تويت
التصوير الفوتوغرافي الحديث
صنع الطباعة ..
طباعة جهة الاتصال ..
اختيار الورقة ..
اختيار المطور ..
MAKING THE CONTACT PRINT
Making a contact print is really a very simple process that requires but little in the way of equipment . Yet , in spite of its simplicity , the printing process is extremely important . In the final analysis , it is the print that determines the value of your picture . It makes no difference how carefully you have worked or how excellent your negative technique is , if the print is not good , you have failed in making your picture . Conversely , a good printer can do wonders in saving a bad negative .
It is our purpose here to teach you how to make good contact prints . This is the foundation of a good printing technique for the advanced photographer . If you learn how to make a good straight - forward print to begin with , you needn't worry about all the printing tricks used by the advanced professional printer - you will find them easy to learn by following the instructions given later .
Perhaps the most important thing you must bear in mind is this : learn a simple , sure printing routine and stick to it all the time . Don't repeatedly change your method of working because things don't seem to go just right for you . Every time you change something - whether it is the developer formula , the brand of paper , or the darkroom safelight - you have to get used to a new set of conditions . The result is that you don't really get a chance to learn anything properly , so it isn't at all surprising that you don't learn how to make a good contact print .
SELECTING THE PAPER
If your negatives were all alike , selecting the right paper would be easy . Unfortunately , your negatives won't be alike at all . Some will have normal contrast while others will be either too weak and flat or too contrasty . To make satisfactory prints from the widest possible variety of negatives , the paper manufacturers have made their printing papers available in as many as five or six grades of contrast so that you can select the right grade for any negative .
A good picture should have a wide range of tones , with the highlights practically pure white and the deep shadows a rich black . If the whites are gray , and the shadows are not dark enough , the print is said to be flat or weak . It doesn't have enough contrast between the highlights and shadows . On the other hand , if the highlights are absolutely clear paper without a trace of silver deposit , if the shadows are dense black , and there are no middle tones to speak of , the print is too contrasty . A contrasty print is also called hard or harsh .
If the negative is right , it will give you a good print of correct contrast with a normal printing paper . With most makes of papers , this normal paper is called No. 2 contrast grade . If the negative is not contrasty enough , normal paper will give you a print that is too soft and flat . In that case , you use a more contrasty paper , such as a No. 3 or No. 4. On the other hand , if your negative is too contrasty , use a softer paper , such as a No. 1 , or even a No. 0. The scale of contrast grades for most contact papers is given below :
No. 0 Very soft - for extremely contrasty negatives .
No. 1Soft for contrasty negatives .
No. 2- Normal - for normal negatives No. 3 Hard - for flat negatives .
No. 4 Very hard - for very flat negatives .
No. 5 Extremely hard - for extremely flat negatives .
In addition to being supplied in a number of different contrast grades , photographic papers come in two weights , single weight and a heavier stock called double weight , and in a large variety of surfaces , from glossy to very rough . The glossy papers are used mainly for small contact prints , for commercial work , and where a lot of snap is wanted . The other papers are used for portraits , for pictorial prints , and whenever special effects are wanted .
There are many brands of paper , but all are quite similar . They consist of a pure tough paper , coated with an emulsion of a sensitive silver salt in gelatin . If the silver salt is silver chloride , the paper is called a chloride paper ; if the salt is silver bromide , it is called a bromide paper . Chloride papers are relatively slow , so they are used for making contact prints . Bromide papers are rapid , so they are used primarily for making enlargements . Chlorobromide papers contain a mixture of silver chloride and silver bromide , so they come in between the two . If they contain more chloride than bromide , they are relatively slow and can be used either for contact prints or for enlargements .
All the standard brands of printing paper on the market are capable of giving excellent results , so you can feel safe in getting the one that your supplier has in stock . However , after you start with one make , stick to it until you know it thoroughly . Don't try switching to another make if your pictures aren't just right . You may be sure the fault lies elsewhere , so try to find out what is wrong instead of blaming the paper .
We recommend that you use a contact paper at this stage since contact papers are slow and you can , therefore , use more light in the darkroom . This will help considerably in your learning process . Later on you may , if you prefer , switch to the enlarging paper you use for making your enlargements so you don't have to stock two different kinds of paper . There will be very little difference in the final results .
We will not at this time go any further into the subject of printing papers , but we will instead reserve that discussion for later .
SELECTING THE DEVELOPER
Since all printing papers are very much alike , they will all work quite well with any of the standard paper developers . At the start , therefore , it is a good idea to buy a standard , ready - mixed developer . Later on you can mix your own if you prefer . If you do , you should use one of the formulas recommended by the paper manufacturer for the particular paper you use .
