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التصوير الفوتوغرافي الحديث
صنع الطباعة ..
عمل الطباعة الموسعة ..
إجراء التوسيع - ٢ -
Developing The Test Strip . Before you begin , the developer should be at room temperature , and the clock should be in plain view so the progress of development can be timed accurately . Note the time and flip the strip of paper into the developer smartly so it is covered quickly and uniformly . If any part of the test strip is not immersed immediately , push it under at once or you will get a bad development streak . Start rocking the tray gently , and keep it up as long as the print is in the solution so as to insure absolutely uniform development .
Development time for practically all papers is standardized , so , for any particular developer , it is approximately the same regardless of the make or type of paper . It is important , of course , that you know the correct development time for the particular developer and paper combination you are using . this respect you might be guided by the manufacturer's instructions .
The instructions usually give minimum development time . If you are particular about good print quality , you should develop somewhat longer than the minimum . For example , the instructions may call for a developing time of " not less than one minute " or " 60 to 90 seconds . " While 60 seconds will give you an acceptable print , you may get better results if you develop for at least 1½ minutes with this combination of developer and paper . This is particularly true if you want deep , rich blacks .
Watch the clock carefully . Note the time at which the image first appears . Observe the speed with which it builds up . With a little experience , you learn that the speed of this build - up gives you a good idea of the correctness of your test exposure . Other than this , don't be concerned with the progress of development of your test strip . Develop it fully as directed in the instructions for the developer and paper you are using . Pay absolutely no attention to the appearance of the test strip . You are not trying to make the best possible test strip - you are only concerned with determining the correct exposure for the full print . You don't care , therefore , how the test strip looks , just so it tells you how accurately you have guessed . The only way for you to know this is to develop the test strip for the correct length of time , and then look at it .
When the test strip has been fully developed , regardless of its appearance , lift it from the developer , drain it for a few seconds , swish it around once or twice in the stop bath , drain it again , and immerse it in the fixing bath . Thirty seconds later , if the bath is fresh , you may turn on the white light and take a good look at it .
Studying The Test Strip . You must now decide whether the exposure is correct , and if you have used the right paper contrast . Lift the test strip out of the fixing bath so you can see it without looking through more or less cloudy solution . Examine it quite closely . The first thing to look for is correct exposure . If the strip looks too dark , it is obviously overexposed . If it is too light , it is underexposed . In either case , make another test strip and modify the exposure by what you have learned from the first test .
Figure 24 A typical outdoor shot . A test strip should cover important elements : sky , background , water , man in foreground .
When you have made a test strip that is about right as far as exposure is concerned , you can then check its contrast to see if you have used the grade of paper . If the paper contrast is right , the shadows have good , rich blacks and the highlights are clear and brilliant . If the paper is too soft ( lacking in contrast ) the shadows are not dark enough , and the highlights are gray instead of white . If the paper is too contrasty the print has black empty shadows , the highlights are pure white without any detail , the light grays also come through as white and the dark grays as black .
Figure 25 This is test strip made from picture in Figure 24 .
In judging the test print for both exposure and contrast , allow for the fact that wet print always loses some of its brilliance and becomes noticeably darker upon drying . The test print must appear slightly lighter and snappier than you want the finished print to be . Only experience can tell you how much to allow for drying , since this varies considerably among papers . This is another reason why you should not change papers too often . Generally speaking , the warm - toned papers ( brownish image ) darken most on drying . Matte or dull - surfaced papers , darken more than glossy ones .
If the test strip is not correctly exposed , or if it is on the wrong contrast grade of paper , make another test and carefully compare the two . In making such direct comparisons , be sure to look at both prints side by side under identical conditions . The lighting should be broad enough to include both prints , otherwise the one under poorer light will appear overprinted . Both prints should be either wet or dry . Comparing a wet print to a dry one is misleading .
MAKING THE ENLARGEMENT . When you have determined the correct exposure and what contrast grade to use , expose and develop a full sheet . This time , watch the clock as before , but develop by inspection as well as by time . If your exposure is right , the print will gradually build up until it is about done . It will then apparently stop developing for a little while before it picks up again . It is during this seeming pause that the image is building up the rich deposit of silver that makes for good print quality , so don't pull the print out of the developer too soon .
