The Photo Darkroom: Considering an Effective Enlargement Size

A negative can be printed in any number of ways: you can make contact (same size) prints, or reduce or enlarge as you see fit. How big, or small you make a print depends upon a number of factors, including negative sharpness, subject matter, and the end use of the print itself. Also, you're not limited to the original proportions of the negative in the printed image: although you start out with a rectangular or square format you can crop as you see fit and change a horizontal to a vertical, or turn a 4x5 negative into a 4x10 composition.

The first step is to determine just how much enlargement a given negative can take. Place your selected negative in the carrier and bring the enlarger up to the desired height. Check image sharpness--if the image becomes unsharp, lower the enlarger height until it becomes sharper. The next step is to consider grain. Naturally, the bigger the enlargement, the more the appearance of grain. If you have a fairly grainy rendition at 8x10 you can bet that the grain will really pop as you go bigger. It may be hard to see grain by eyeballing it on the easel: a better path is to use a reflecting magnifier placed on the easel to get a better look. Personally, I don't find grain objectionable, but if you do it will certainly become a major factor in determining enlargement size. Grain can be deemphasized somewhat by printing on a lower contrast grade paper or using a diffusion enlarger head (as opposed to a condenser head, which tends to enhance contrast, thus grain).

This crop was made from a medium format negative (2&1/4" square) to yield an 8x20" print. Making larger size prints from medium format or large format negatives pose less of a  problem when it comes to sharpness and grain. This "panorama" crop best served the image.

The main consideration in enlargement size should be the subject of the picture itself. In some cases, the power of the image will overcome any of these considerations. Generally, some images lend themselves to big prints; others call for a more intimate approach. This is a personal matter. However, don't think that a picture has to be big in order to have impact. If you find that you always need to make big prints to make a big impression you should rethink your subject matter and question your motivation. An image should stand on its own, regardless of size. All a big print does is make the viewer stand back a bit more to study it. If it's a solid image it will make it even in 5x7 size. As to size and price, as one sage photographer told me, “Pictures are not pork chops and should not be sold by the pound.”

If you're printing for a gallery show let your subject matter be your guide. Too many people feel they have to go really big for a show, but it just isn't necessary. I've seen very effective and beautiful 5x7 prints hung for a show: the more intimate presentation can work wonders. Then again, 16x20 prints can be real knockouts. All I can say is do what's comfortable and fitting.

Of course, the negative size from which you're printing will have an important effect on how large the print can be made. Making a 16x20-inch print from a 4x5 negative requires much less enlargement than does the same size print from a 35mm negative, which translates to higher sharpness and less grain. In general, you'll be hard pressed to match print quality between 35mm and large format negatives, especially if both are shot of the same scene. Of course, both formats have their purpose.

Last but not least, film speed and quality have an effect on how big you can go and still have an effective print. Some films are simply sharper and finer-grained than others. And, how you expose and develop the negative will also have a profound influence on enlargement quality. A poorly handled negative will never yield anything approaching one that's been well exposed and processed.