One of the simplest means of controlling tone in the photograph is the selection of the paper contrast. Tonal differences can either be exaggerated or repressed. Selection of appropriate paper contrast can create an image that has a gentle sweep of tones, the shades of grey delicately distinguished one from another, or it can virtually eliminate gradations in shade, leaving an image with only blacks and whites.

High Contrast paper, by increasing the difference between tones eliminates the subtle variations in tone, there are fewer variations visible, fewer can be recognised. In the process the loss of variations emphasises extremes of tone. One of the problems with contrasty paper is that whole areas of information can drop out in the white areas or merge in the blacks. It is like listening to music but being able to hear only the high notes and the low ones with the various mid range notes pushed to either end of the spectrum. Higher contrast paper might be selected to add sparkle to a print that has been shot in dull light, or one that has been under exposed or underdeveloped

Conversely, low contrast paper can reproduce more tonal variations that exist in the negative, increasing the number of distinct shades. It can be used to bring out detail in shadows or highlights that might only be visible only after much dodging and burning in. Low contrast paper does not eliminate extreme tones if they exist in the negative, but lowers the tonal difference between them. One of the problems with lower grade papers is that they may produce neither a rich black or a white with all the tones represented in the mid range. This can block up areas of the print in a different way and make the image look flat. lower contrast paper might be use to soften a print where the negative has extremes of shadow highlight information that needs to be revealed, or to lower the contrast of an over exposed or developed neg.

Grades of Paper: In terms of contrast grades, like RC paper, fibre based paper comes in two types graded, and multi-contrast, or multi-grade. The term "grade" refers to the contrast of the paper, lower grades like 1 or 2, produce prints with a lower contrast while higher contrasts like 3 or 4 produce prints with a higher contrast. This allows the photographer to select a paper grade to suit the contrast of the negative, and or the way they intend the mood of the final print to look.

Corrective Printing: By selecting a suitable grade of paper a photographer can correct the contrast of the negative in the print. Generally, thin, under exposed or under developed negatives lack density and contrast and by selecting a higher grade of paper pints of acceptable quality may be produced. Also for denser negatives using a lower grade of paper can lower the contrast to produce an acceptable print.

Interpretative Printing: However, a photographer may want print the image in an interpretative manner where the image has a great contrast difference or a low contrast and select a suitable paper to achieve this. Higher grades of paper produce apparently sharper prints but are also more likely to show up any defects like dust, scratches and hair marks.

Graded paper: Graded paper comes in packets where all the sheets are of a specific grade. For instance Grade 3 paper would contain only sheets of this grade. With this type of paper, it might mean that a photographer has to have 3 or 4 grades of paper on hand to achieve the tonal quality of image they require. Despite this disadvantage, some photographers prefer graded paper arguing the paper produces a richer print, with greater depth in the denser areas. There is also some evidence to suggest that graded paper produces a greater colour change when toned in selenium, particularly in the higher grades.

Link to types of paper

Muliti-grade or Multi-contrast Paper: This type of paper has all the contrast grades built into the one paper and the change of contrast is achieved through inserting appropriate colour filters in the light source. There are certain advantages of this type of paper, and the obvious one is that the photographer need only stock one packet or box of paper, and yet have to potential of a range of grades. Also the range of grades is extended with filters that allow half grades, where with graded paper this could only be achieved through altering the concentration or type of developer. Most such papers are coated with two emulsion layers. One sensitive to yellow-green light yields low contrast: the other, sensitive to blue violet light produces high contrast. The degree of contrast is varied simply by using the appropriate coloured filter to block the light from the emulsion layer that is not intended to be exposed while letting through light that will effect the other.

By selecting the right filter, which generally run from grade 00 in half grade step up to 5 or 6 in half grades, the photographer can produce a print with the desired tone. It is also possible to print sections of the one print at various grades by dodging various areas of the print while using different filters. This can add contrast in one area while softening another.

While multigrade filters offer an easy means of controlling variations of tone, some photographer prefer to use a graded paper. Because this paper only has the one emulsion layer it tends to react more predictably to variations in developer and toning situations.
 
 

By using a technique called Split Contrast Printing, this type of paper also allows the photographer to print selective areas of a print on different grades. Here an area is dodged using one grade and then selectively burnt in using another.

an example of a photograph printed on from left grade 1 to grade 5 on right From habit, many photographers use only one grade of paper, but it is a valuable experiment to print the same photograph on a range of grades to gain an insight into the difference and be able to make an educated choice of paper grrade for a particular image. Click Click