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تقنيات الطباعة المتقدمة
طباعة تصحيحية
المراوغة الفورية
SPOT DODGING
Area VIII . The next step is to print - in the small spots or areas within the body of the print , such as Area VIII . This procedure is called spot dodging . Since this is not a clearly defined area , it can be printed - in very easily . Use a mask with an opening about half the size of the area to be darkened ( Figure 23 ) . It will cover the exact area when held halfway between lens and paper . Move the mask up and down slightly , and at the same time give it a slight rotary motion . This will prevent the formation of sharp edges .
You can use this technique for very accurate spot printing with a little practice . The shape of the opening can be varied to conform to the areas to be printed - in . For example , if you want a D - shaped opening , hold your hand or a strip of paper over part of the circular opening . You can form a crescent by crooking your finger above the opening , or a V by holding two fingers or two strips of paper over the opening at the correct angle . You can enlarge the projected spot by moving the mask away from the paper , or reduce the size of the projected spot by moving the mask closer to the paper . If an irregular wedge - shaped area must be dodged , the mask with a circular opening can still be used . Hold the mask close to the lens while printing - in the large wedge and then lower the mask gradually as you move the projected spot of light toward the narrow end of the wedge .
For irregular areas , it is often preferable to use a very small mask opening to project a very small spot of light . Move the spot carefully over the entire area as though you were painting - in the image with light . With this procedure , the size of the spot of light must be only a fraction of the dodged area , otherwise there will be an overlap in the center , which will then print too dark . In working the spot back and forth , there is a tendency to overexpose the center . To avoid this , sweep
Figure 23 Printing - in a small area with an appropriately shaped cutout in dodging mask .
the spot crosswise first , then to and fro , then spirally , and repeat as often as is necessary to give the required exposure time .
When you dodge one side of the print , watch the opposite side to be sure you don't accidently expose it by moving the mask too far over . If the mask is as large as the print , it is easy to dodge any desired area without exposing any other part of the paper . With smaller masks , this is not always possible . To be on the safe side , use strips of cardboard to cover all but a small section of the paper around the dodging zone .
Figure 24 Hands as masking guides . Large V shaped shadow such as this may be used for printing - in cloud filled sky in mountain scene .
THE HANDS AS DODGING MASKS . Although the various dodging masks and cutouts discussed in this Assignment have their uses , none is as flexible or as versatile as your own hands . With a little practice , you can use your hands to throw shadow of almost any desired shape and dodge practically any irregular area .
Many top - ranking printers do most of their dodging with their hands . Occasionally , they might use a sheet or two of cardboard as aids . Using the hands to hold back the foreground in a mountain landscape is illustrated in Figure 24 .
Figure 25 Using card and hand as masking guides for printing - in sky areas .
This is a very useful dodging trick if you have taken mountain pictures on a vacation and found the sky too light or the foreground too dark . In such pictures , this is often the case . The same effect is produced by the use of a card and one hand as illustrated in Figure 25 .
DODGING COMPLICATED AREAS . It is often necessary to dodge areas which are quite complex . Some of these areas have definite outlines which must be followed closely . Such areas require very accurate dodging control . For this purpose , the dodging mask must be tailormade for the job . To make such a mask , proceed as follows :
Project the negative onto the easel exactly as you would in making the print . Hold a full - sized sheet of cardboard a few inches above the easel so that the projected image on the cardboard is smaller than the image on the easel . Support the cardboard in this position with books , magazines , or anything else handy . Now draw the outline of the area to be dodged on the cardboard , and carefully cut it out with a pair of scissors or a sharp knife . You now have your dodging mask . Do not destroy the cardboard you have cut away .
If you want to print - in , use the card with the cutout hole ; if you want to hold back , use the cutout itself . In use , hold the mask carefully so it projects exactly the right size image and keep it moving slightly as you expose to avoid a noticeable line between the dodged area and the remainder of the print . Figure 26 is a scene in which such a mask was used to print - in the sky . Figure 27 shows the mask , and Figure 28 shows how it is used .
