Publisher Summary This chapter focuses on the basic controls possible in making prints from black and white films. It also looks at some chemical methods of altering the final result. Having a good negative is always an advantage, but it is the final print which people see. While it is difficult to make good prints from poor negatives it is all too easy to make poor prints from good ones if one lacks the basic skills. By practicing the printing techniques one will be able to distinguish really good print quality from the adequate, and develop skills to control the results fully. Other requirements, such as speed and economy, come with experience. Many professional photographers use printing labs for their work but have learned to print first in the darkroom so that they can understand how to advise the printer to achieve the best quality print. Most photographers make contact prints—small prints made direct from the film held flat against the paper—from all their negatives as soon as they are processed. This is a good idea as it allows you to preview all your exposures as positive prints, making it easier to pick and choose which shots to enlarge, mark up possible cropping, etc. Various controls during enlarging, variations, common print faults, toning, tinting, retouching, and permanence and archiving is also discussed.