HOW TO MAKE A CONTACT SHEET - 35mm FILM PHOTOGRAPHY
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- Опубликовано: 11 окт 2024
- Video Description
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I thought I would make this video after a few subs requested it.
I hope this video helps others, not only from it's content but also from the comments section from other printers.
Probably one of the most overlooked parts of printing in the darkroom is the Contact Sheet. Done correctly it can tell you a lot about your exposures and developing. Also, it is a good way to reference and file your negatives as well as showing your clients.
This is the way I make a contact sheet. I don't always make one, but when I do, this is how I was taught.
I am not saying this is correct. I am simply showing what I do which has been the most proven way within my printing.
I welcome comments on this for others to see other printers views.
This is what my channel is about. Learning and advancing your photography and darkroom skills.
Thanks for watching! (P.S. f.5.6)
George Turner -
www.ourcity.lon...
About my videos
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If my videos inspire, create ideas and help others in film photography and darkroom work then it's worth making them.
I always welcome comments that are useful towards the video subject that will help others understand the process within.
Keep shooting and thanks for watching.
MY SOCIAL LINKS
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WEBSITE: www.rogerlowe....
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Haven't made a contact sheet in years..... great to see some are still doing it.
“Matching blacks” - I can remember that. Thanks for you superb videos. You’re a great teacher.
Thanks Larry
Solid technique here. I think it's worth noting, that if you shoot the same film and develop it the same way, the exposure for the contact sheet would be the same. By being systematic, you can then judge how accurate your exposure was by the contact sheets. Great video!
What a superb video! I found this massively helpful. I've never attempted test strips or contact sheets before - just found I wasted about half a dozen sheets of paper before eventually getting what I wanted! From now on, I'm going to do this. The "matching sprocket holes to black" was a really useful tip. I will remember that. Thank you. Do keep up with these videos. I found your channel this evening and have watched 4 back to back! Fantastic.
Thanks Ted. Contact prints, for me at least, show my proper exposure and also a reference for printing. By determining the max black in the test I can see how well i exposed my photos. Sometimes though I'm not so fussy and just want a reference to see what I've got.
I've been divving about in the darkroom on and off for a few years now, but I have to say anytime I decide I need some more info on a subject, such as contact prints and a recent DMAX print, its your channel I come to. And even then I've only just watched this video because I've never wanted contact prints til now. Excellent work mate, thank you so much
Cheers.. I just noticed your comment. 👍
Massive thanks for this - I had never heard of the "expose for maximum black" trick. My darkroom tutor told me years ago "set the exposure based on the images" - the problem with that is, your reference for "thin" becomes "thin, relative to the negative used to set the exposure".
What you're doing with "expose for peak black" is making the Dmin of the film equal to the Dmax of the paper (because most papers are negative, full exposure to white light = black). Your range of tones (contrast) will depend on the grade, but if you filter for grade 2 (i.e. no filter for Ilford Multigrade IV) then you can use the contact sheet as a printing reference for both contrast and time.
I'd add in - give all your filmstrips some kind of reference number (I use XX-year-month-number where XX=two letters for film "class", e.g. b&w neg) and record that on the neg sleeves and contact sheets. I'd be tempted to record the contact sheet exposure time, enlarger lens and enlarger height above baseboard too.
Making proof contact sheet is very underestimated. I think it's really important in order to see if the developement procedure went as one expected. Moreover it helps to understand the grade of the paper (or equivalentely of the filter) to use and this avoids waste of papers in test strips.
Great advices, i do the same. I just want to add one more info about the glass used: it shouldn't be a thin one or, better, a anti newton ring one.
Thanks Gianni, so you say picture frame (3mm) glass is too thin?
it's ok. If you dont have any newton rings and sheet is flat under the enlarger it's ok ;)
This was a great video. Very similar to my method of mine twenty odd years ago. Just getting back into black and white printing, and found this a fabulous refresher. Thanks for the video.
Glad it helped refresh!
This is super interesting always wanted to print contact sheets.
love the process of looking trough contact sheets but never did it myself
I don't do it as often as I should but it's good practice to do
Great video! Just getting started on darkroom stuff and found this super helpful. Thanks!
Glad I could help!
I make contact sheets with a Paterson Contact Maker. I do it much as anything to see the images that didn’t work saving making a full size print. I think they are really informative and they carry a wealth of information. Great video and you are one subscriber away from a thousand as I write this, I’ve only recently joined your channel but the 1K is well deserved.
Thanks for your support Mark! I don't make contacts as much as I should! I think if you make it part of your development process (or before you make your first print from the developed negs) it's good practice. Had some good comments on the subject also.
These videos are an amazing education, going through all of them! Thanks
Thanks Socrates
Good refresher👍👍nice1
Great explanation of this process. Dipping my toes into printing my negs and can see the benefit of making the contact sheets already. I assume you could use the 12 second time, in your set of negs, as the base figure to adjust each single negative with less or more time if needed. I must remember to log what I do on the back of each sheet. I wish you well and thank you for sharing.