Figure 26 An outdoor scene in which the sky was printed - in with a special dodging mask cut to fit the contours of the area to be dodged .
Figure 27 Two halves of the dodging mask used in making Figure 26 .
Figure 28 Using the mask of Figure 27 .
Figure 29 Area under walkway ruins this otherwise effective picture . It contains very distractive . elements and shows that slight diagonal of walk way was created by tilting camera .
Figure 30 Same as Figure 29 but bottom is flashed to eliminate distracting area .
Figure 31 Using enlarger as light source for flashing print . Figure 30 was flashed this way .
FLASHING . There are occasions when you may want to darken a side or corner of a print until it is almost a full black . Printing - in under such circumstances may not be practical because of the very long exposures required . simple way of accomplishing the desired result is through a process known as flashing . In flashing , you simply expose to direct light that part of the print which you want strongly darkened . In actuality , flashing is simply the controlled fogging of paper . Figures 29 and 30 show how much a picture can be improved by flashing . Compare Figures 29 and 30 and see how flashing in the bottom has increased the dramatic effect .
Flashing can be done at any stage up to the time the print is almost fully developed . You may flash a print before , during , or after exposure . You may even put a partially developed print in the stop bath to stop development , flash it , rinse out the acid by a three - minute quick wash , and put it back into the developer again . Since this procedure is a little risky , it is best to do all your flashing before the print goes into the developer .
Almost any light source can be used for flashing , but the two most convenient are the enlarger light itself and a pen - type pocket flashlight . Using the enlarging light is generally the simpler method .
First , make the complete exposure as you would normally , including all necessary dodging . Then turn off the light or swing the red filter in front of the enlarging lens . Remove the negative so a solid beam of light will be projected on the paper . Hold your dodging card in place over the portion of the print you do not want exposed and turn on the enlarger ( Figure 31 ) . Your exposure will , of course , every short because the light is not held back by the negative . It may be necessary to make a test strip to determine just how much exposure is required to completely blacken the print . The exposure should be no longer than necessary . Even though most of the print may be covered , the longer the exposure , the greater the risk of stray light fogging the protected portion of the print .
Figure 32 Using a tiny flashlight to flash a print on enlarging easel .
Figure 33 Flashing print while developing . Card used to confine light beam to area being darkened .
Flashing With a Flashlight . A small pen - type flashlight makes a convenient light source for flashing prints . It projects a beam of light which can be brought down to a fine spot , or broadened to cover a large area simply by varying the distance between the light and the paper . The light intensity is low enough to control exposure easily , and the fine beam can be used to paint - in the required density in much the same way as an airbrush spray .
To use a pen flashlight , expose the print in the usual way , doing all the dodging and other printing control operations . Then slip the red filter in front of the enlarger lens instead of switching off the light . This will enable you to see where to aim the flashlight beam . Point the flashlight at the area to be darkened , start moving it over the desired area , and press its switch ( Figure 32 ) . Keep the beam of light in constant motion to avoid sharply defined black spots . With a little practice , you can paint - in the dark area exactly where you want it . In addition to darkening areas , you can also blot out objectionable highlights , paint - in shadows , and even add abstract patterns . Figure 33 may be flashed while it is in the developer .
If the flashlight is so strong that flashing exposures are too short to be controlled accurately , or if the flashlight spills light beyond the confines of its main beam thus producing an overall graying of the print , wind a sheet of black paper around the flashlight to make an extention tube in front of the lens . This will not only confine the beam so it does not spread , but will reduce its size and , therefore , the flashing exposure .
It isn't necessary , of course , to use gradual shading every time you flash a print . If you want to flash a corner or side of the print to a sharply defined line , or if you wish to obtain a desired black pattern , simply cut an opaque paper or cardboard mask to cover the part of the print you do not want to darken , and give an overall flash exposure of whatever time is needed to produce the tone you want . Figure 30 was flashed in this manner .
