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التصوير الفوتوغرافي الحديث
تقنيات الطباعة المتقدمة
التحكم في الاتصال بالطباعة
ADVANCED PRINTING TECHNIQUES
CONTROL IN CONTACT PRINTING
If you have studied Assignment 6 conscientiously , you now know how to make a good straightforward print . Knowing how , however , is not enough . You should be able to perform up to your knowledge , and this takes practice . You may know how to select printing paper of the correct contrast grade , but only with practice can you look at a negative as it is being projected on the enlarger easel and tell with a reasonable degree of certainty what grade of contrast that particular negative requires . Judgment in such matters comes only with practice . Again , you may know how to tell whether a print is overexposed or underexposed , overdeveloped or underdeveloped , but you may still be unable to recognize a print that is either incorrectly exposed or incorrectly developed just by looking at it . This , too , comes with practice.
Some people pick up this kind of knowledge rather quickly , and they can become passable printers in just a few printing sessions . Others are not so fortunate , and have to spend a good deal of time in the printing room before they can make acceptable prints even from good negatives . Whether you belong to the first or second category , you must practice printing until you can be sure of turning out a passable straightforward print from any reasonably good negative . When you have reached that point , and not before , you are ready to proceed with this Assignment which concerns itself with advanced printing techniques .
Following the procedure we have used in Assignment 6 , we will start our discussion first with contact printing and then go on to projection printing . We will discuss and illustrate the principle printing control procedures starting with the more simple ones at first and going on to some of the more difficult ones . It is not expected that you will , at this point , have sufficient knowledge to go through all the procedures to be covered in this Assignment , but the material will be available for you any time you are ready for it . This Assignment , like so many others in this course of study , should be read and re - read and referred to again , from time to time , as your knowledge and experience grows .
A good many photographers tend to underestimate the importance of good printing technique and never bother to do any printing control whatsoever . They take pride in stating that if the negative is perfect , it takes very little skill or knowledge to make a good print , and as top - ranking photographers it is their business to make perfect negatives . This is a decidedly wrong point of view . There are many times when conditions beyond the control of a photographer make it impossible to make a perfect negative .
For example , take a very simple case where some firm of architects wants a simple straightforward picture of one of the buildings they recently completed .. The photographer sets up his camera in a perfectly routine manner because the problem is so simple , and proceeds to take his picture . Unfortunately , just outside the range of the camera , to the left of the building he is photographing , are some other very tall buildings which cut off a good deal of light without actually casting any shadows onto the building being photographed . The result is that the left side of the picture will be noticeably darker than the right . There isn't any point in telling the architect that the picture is correct , the left side of his building is actually darker than the right . He wants it uniformly illuminated and the only way this can be done is by control in the printing process . It is your business , as a photographer , to even out such poorly balanced lighting , and if you can't do it , your customers will go to someone else who can .
We have purposely given you a very simple example of necessary printing control . There are many instances where far more complicated printing control is necessary either because the lighting was beyond the control of the photographer or simply because the customer wants to emphasize certain parts of the picture at the expense of others , or de - emphasize other areas which provide a disturbing or distracting element .
So much for generalities - now let us get down to business .
CONTROL IN CONTACT PRINTING
Printing control in the contact printer almost always comes down to interposing something between the light and the negative so that some parts of the negative print in more deeply than others . The general term for this procedure is called " dodging . " If the area in which we are concerned is to receive less light than the other , we say that it is held back ; if , on the other hand , it is to receive more light , we say it is printed - in or burned - in . While the two terms are used almost interchangeably , we usually reserve the term burning - in for a greater degree of darkening . Although dodging in the contact printer may be quite simple , it can produce a very wide range of results as we will see .
Contact printing control is possible with the simple printing frame we have used in the previous Assignment , but the commercial photographer who works in 8 x 10 is certain to have a printing box or printing machine ( such as shown in Figures 1 and 2 ) , so there isn't much point in describing techniques for dodging with a printing frame . We will , therefore , deal only with the dodging techniques . which are normally used with a standard commercial contact printer .