All those times were just for a contact sheet. Any enlargements for separate negatives will have to start from tests all over again.
Great video thanks- starting to develop prints during Coronavirus lockdown so really helpful ;-)
Have fun
Thank you! It was really helpful!
Correct me if i am mistaken, but according to Ilford's video, "making a basic contact sheet", the photographic paper should be placed, glossy side up not emulsion side up. Always practiced that this way and ofc got results
There is only one side to the paper that reacts to light which is the emulsion side. The side that holds the light sensitive silver halides. Glossy is just the paper type it's coated on. If you place the paper emulsion side down (which would be the glossy side) you would be printing on the back of the paper, which would result in no print. If you was using Matt paper then you would be Matt side up, still it's the emulsion side. Hope that helps.
@@ShootFilmLikeaBoss Oh now i get it, thanks alot for the clarification
@@ShootFilmLikeaBoss I'm guessing the original poster was confused that a negative's emulsion is opposite side of the glossy side of the film, yet the glossy paper will have the emulsion on the same side.
Been watching many of your videos for the past few weeks as I am getting back into analog photography (even made the leap into medium format with a Bronica Sq-ai) and I've learned a lot, thank you! I was wondering if you use any contrast filters while making contact sheets?
No filters used Lauke, but looking at the comments here I may try a no2 next time! Enjoy your MF camera!
Very informative video. Just a thought, would it make sense to shoot one blank shot half way through the roll and you that to achieve your maximum black?
You mean Shooting an unexposed frame in the middle of the roll? would be no different to the unexposed end of the film or the edges. You'll still get the same density of the film base/fog after developing.
Woha, i love your videos (so interesting, detailed and super helpful) and above all your art.
i also bought a m605BW thanks to your great shot!
keep up, man
and thanks for everything!
Glad you like them!
Hi, great video. Is the glass you use special anti newton ring glass or glass from a picture frame? I'm hoping to get in my darkroom for the 1st time this month. Your videos are really helping me. Cheers, Jon
Thanks Jon. Just photo frame glass. Glad my vids are helping.
Great video and following it as I have a go at doing a contact sheet for the first time.
I don't know why but the images on my test strip appear unfocused although the negatives I'm using look sharp. I am focusing the light from my enlarger as you demonstrate and the light covers the negative strip adequately. Any pointers as to what I am doing wrong? Any helpful tips would be gratefully received!
Hmmm. Not sure. If your negatives are flat under glass and emulsion side down they should print as they look on the film. Is your glass clean?
Thanks for this video! I just started making contact sheets and this is helping a lot.
Question about contrast filters: do people usually make contacts with or without contrast filters?
Also, do you use the same exposure time for all of your contacts? Or do you switch it up depending on the negatives? Maximum black should be the same across different rolls of film, right?
Thanks Mark. I always set my head to that height. My exposure time would change (shorter) if I lowered the head. So same height and I make my test strip. Usually 10-12 seconds I find on average. I don't use contrast filters on my contacts with multigrade paper. Something I may try next time! Hope the video has helped. Keep reading the comments for other people's views.
Roger , do you have any issues using tap water to develop prints?Just asking as reading Ansel Adams' book, "The Negative" he suggests that due to impurities in domestic water ( hard / soft water) distilled water should be used, something that I had not thought about before, but like you I live in Southern England where water is hard as a tank, and being alkaline wondered if this has an adverse effect on the chemicals as the stop bath is citric acid (potentially neutralised by the chalk in the water)
I've never had any issues here Malcolm. Distilled is hard to find in stores. You can get de ionised water from supermarkets which I've used with no problems either.
I love this! Where can you buy or create the glass that is laid over the negative strips?
It's just the glass you would get in a picture frame Alex
bravo
Great video, thank you for uploading this helpful tips!
P.s: printing this sheets, did u use multigrade filters?
No. I used no filters. Thanks for the kind words MrFredy
Shoot Film Like a Boss il I have an expired ilford fp4 125 iso (expired in 80s), at which Iso should I shoot it?
Crikey that'll be interesting to see! I've never shot expired film past a year old! I know film becomes less sensitive as years go by and I once read to stop down one stop every ten years! So 400 speed after ten years rate at 200 speed. So in that case your 125 would be, what, 10 asa or so? I don't know, It's just what I read so I'd say Do a bit of research on expired film and then shoot it. I might hunt for a film that old and try it out!
Shoot Film Like a Boss the old man who sold me his durst m301 also gave this little metal box containing 17 meters of this ilford which I have to load in an empty roll. I'm very excited to try it but at the same time worried of wasting it. During the 17 meters of it I hope I learn how to expose it correctly ahaha by the way thanks for the tips, then I'll go with 10 iso!
Nice find. Just make sure you load it in total darkness! I would take half a meter sections. Load 3 rolls and shoot them at 50, 25 and 10. Shoot the same scene over all three then Develop each roll normally and see your result. That way you've only wasted (tested) 1.5m and have 15.5 left to shoot at your preferred speed.