If the exposure is not exactly correct , you may modify the development . time slightly to get a good print . For example , if the exposure is a little short , develop for somewhat longer than normal ; if exposure is a shade too long , cut the development time slightly . However , do not exceed the limits of development time given by the manufacturer in his instructions or the print will not be of top quality . This subject is covered more fully in the next Assignment .
The image always looks considerably darker under the dim safelight than it really is . Let it go several shades deeper than would appear correct . A good way to tell when the highlights are beginning to fill in and the print is ready is to turn back a corner and compare the important highlight areas with the white back of the paper ( Figure 26 ) . Continue developing until the highlights begin to show a very faint gray , except in the brightest catchlights .
When fully developed , lift the print out of the solution . Let it drain five or ten seconds , and then rinse it in the stop bath for about 30 seconds . ( Figure 27 ) Pull it from the stop bath and let it drain ; then transfer it to the fixing solution .
Figure 26 When development of print is almost completed , you can judge density of highlight areas by comparing these areas to back of paper .
Figure 27 When development is completed , lift print out of solution and drain it for a few seconds before transferring it to stop bath .
than ten FIXING THE PRINT . Fresh hypo will fix prints completely in minutes . If the solution is somewhat old , 15 minutes may be safer . Don't use a worn - out fixing solution that is beginning to get cloudy or frothy . If you do , your prints will not last . Shuffle the prints completely in the hypo every few minutes . Do it by slipping out the bottom print , putting it on top of the pile , and so on , until each print has been handled . This keeps them from sticking together and insures proper fixing .
Don't overfix your prints ; the longer you fix them , the longer it takes to wash the hypo out of the paper . A double - weight print , left for half an hour in old hypo can never be washed completely . Another important reason for watching fixing time carefully is that hypo dissolves silver to some extent , particularly in hot weather . Keeping a print in hypo too long bleaches the highlights . This bleaching action is much more rapid with the quick fixers than with the standard hypo . This is true even though both have been diluted to give the same fixing time . If you use a quick - fixing solution for your prints , be very sure to fix for no longer than the directions specify . Don't overwork the fixing solution . Fixing should be completed in the minimum time .
WASHING AND DRYING THE PRINTS . When the prints are fully fixed , put them in a tray of running water and wash them for at least an hour . Two hours is safer in winter when the water is extremely cold . However , washing time can be drastically reduced by using a hypo eliminator which is discussed in a later Assignment . The simplest washing arrangement is to have a rubber hose dipping into the tray and running along its side for three or four inches so the water swirls around in the tray . A better arrangement , however , is a syphon washer like the one shown earlier in this Assignment in Figure 12. Don't try to wash more than four double - weight or six single - weight enlargements in one tray , or they will stick together and resist washing for hours .
After the prints are thoroughly washed , pick them up one at time by one corner , and let them drain ( Figure 28 ) . Squeegee them on the inverted bottom of a clean tray or any other flat , clean surface to remove all surplus water ( Figure 29 ) . After the excess water has been removed , roll them up in a blotter roll with the emulsion side out ( Figure 30 ) . Next morning , the prints will be dry , ready for trimming , spotting , and mounting .
Figure 28 After print is washed , lift it from water by one corner in order that it may drain properly .
Figure 29 Next squeegee all surplus water from the print .
Figure 30 Then place print face down on linen surfaced blotter of blotter roll .
CLEANING UP . You may start cleaning up while the prints are washing . Negatives should be put away in their envelopes . Cover the enlarger with a suitable plastic or cloth dust cover . Store your printing paper in a cool dry place . If your darkroom doesn't fit that description , store your paper somewhere else . Paper developers are extremely vigorous and most of them will not keep more than half a day once they have been used . If you mix your own stop bath , throw it away - it is too cheap to bother saving . If you use a ready - mixed stop bath which contains a color indicator to tell you when it is exhausted , you may pour it back into the bottle and keep it for re - use .
The fixing solution will keep for months and should be saved . It becomes exhausted through use , not age . While there are tests to determine when a fixer is exhausted , the best and simplest way to determine this is by keeping a record of the number of prints fixed . This can be done quite easily by pasting a strip of adhesive tape on the bottle and writing down the number of prints fixed at each enlarging session . A gallon of standard fixer will fix 100-8 x 10 prints , or their equivalent .