تقنيات الطباعة المتقدمة
التحكم في الاتصال بالطباعة
ADVANCED PRINTING TECHNIQUES
CONTROL IN CONTACT PRINTING
If you have studied Assignment 6 conscientiously , you now know how to make a good straightforward print . Knowing how , however , is not enough . You should be able to perform up to your knowledge , and this takes practice . You may know how to select printing paper of the correct contrast grade , but only with practice can you look at a negative as it is being projected on the enlarger easel and tell with a reasonable degree of certainty what grade of contrast that particular negative requires . Judgment in such matters comes only with practice . Again , you may know how to tell whether a print is overexposed or underexposed , overdeveloped or underdeveloped , but you may still be unable to recognize a print that is either incorrectly exposed or incorrectly developed just by looking at it . This , too , comes with practice.
Some people pick up this kind of knowledge rather quickly , and they can become passable printers in just a few printing sessions . Others are not so fortunate , and have to spend a good deal of time in the printing room before they can make acceptable prints even from good negatives . Whether you belong to the first or second category , you must practice printing until you can be sure of turning out a passable straightforward print from any reasonably good negative . When you have reached that point , and not before , you are ready to proceed with this Assignment which concerns itself with advanced printing techniques .
Following the procedure we have used in Assignment 6 , we will start our discussion first with contact printing and then go on to projection printing . We will discuss and illustrate the principle printing control procedures starting with the more simple ones at first and going on to some of the more difficult ones . It is not expected that you will , at this point , have sufficient knowledge to go through all the procedures to be covered in this Assignment , but the material will be available for you any time you are ready for it . This Assignment , like so many others in this course of study , should be read and re - read and referred to again , from time to time , as your knowledge and experience grows .
A good many photographers tend to underestimate the importance of good printing technique and never bother to do any printing control whatsoever . They take pride in stating that if the negative is perfect , it takes very little skill or knowledge to make a good print , and as top - ranking photographers it is their business to make perfect negatives . This is a decidedly wrong point of view . There are many times when conditions beyond the control of a photographer make it impossible to make a perfect negative .
For example , take a very simple case where some firm of architects wants a simple straightforward picture of one of the buildings they recently completed .. The photographer sets up his camera in a perfectly routine manner because the problem is so simple , and proceeds to take his picture . Unfortunately , just outside the range of the camera , to the left of the building he is photographing , are some other very tall buildings which cut off a good deal of light without actually casting any shadows onto the building being photographed . The result is that the left side of the picture will be noticeably darker than the right . There isn't any point in telling the architect that the picture is correct , the left side of his building is actually darker than the right . He wants it uniformly illuminated and the only way this can be done is by control in the printing process . It is your business , as a photographer , to even out such poorly balanced lighting , and if you can't do it , your customers will go to someone else who can .
We have purposely given you a very simple example of necessary printing control . There are many instances where far more complicated printing control is necessary either because the lighting was beyond the control of the photographer or simply because the customer wants to emphasize certain parts of the picture at the expense of others , or de - emphasize other areas which provide a disturbing or distracting element .
So much for generalities - now let us get down to business .
CONTROL IN CONTACT PRINTING
Printing control in the contact printer almost always comes down to interposing something between the light and the negative so that some parts of the negative print in more deeply than others . The general term for this procedure is called " dodging . " If the area in which we are concerned is to receive less light than the other , we say that it is held back ; if , on the other hand , it is to receive more light , we say it is printed - in or burned - in . While the two terms are used almost interchangeably , we usually reserve the term burning - in for a greater degree of darkening . Although dodging in the contact printer may be quite simple , it can produce a very wide range of results as we will see .
Contact printing control is possible with the simple printing frame we have used in the previous Assignment , but the commercial photographer who works in 8 x 10 is certain to have a printing box or printing machine ( such as shown in Figures 1 and 2 ) , so there isn't much point in describing techniques for dodging with a printing frame . We will , therefore , deal only with the dodging techniques . which are normally used with a standard commercial contact printer .
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