تقنيات الطباعة المتقدمة
طباعة تصحيحية
المراوغة الفورية
SPOT DODGING
Area VIII . The next step is to print - in the small spots or areas within the body of the print , such as Area VIII . This procedure is called spot dodging . Since this is not a clearly defined area , it can be printed - in very easily . Use a mask with an opening about half the size of the area to be darkened ( Figure 23 ) . It will cover the exact area when held halfway between lens and paper . Move the mask up and down slightly , and at the same time give it a slight rotary motion . This will prevent the formation of sharp edges .
You can use this technique for very accurate spot printing with a little practice . The shape of the opening can be varied to conform to the areas to be printed - in . For example , if you want a D - shaped opening , hold your hand or a strip of paper over part of the circular opening . You can form a crescent by crooking your finger above the opening , or a V by holding two fingers or two strips of paper over the opening at the correct angle . You can enlarge the projected spot by moving the mask away from the paper , or reduce the size of the projected spot by moving the mask closer to the paper . If an irregular wedge - shaped area must be dodged , the mask with a circular opening can still be used . Hold the mask close to the lens while printing - in the large wedge and then lower the mask gradually as you move the projected spot of light toward the narrow end of the wedge .
For irregular areas , it is often preferable to use a very small mask opening to project a very small spot of light . Move the spot carefully over the entire area as though you were painting - in the image with light . With this procedure , the size of the spot of light must be only a fraction of the dodged area , otherwise there will be an overlap in the center , which will then print too dark . In working the spot back and forth , there is a tendency to overexpose the center . To avoid this , sweep
Figure 23 Printing - in a small area with an appropriately shaped cutout in dodging mask .
the spot crosswise first , then to and fro , then spirally , and repeat as often as is necessary to give the required exposure time .
When you dodge one side of the print , watch the opposite side to be sure you don't accidently expose it by moving the mask too far over . If the mask is as large as the print , it is easy to dodge any desired area without exposing any other part of the paper . With smaller masks , this is not always possible . To be on the safe side , use strips of cardboard to cover all but a small section of the paper around the dodging zone .
Figure 24 Hands as masking guides . Large V shaped shadow such as this may be used for printing - in cloud filled sky in mountain scene .
THE HANDS AS DODGING MASKS . Although the various dodging masks and cutouts discussed in this Assignment have their uses , none is as flexible or as versatile as your own hands . With a little practice , you can use your hands to throw shadow of almost any desired shape and dodge practically any irregular area .
Many top - ranking printers do most of their dodging with their hands . Occasionally , they might use a sheet or two of cardboard as aids . Using the hands to hold back the foreground in a mountain landscape is illustrated in Figure 24 .
Figure 25 Using card and hand as masking guides for printing - in sky areas .
This is a very useful dodging trick if you have taken mountain pictures on a vacation and found the sky too light or the foreground too dark . In such pictures , this is often the case . The same effect is produced by the use of a card and one hand as illustrated in Figure 25 .
DODGING COMPLICATED AREAS . It is often necessary to dodge areas which are quite complex . Some of these areas have definite outlines which must be followed closely . Such areas require very accurate dodging control . For this purpose , the dodging mask must be tailormade for the job . To make such a mask , proceed as follows :
Project the negative onto the easel exactly as you would in making the print . Hold a full - sized sheet of cardboard a few inches above the easel so that the projected image on the cardboard is smaller than the image on the easel . Support the cardboard in this position with books , magazines , or anything else handy . Now draw the outline of the area to be dodged on the cardboard , and carefully cut it out with a pair of scissors or a sharp knife . You now have your dodging mask . Do not destroy the cardboard you have cut away .
If you want to print - in , use the card with the cutout hole ; if you want to hold back , use the cutout itself . In use , hold the mask carefully so it projects exactly the right size image and keep it moving slightly as you expose to avoid a noticeable line between the dodged area and the remainder of the print . Figure 26 is a scene in which such a mask was used to print - in the sky . Figure 27 shows the mask , and Figure 28 shows how it is used .