Trays should be washed , and preferably dried before storing away . Rinsing alone is not enough . They should be swabbed with a sponge in plenty of water to clean off the sludge formed during their use . This is particularly important for the developer tray , which sludges up badly after every use . Once developer sludge has dried , it won't come off without hard scrubbing .
If you have been careful and done your work properly , you have turned out a good , straightforward enlargement . That is good enough for a start ; but only for a start . The real work , the enjoyable part of enlarging , is still to be learned .
To become an expert in this field , you should know at least the basic principles of enlarger design so you can select the type of enlarger that best suits the negative you are enlarging . You should know a good negative from a bad one , so that you won't waste a lot of time trying to make good prints from bad negatives when it is so much easier to make them from good negatives . You should know a lot more about developers than that they can be bought ready mixed . You should know more about paper than that it comes in a large variety of surfaces and contrasts . You should know that few successful prints are made by as simple and direct a system as the one just described in this Assignment - a certain amount of dodging and local control is usually necessary . These are some of the things you will learn in succeeding Assignments .
صنع الطباعة ..
عمل الطباعة الموسعة ..
إجراء التوسيع - ٢ -
Developing The Test Strip . Before you begin , the developer should be at room temperature , and the clock should be in plain view so the progress of development can be timed accurately . Note the time and flip the strip of paper into the developer smartly so it is covered quickly and uniformly . If any part of the test strip is not immersed immediately , push it under at once or you will get a bad development streak . Start rocking the tray gently , and keep it up as long as the print is in the solution so as to insure absolutely uniform development .
Development time for practically all papers is standardized , so , for any particular developer , it is approximately the same regardless of the make or type of paper . It is important , of course , that you know the correct development time for the particular developer and paper combination you are using . this respect you might be guided by the manufacturer's instructions .
The instructions usually give minimum development time . If you are particular about good print quality , you should develop somewhat longer than the minimum . For example , the instructions may call for a developing time of " not less than one minute " or " 60 to 90 seconds . " While 60 seconds will give you an acceptable print , you may get better results if you develop for at least 1½ minutes with this combination of developer and paper . This is particularly true if you want deep , rich blacks .
Watch the clock carefully . Note the time at which the image first appears . Observe the speed with which it builds up . With a little experience , you learn that the speed of this build - up gives you a good idea of the correctness of your test exposure . Other than this , don't be concerned with the progress of development of your test strip . Develop it fully as directed in the instructions for the developer and paper you are using . Pay absolutely no attention to the appearance of the test strip . You are not trying to make the best possible test strip - you are only concerned with determining the correct exposure for the full print . You don't care , therefore , how the test strip looks , just so it tells you how accurately you have guessed . The only way for you to know this is to develop the test strip for the correct length of time , and then look at it .
When the test strip has been fully developed , regardless of its appearance , lift it from the developer , drain it for a few seconds , swish it around once or twice in the stop bath , drain it again , and immerse it in the fixing bath . Thirty seconds later , if the bath is fresh , you may turn on the white light and take a good look at it .
Studying The Test Strip . You must now decide whether the exposure is correct , and if you have used the right paper contrast . Lift the test strip out of the fixing bath so you can see it without looking through more or less cloudy solution . Examine it quite closely . The first thing to look for is correct exposure . If the strip looks too dark , it is obviously overexposed . If it is too light , it is underexposed . In either case , make another test strip and modify the exposure by what you have learned from the first test .
Figure 24 A typical outdoor shot . A test strip should cover important elements : sky , background , water , man in foreground .
When you have made a test strip that is about right as far as exposure is concerned , you can then check its contrast to see if you have used the grade of paper . If the paper contrast is right , the shadows have good , rich blacks and the highlights are clear and brilliant . If the paper is too soft ( lacking in contrast ) the shadows are not dark enough , and the highlights are gray instead of white . If the paper is too contrasty the print has black empty shadows , the highlights are pure white without any detail , the light grays also come through as white and the dark grays as black .
Figure 25 This is test strip made from picture in Figure 24 .
In judging the test print for both exposure and contrast , allow for the fact that wet print always loses some of its brilliance and becomes noticeably darker upon drying . The test print must appear slightly lighter and snappier than you want the finished print to be . Only experience can tell you how much to allow for drying , since this varies considerably among papers . This is another reason why you should not change papers too often . Generally speaking , the warm - toned papers ( brownish image ) darken most on drying . Matte or dull - surfaced papers , darken more than glossy ones .