Thank you for the very informative and precise video. A quick question: I am about to setup a small darkroom to do contact prints, instead of scanning my negatives one by one (time consuming and no fun). I hence won't need an enlarger. Do you think that a simple ikea bulb (between 500 1000lumens) placed 1-2m above can do the trick? or is it too strong?
Hi Jonathan, I've never tried but yes I can imagine it will work. Just make the tests first.
Great video. I followed one of yours in making my first print!
Is it just a plain piece of glass you use? Cheers
Yes, it is
FP4 is a beautiful film to use cheers mate good info do u use a 75watt globe in your enlarger
I do. I also have a 100w as a spare .
handy to buy spares with a condenser head It cost me quite a bit to get a 12v 100w halogen down light globe as my agfa c66 needs a good reflector bulb but I generally change my bulbs wattage's around depending what size paper im using print on buddy
Yeah I put my 100w in when I print 24inch.
If I want to make several contact sheets in one go ie a few rolls of film, do I need to do a test strip for each roll?
For more accurate results yes. The density of the clear part of the film will vary from one type of film to another also will vary from your development process. Although it's hard to see with your eye.
Shoot Film Like a Boss thank you. I'm excited, I just bought an enlarger so first thing I'll do is contact sheets for the rolls I have in sleeves. Good learning project.
Can you use that piece of glass to scan negatives with a dslr? Is it acrylic or glass
It's just glass from a photo frame. I'm sure you can do as long as you've no reflections from other light spilling over it
Very informative. Just a quick question how much would it cost to set up a darkroom.
You can easily source equipment online/locally and set up for under $100
Is there a contrast filter used ?
what camera do you use to record videos in the darkroom under red light? any recommendations for a cheap camera that will do?
I used a DSLR in this video. But more recently I have been using my phone and a go pro on auto exposure under the red light. Seems to work well.
Hello Sir. Sir, I have got a school project on Chemistry in Black and White photography, and I know nothing about it. Can you please please help me in the "OPTIMUM CONDITIONS TO DEVELOP A CONTACT PRINT" ?! I know we don't know each other, but I am really facing a big problem, can you please help ?
Of course, Email me roglowe147@gmail.com
@@ShootFilmLikeaBoss thank you so so much Sir 😭🙏
@@ShootFilmLikeaBoss Sir I have mailed you.
Nothing to do with contact prints, I notice you have mounted your Tim timer on the wall, why and how? Enjoying the videos, thanks for making them.
Space saving. Used plastic fixing mounts. Thanks for the kind words Stephen.
Why do you cut negatives in four frames strips? If you cut it six frames per strips you will utilize full wide of archive sheets and you will only need one sheet for a full 36 exposures roll.
It was a 24 exposure roll
i was always told to never use multigrade paper without contrast filters. true or false ?
Vico Deste false. It can help starting with a grade 2 if you plan to use filters so you can get the appropriate times when making a test strip to switch to other filters. But ultimately the less between your lens and paper the better; if you've got a filter tray above your lens somewhere, or using a color head to change contrast then it won't matter either way.
I believe multigrade paper has a natural unfiltered grade of 2,
Explains why my filters set was missing No2 when I got it from eBay!
Your exposure time will change if for argument you used no filter for grade 2 then decided to make a print at two and a half, that's why there is a grade 2 filter in the set, to maintain constant (more or less) exposure time across all usual grades, grade 4 through 5 according to Ilford need longer exposure times.
There's an Ilford application note called "Contrast Control with Multigrade Papers" which covers the exposure time shift.
Basically - with the Ilford MG filters - anything Grade 4 or above needs the exposure time to be doubled (they're balanced/equalised for this).
If you're using a colour filter head, you need to do a new test strip whenever you change the filtration setting (grade). After you've done a few, you can take your notes from those test strips and calculate the exposure factor based on the filtration. So keep good records - it'll save you time in the long run!
What difference does the focus of the enlarger make in this case?
Probably very little, other than exposure time. It might affect how sharp the negatives print if they aren't perfectly flat on the paper.
What camera did you use to shoot this pics?
That would have been a Pentax Spotmatic camera with a standard Pentax 50mm Takumar lens.
@@ShootFilmLikeaBoss I appreciate your taking the time to answer my question.👍
which aperture do you use?
Usually 2 stops from wide open. Depends if I need to work on the print and need more time I'll close it down more
So your lens is all open when making a contact sheet say 2.8 not 5.6 or 8??
It was at f5.6. doesn't matter what aperture you're set at. F2.8 you'll just get shorter times. Most important is the test prior to making your final contact sheet.
Why not make your contact sheet with a #2 filter?
Do you find that works best for MG papers?
Just the way I've always done it since it's the "standard" grade. I honestly don't know how the contrast of white light compares to different contrast grades
Interesting. when I got my filters yonks ago the grade 2 was missing! Was it the most used? I'll order a new set and give it a go! Thanks for your input mate.
I'll give it a try too! Next time I make contact sheets I'll do one with a #2 and with white light and see how they compare
Just discovered your channel this week & it's such a great help for someone as inexperienced at printing & developing as myself