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التصوير الفوتوغرافي الحديث
صنع الطباعة ..
عمل الطباعة الموسعة ..
معدات التوسيع ..
MAKING THE ENLARGED PRINT
The secret of successful enlarging lies in planning a simple routine and following it every time you make an enlargement . You will be surprised how quickly and easily you can develop a printing technique which enables you to exhibit your work with the best . Working on the spur of the moment , trying one make of paper one day and another the next , or getting overly enthused about the latest " perfect " developer , does more harm than good .
Stick to one technique until you master it ; use one make of paper , one developer and enlarger until you know all their special quirks . Not until then should you consider changing - but by then you probably won't want to . Even an expert needs time to get acquainted with a new paper or a new enlarger , and he values his time too highly to waste it switching repeatedly from one product to another .
ENLARGING EQUIPMENT
All the equipment you need , aside from the enlarger and enlarger easel ( Figures 13 , 14 and 15 ) , consists of the following items :
1. Four enlarging trays - the size of the largest prints you expect to make .
2. A darkroom safelight for the paper you expect to use .
3. A blotter roll for drying prints .
4. Developer .
5. Acetic acid ( 28 % ) for stop bath ..
6. Fixing solution .
7. Graduate .
8. Funnel .
9. Darkroom clock or timer .
10. Squeegee ( optional ) .
11. Enlarging paper .
12. Ear syringe or camel hair brush .
13. Print tongs ( optional ) .
SELECTING ENLARGER PAPER
We have already discussed printing papers earlier in this Assignment when we covered the subject of contact printing . Practically everything we said there refers just as much to enlarging paper as it does to contact paper . Nevertheless , we will repeat it as a review , since the subject of printing paper is a very important one and some of its aspects are somewhat difficult for the beginning student to grasp fully .
In addition , we will go beyond the point at which we stopped in our first discussion of papers so that this entire section should be read and studied , even though at first we repeat the material you have already been given .
Figure 13 A popular model of a condenser type enlarger .
Figure 14 An enlarging easel which will handle paper up to 11 x 14 inches .
Figure 15 Equipment needed for printing enlargements .
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 have too much or not enough contrast . To make good prints from the widest variety of negatives , paper manufacturers offer enlarging papers in five or six grades of contrast . This choice makes it possible for you to select just the right grade for your negatives .
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 only a darker gray , the print does not have enough contrast , and it is said to be flat , soft , or weak . These terms are used interchangeably to describe the lack of contrast .
On the other hand , if highlights are absolutely clear without a trace of silver deposit , if shadows are very dense black , and if 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 paper , normal is the No. 2 contrast grade . If the negative is not contrasty enough , normal paper gives you a print which is too soft . In that case , you use a more contrasty paper , such as No. 3 or 4 .. On the other hand , it your negative is too contrasty , use a softer paper , such as a No. 1. The scale of contrasts for most papers is given below :
No. 0 - Very soft - Use with extremely
contrasty negatives
No. 1 - Soft - Use with contrasty negatives
No. 2 - Normal - Use with normal
negatives .
No. 3 - Hard - Use with flat negatives .
No. 4 Very hard - Use with very flat negatives .
No. 5 - Extremely Hard - Use with extremely flat negatives .
Figures 16 , 17 and 18 were printed from a normal negative . Figure 16 was printed on a No. 1 contrast paper , Figure 17 on a No. 2 paper , and Figure 18 on a No. 4 paper .
Figure 16 Normal print from a negative .
Figure 17 Hard , contrasty print from same negative as in Figure 16 .
Figure 18 Soft , flat print from same negative as Figure 16 .
Since paper is available in so many different contrast grades , the natural question is , " Why be so concerned with correct contrast of the negative ? " The answer is simple : you get best results by avoiding extremes . Excessively hard or soft papers , while permitting you to print negatives with a very wide range of contrast , do not give you the best results .
For example , it is very difficult to get a deep , rich black with very soft - working papers . With very contrasty papers , it is practically impossible to get proper tone separation in the highlight areas . Using either of the extreme papers , the fine variations of tone from white to middle gray disappear . They print either as a uniform white or a uniform gray . Best results are obtained if you expose and develop your negatives for normal contrast so they can be printed on normal paper .
You should be aware , right at the start , that there is no standardization among paper manufacturers of the actual contrast represented by each of their contrast numbers . One manufacturer's No. 2 paper may be harder or softer than a No. 2 paper by another maker . That is another reason for avoiding frequent changes from one brand to another .
In addition to being supplied in a number of different contrasts , paper comes in two weights : single weight and a heavier stock called double weight . It also comes in a large variety of surfaces and tones . Glossy paper is used mainly for small prints , commercial work , and where a lot of snap is wanted . Other paper surfaces are used for portraits , pictorial prints , and subjects which need softer or unusual effects . Multi - grade papers are also available , the different contrasts are obtained through the use of filters . ( More on these subjects in later Assignments . )
صنع الطباعة ..