Figure 26 An outdoor scene in which the sky was printed - in with a special dodging mask cut to fit the contours of the area to be dodged .
Figure 27 Two halves of the dodging mask used in making Figure 26 .
Figure 28 Using the mask of Figure 27 .
Figure 29 Area under walkway ruins this otherwise effective picture . It contains very distractive . elements and shows that slight diagonal of walk way was created by tilting camera .
Figure 30 Same as Figure 29 but bottom is flashed to eliminate distracting area .
Figure 31 Using enlarger as light source for flashing print . Figure 30 was flashed this way .
FLASHING . There are occasions when you may want to darken a side or corner of a print until it is almost a full black . Printing - in under such circumstances may not be practical because of the very long exposures required . simple way of accomplishing the desired result is through a process known as flashing . In flashing , you simply expose to direct light that part of the print which you want strongly darkened . In actuality , flashing is simply the controlled fogging of paper . Figures 29 and 30 show how much a picture can be improved by flashing . Compare Figures 29 and 30 and see how flashing in the bottom has increased the dramatic effect .
Flashing can be done at any stage up to the time the print is almost fully developed . You may flash a print before , during , or after exposure . You may even put a partially developed print in the stop bath to stop development , flash it , rinse out the acid by a three - minute quick wash , and put it back into the developer again . Since this procedure is a little risky , it is best to do all your flashing before the print goes into the developer .
Almost any light source can be used for flashing , but the two most convenient are the enlarger light itself and a pen - type pocket flashlight . Using the enlarging light is generally the simpler method .
First , make the complete exposure as you would normally , including all necessary dodging . Then turn off the light or swing the red filter in front of the enlarging lens . Remove the negative so a solid beam of light will be projected on the paper . Hold your dodging card in place over the portion of the print you do not want exposed and turn on the enlarger ( Figure 31 ) . Your exposure will , of course , every short because the light is not held back by the negative . It may be necessary to make a test strip to determine just how much exposure is required to completely blacken the print . The exposure should be no longer than necessary . Even though most of the print may be covered , the longer the exposure , the greater the risk of stray light fogging the protected portion of the print .
Figure 32 Using a tiny flashlight to flash a print on enlarging easel .
Figure 33 Flashing print while developing . Card used to confine light beam to area being darkened .
Flashing With a Flashlight . A small pen - type flashlight makes a convenient light source for flashing prints . It projects a beam of light which can be brought down to a fine spot , or broadened to cover a large area simply by varying the distance between the light and the paper . The light intensity is low enough to control exposure easily , and the fine beam can be used to paint - in the required density in much the same way as an airbrush spray .
To use a pen flashlight , expose the print in the usual way , doing all the dodging and other printing control operations . Then slip the red filter in front of the enlarger lens instead of switching off the light . This will enable you to see where to aim the flashlight beam . Point the flashlight at the area to be darkened , start moving it over the desired area , and press its switch ( Figure 32 ) . Keep the beam of light in constant motion to avoid sharply defined black spots . With a little practice , you can paint - in the dark area exactly where you want it . In addition to darkening areas , you can also blot out objectionable highlights , paint - in shadows , and even add abstract patterns . Figure 33 may be flashed while it is in the developer .
If the flashlight is so strong that flashing exposures are too short to be controlled accurately , or if the flashlight spills light beyond the confines of its main beam thus producing an overall graying of the print , wind a sheet of black paper around the flashlight to make an extention tube in front of the lens . This will not only confine the beam so it does not spread , but will reduce its size and , therefore , the flashing exposure .
It isn't necessary , of course , to use gradual shading every time you flash a print . If you want to flash a corner or side of the print to a sharply defined line , or if you wish to obtain a desired black pattern , simply cut an opaque paper or cardboard mask to cover the part of the print you do not want to darken , and give an overall flash exposure of whatever time is needed to produce the tone you want . Figure 30 was flashed in this manner .
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