OK Feeb, here goes....what are you struggling with?
A few basics are covered below.
Assuming you have some decent negatives, you ought to be able to get a good print without too much bother. The key is to make decent test strips. If you can use an f-stop timer like one from RH designs, then this is a piece of cake. If not, don't worry..
First of all, assuming you are using variable contrast paper, set the enlarger to print at grade 2. Any well exposed, properly developed neg should print well at grade 2 - 21/2.
When you make your test strip, choose an area that has the highlights where you want hints of detail. When you have established the highlight exposure, make a work print. The print should have good highlights, and a full range of tones going to maximum black (assuming it's an "average" scene).
If the print seems 'muddy' with poor shadow and mid-tones, increase the grade to grade 3 and make another test strip, from the same area as the previous one.. Be warned that the paper exposure will change as the speed of the paper increases as the grade increases.
If the print seems too contrasty with the shadows and mid-tones blocked up, the reduce the grade to grade 1. Note that the print exposure will probably be longer.
Make another work print, again basing the exposure on the highlights.
On the subject of paper development: make sure the paper developer is at the correct temperature and that you develop the print and any test strips for the full development time.
DO NOT BE TEMPTED TO SNATCH THE PRINT OUT OF THE DEVELOPER EARLY AS THEY ALWAYS LOOK DARK UNDER A SAFELIGHT!!
As a session goes on, you may need to increase development (using a technique called 'factorial development') to get consistent results.
When examining test strips, make sure they are dry. The highlights will darken as the paper dries - a phenomenon called dry-down. I have a hair dryer in my darkroom for drying small prints and test strips. Though this is only any good for resin-coated paper, which I assume you will be using.
The key to fine printing with variable contrast papers is to expose for the highlights and vary the paper grade to get the shadow and mid-tones.
Other things:
1. Be methodical
2. Be consistent. Make sure all test strips and prints get the same development.
3. Make notes as you go along. Record enlarger height, aperture, easel settings, paper grade settings, exposure time, paper developer, developer time/temperature. These notes are invaluable for printing sessions that may last more than 1 day/evening or when you get a print you are happy with, you can reproduce the print without having to go through the rigmarole of making new test strips.
Moreover, if you make larger prints, you have the basis for calculating the new print exposure time.
4. Don't rush
5. Make sure your chemicals are fresh and at the correct temperature.
6. Don't be frightened to make decent sized test strips. I knew someone who used to use pieces of paper not much bigger than a couple of inches square. This is a false economy. I usually use half a sheet of 10x8 per test strip.
7. If you change papers, then you will need to make new test strips. The contrast and speeds of papers vary by a huge amount. For example, there is a 1 stop difference between Ilford MGIV and MGIV warm tone, with the warm tone being the slower paper.
Quite a lot to take in I know, but if you follow the basics above, then I think you will see a marked improvement in your prints.
Finally, on the subject of good negatives - an approach that guarantees negatives that are a dream to print is to rate HP5 plus at EI 200 then develop the film in Ilford Perceptol diluted 1+2 for 12 minutes at 24 degrees C. See
this page on my website for more details.
Hope this helps.
Good luck! Let me know how you get on.
Cheers
Mark