عمل الطباعة الموسعة ..
معدات التوسيع ..
MAKING THE ENLARGED PRINT
The secret of successful enlarging lies in planning a simple routine and following it every time you make an enlargement . You will be surprised how quickly and easily you can develop a printing technique which enables you to exhibit your work with the best . Working on the spur of the moment , trying one make of paper one day and another the next , or getting overly enthused about the latest " perfect " developer , does more harm than good .
Stick to one technique until you master it ; use one make of paper , one developer and enlarger until you know all their special quirks . Not until then should you consider changing - but by then you probably won't want to . Even an expert needs time to get acquainted with a new paper or a new enlarger , and he values his time too highly to waste it switching repeatedly from one product to another .
ENLARGING EQUIPMENT
All the equipment you need , aside from the enlarger and enlarger easel ( Figures 13 , 14 and 15 ) , consists of the following items :
1. Four enlarging trays - the size of the largest prints you expect to make .
2. A darkroom safelight for the paper you expect to use .
3. A blotter roll for drying prints .
4. Developer .
5. Acetic acid ( 28 % ) for stop bath ..
6. Fixing solution .
7. Graduate .
8. Funnel .
9. Darkroom clock or timer .
10. Squeegee ( optional ) .
11. Enlarging paper .
12. Ear syringe or camel hair brush .
13. Print tongs ( optional ) .
SELECTING ENLARGER PAPER
We have already discussed printing papers earlier in this Assignment when we covered the subject of contact printing . Practically everything we said there refers just as much to enlarging paper as it does to contact paper . Nevertheless , we will repeat it as a review , since the subject of printing paper is a very important one and some of its aspects are somewhat difficult for the beginning student to grasp fully .
In addition , we will go beyond the point at which we stopped in our first discussion of papers so that this entire section should be read and studied , even though at first we repeat the material you have already been given .
Figure 13 A popular model of a condenser type enlarger .
Figure 14 An enlarging easel which will handle paper up to 11 x 14 inches .
Figure 15 Equipment needed for printing enlargements .
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 have too much or not enough contrast . To make good prints from the widest variety of negatives , paper manufacturers offer enlarging papers in five or six grades of contrast . This choice makes it possible for you to select just the right grade for your negatives .
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 only a darker gray , the print does not have enough contrast , and it is said to be flat , soft , or weak . These terms are used interchangeably to describe the lack of contrast .
On the other hand , if highlights are absolutely clear without a trace of silver deposit , if shadows are very dense black , and if 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 paper , normal is the No. 2 contrast grade . If the negative is not contrasty enough , normal paper gives you a print which is too soft . In that case , you use a more contrasty paper , such as No. 3 or 4 .. On the other hand , it your negative is too contrasty , use a softer paper , such as a No. 1. The scale of contrasts for most papers is given below :
No. 0 - Very soft - Use with extremely
contrasty negatives
No. 1 - Soft - Use with contrasty negatives
No. 2 - Normal - Use with normal
negatives .
No. 3 - Hard - Use with flat negatives .
No. 4 Very hard - Use with very flat negatives .
No. 5 - Extremely Hard - Use with extremely flat negatives .
Figures 16 , 17 and 18 were printed from a normal negative . Figure 16 was printed on a No. 1 contrast paper , Figure 17 on a No. 2 paper , and Figure 18 on a No. 4 paper .
Figure 16 Normal print from a negative .
Figure 17 Hard , contrasty print from same negative as in Figure 16 .
Figure 18 Soft , flat print from same negative as Figure 16 .
Since paper is available in so many different contrast grades , the natural question is , " Why be so concerned with correct contrast of the negative ? " The answer is simple : you get best results by avoiding extremes . Excessively hard or soft papers , while permitting you to print negatives with a very wide range of contrast , do not give you the best results .
For example , it is very difficult to get a deep , rich black with very soft - working papers . With very contrasty papers , it is practically impossible to get proper tone separation in the highlight areas . Using either of the extreme papers , the fine variations of tone from white to middle gray disappear . They print either as a uniform white or a uniform gray . Best results are obtained if you expose and develop your negatives for normal contrast so they can be printed on normal paper .
You should be aware , right at the start , that there is no standardization among paper manufacturers of the actual contrast represented by each of their contrast numbers . One manufacturer's No. 2 paper may be harder or softer than a No. 2 paper by another maker . That is another reason for avoiding frequent changes from one brand to another .
In addition to being supplied in a number of different contrasts , paper comes in two weights : single weight and a heavier stock called double weight . It also comes in a large variety of surfaces and tones . Glossy paper is used mainly for small prints , commercial work , and where a lot of snap is wanted . Other paper surfaces are used for portraits , pictorial prints , and subjects which need softer or unusual effects . Multi - grade papers are also available , the different contrasts are obtained through the use of filters . ( More on these subjects in later Assignments . )
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