صنع الطباعة ..
طباعة جهة الاتصال ..
اختيار الورقة ..
اختيار المطور ..
MAKING THE CONTACT PRINT
Making a contact print is really a very simple process that requires but little in the way of equipment . Yet , in spite of its simplicity , the printing process is extremely important . In the final analysis , it is the print that determines the value of your picture . It makes no difference how carefully you have worked or how excellent your negative technique is , if the print is not good , you have failed in making your picture . Conversely , a good printer can do wonders in saving a bad negative .
It is our purpose here to teach you how to make good contact prints . This is the foundation of a good printing technique for the advanced photographer . If you learn how to make a good straight - forward print to begin with , you needn't worry about all the printing tricks used by the advanced professional printer - you will find them easy to learn by following the instructions given later .
Perhaps the most important thing you must bear in mind is this : learn a simple , sure printing routine and stick to it all the time . Don't repeatedly change your method of working because things don't seem to go just right for you . Every time you change something - whether it is the developer formula , the brand of paper , or the darkroom safelight - you have to get used to a new set of conditions . The result is that you don't really get a chance to learn anything properly , so it isn't at all surprising that you don't learn how to make a good contact print .
SELECTING THE PAPER
If your negatives were all alike , selecting the right paper would be easy . Unfortunately , your negatives won't be alike at all . Some will have normal contrast while others will be either too weak and flat or too contrasty . To make satisfactory prints from the widest possible variety of negatives , the paper manufacturers have made their printing papers available in as many as five or six grades of contrast so that you can select the right grade for any negative .
A good picture should have a wide range of tones , with the highlights practically pure white and the deep shadows a rich black . If the whites are gray , and the shadows are not dark enough , the print is said to be flat or weak . It doesn't have enough contrast between the highlights and shadows . On the other hand , if the highlights are absolutely clear paper without a trace of silver deposit , if the shadows are dense black , and there are no middle tones to speak of , the print is too contrasty . A contrasty print is also called hard or harsh .
If the negative is right , it will give you a good print of correct contrast with a normal printing paper . With most makes of papers , this normal paper is called No. 2 contrast grade . If the negative is not contrasty enough , normal paper will give you a print that is too soft and flat . In that case , you use a more contrasty paper , such as a No. 3 or No. 4. On the other hand , if your negative is too contrasty , use a softer paper , such as a No. 1 , or even a No. 0. The scale of contrast grades for most contact papers is given below :
No. 0 Very soft - for extremely contrasty negatives .
No. 1Soft for contrasty negatives .
No. 2- Normal - for normal negatives No. 3 Hard - for flat negatives .
No. 4 Very hard - for very flat negatives .
No. 5 Extremely hard - for extremely flat negatives .
In addition to being supplied in a number of different contrast grades , photographic papers come in two weights , single weight and a heavier stock called double weight , and in a large variety of surfaces , from glossy to very rough . The glossy papers are used mainly for small contact prints , for commercial work , and where a lot of snap is wanted . The other papers are used for portraits , for pictorial prints , and whenever special effects are wanted .
There are many brands of paper , but all are quite similar . They consist of a pure tough paper , coated with an emulsion of a sensitive silver salt in gelatin . If the silver salt is silver chloride , the paper is called a chloride paper ; if the salt is silver bromide , it is called a bromide paper . Chloride papers are relatively slow , so they are used for making contact prints . Bromide papers are rapid , so they are used primarily for making enlargements . Chlorobromide papers contain a mixture of silver chloride and silver bromide , so they come in between the two . If they contain more chloride than bromide , they are relatively slow and can be used either for contact prints or for enlargements .
All the standard brands of printing paper on the market are capable of giving excellent results , so you can feel safe in getting the one that your supplier has in stock . However , after you start with one make , stick to it until you know it thoroughly . Don't try switching to another make if your pictures aren't just right . You may be sure the fault lies elsewhere , so try to find out what is wrong instead of blaming the paper .
We recommend that you use a contact paper at this stage since contact papers are slow and you can , therefore , use more light in the darkroom . This will help considerably in your learning process . Later on you may , if you prefer , switch to the enlarging paper you use for making your enlargements so you don't have to stock two different kinds of paper . There will be very little difference in the final results .
We will not at this time go any further into the subject of printing papers , but we will instead reserve that discussion for later .
SELECTING THE DEVELOPER
Since all printing papers are very much alike , they will all work quite well with any of the standard paper developers . At the start , therefore , it is a good idea to buy a standard , ready - mixed developer . Later on you can mix your own if you prefer . If you do , you should use one of the formulas recommended by the paper manufacturer for the particular paper you use .
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