > Mind you, I've only ever split printed silver gelatin and HIE. When
> > I printed w/ b&w C-41, it was prior to discovering the split method.
> > So maybe there's a distinction here that would be obvious to someone
> > who had tried?
> > 
> > Mike
> > 
> > On 30 Sep 2004 at 17:57, DarkroomMagic wrote:
> > 
> >> He is probably referring to split-grade printing, which is the
> >> combination of two separate exposures, one with a soft and the
> >> other with a hard filter. It is a very useful tool when local
> >> dodging or burning is combined with this technique. Otherwise, it
> >> is exactly the same as using a color enlarger and mixing soft and
> >> hard filtration in one exposure.
> >> 
> >> Nevertheless, it has no influence on your problem. It doesn't help
> >> or hurt in printing C41 films.
> >> 
> >> 
> >> 
> >> 
> >> 
> >> Regards
> >> 
> >> 
> >> 
> >> Ralph W. Lambrecht
> >> 
> >> 
> >> 
> >> 
> >> On 9/30/04 2:19 PM, "shannon stoney" <sstoney@xxxxxxx> wrote:
> >> 
> >>>> we always have one or two students each session who try printing
> >>>> c-41 processed b&w negatives. the times will be longer and the
> >>>> contrast can be a stuggle; however, it can be done. Someone
> >>>> suggested that split printing is very helpful with these
> >>>> negatives. I shot some stuff using a roll of Kodak's version to
> >>>> experiment with split printing to have a better understanding so
> >>>> i could better assist my students. It is still on my list to
> >>>> accomplish before the end of the year.
> >>> 
> >>> 
> >>> What is split printing?
> >>> 
> >>> --shannon
> >>> 
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> > 
> > 
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