Paper Grade Calculator
Find the right paper grade or multigrade filter for your negative. Enter your density range to get the recommended contrast grade for silver gelatin printing.
Calculate paper grade
Enter the density range of your negative and select your paper type
Highlight density minus shadow density (measured through base+fog)
Grade mapping reference
Negative density range to paper grade and Ilford Multigrade filter
| Density Range | Grade | MG Filter | Contrast |
|---|---|---|---|
| > 1.40 | 0 | 00 | Very low |
| 1.20 – 1.40 | 1 | 0 – 1 | Low |
| 1.00 – 1.20 | 2 | 2 – 2½ | Normal |
| 0.80 – 1.00 | 3 | 3 – 3½ | Above normal |
| 0.60 – 0.80 | 4 | 4 – 4½ | High |
| < 0.60 | 5 | 5 | Very high |
Zone System connection
A negative exposed and developed for Zone System N (normal development) has a density range of approximately 1.05–1.10, which maps to Grade 2. N+1 development increases the density range (requiring a softer grade), while N−1 decreases it (requiring a harder grade).
Understanding density range and paper grade
Every negative has a density range: the difference between its densest area (the brightest highlight in the original scene) and its thinnest area (the deepest shadow). This range determines how contrasty the negative is and, therefore, which paper grade will produce a full-scale print.
The goal is to match the negative's density range to the paper's exposure scale. A negative with a wide density range (lots of contrast) needs a low-grade (soft) paper to compress that range into a printable image. A thin negative with a narrow density range needs a high-grade (hard) paper to expand the tones.
Graded paper vs multigrade
- Graded paper comes in fixed contrast grades (typically 0 through 5). You buy a specific grade for a specific contrast level.
- Multigrade paper (such as Ilford Multigrade) uses a single paper with filtration to control contrast. Yellow filters (00–1) lower contrast; magenta filters (3½–5) raise it. This is more flexible and allows split-grade printing.
Practical tip
If your prints consistently lack shadow detail or have blocked-up highlights, try adjusting one half-grade at a time. Small changes in filtration make a noticeable difference in tonal separation.
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