If the test strip is not correctly exposed , or if it is on the wrong contrast grade of paper , make another test and carefully compare the two . In making such direct comparisons , be sure to look at both prints side by side under identical conditions . The lighting should be broad enough to include both prints , otherwise the one under poorer light will appear overprinted . Both prints should be either wet or dry . Comparing a wet print to a dry one is misleading .
MAKING THE ENLARGEMENT . When you have determined the correct exposure and what contrast grade to use , expose and develop a full sheet . This time , watch the clock as before , but develop by inspection as well as by time . If your exposure is right , the print will gradually build up until it is about done . It will then apparently stop developing for a little while before it picks up again . It is during this seeming pause that the image is building up the rich deposit of silver that makes for good print quality , so don't pull the print out of the developer too soon .
If the exposure is not exactly correct , you may modify the development . time slightly to get a good print . For example , if the exposure is a little short , develop for somewhat longer than normal ; if exposure is a shade too long , cut the development time slightly . However , do not exceed the limits of development time given by the manufacturer in his instructions or the print will not be of top quality . This subject is covered more fully in the next Assignment .
The image always looks considerably darker under the dim safelight than it really is . Let it go several shades deeper than would appear correct . A good way to tell when the highlights are beginning to fill in and the print is ready is to turn back a corner and compare the important highlight areas with the white back of the paper ( Figure 26 ) . Continue developing until the highlights begin to show a very faint gray , except in the brightest catchlights .
When fully developed , lift the print out of the solution . Let it drain five or ten seconds , and then rinse it in the stop bath for about 30 seconds . ( Figure 27 ) Pull it from the stop bath and let it drain ; then transfer it to the fixing solution .
Figure 26 When development of print is almost completed , you can judge density of highlight areas by comparing these areas to back of paper .
Figure 27 When development is completed , lift print out of solution and drain it for a few seconds before transferring it to stop bath .
than ten FIXING THE PRINT . Fresh hypo will fix prints completely in minutes . If the solution is somewhat old , 15 minutes may be safer . Don't use a worn - out fixing solution that is beginning to get cloudy or frothy . If you do , your prints will not last . Shuffle the prints completely in the hypo every few minutes . Do it by slipping out the bottom print , putting it on top of the pile , and so on , until each print has been handled . This keeps them from sticking together and insures proper fixing .
Don't overfix your prints ; the longer you fix them , the longer it takes to wash the hypo out of the paper . A double - weight print , left for half an hour in old hypo can never be washed completely . Another important reason for watching fixing time carefully is that hypo dissolves silver to some extent , particularly in hot weather . Keeping a print in hypo too long bleaches the highlights . This bleaching action is much more rapid with the quick fixers than with the standard hypo . This is true even though both have been diluted to give the same fixing time . If you use a quick - fixing solution for your prints , be very sure to fix for no longer than the directions specify . Don't overwork the fixing solution . Fixing should be completed in the minimum time .
WASHING AND DRYING THE PRINTS . When the prints are fully fixed , put them in a tray of running water and wash them for at least an hour . Two hours is safer in winter when the water is extremely cold . However , washing time can be drastically reduced by using a hypo eliminator which is discussed in a later Assignment . The simplest washing arrangement is to have a rubber hose dipping into the tray and running along its side for three or four inches so the water swirls around in the tray . A better arrangement , however , is a syphon washer like the one shown earlier in this Assignment in Figure 12. Don't try to wash more than four double - weight or six single - weight enlargements in one tray , or they will stick together and resist washing for hours .
After the prints are thoroughly washed , pick them up one at time by one corner , and let them drain ( Figure 28 ) . Squeegee them on the inverted bottom of a clean tray or any other flat , clean surface to remove all surplus water ( Figure 29 ) . After the excess water has been removed , roll them up in a blotter roll with the emulsion side out ( Figure 30 ) . Next morning , the prints will be dry , ready for trimming , spotting , and mounting .
Figure 28 After print is washed , lift it from water by one corner in order that it may drain properly .
Figure 29 Next squeegee all surplus water from the print .
Figure 30 Then place print face down on linen surfaced blotter of blotter roll .
CLEANING UP . You may start cleaning up while the prints are washing . Negatives should be put away in their envelopes . Cover the enlarger with a suitable plastic or cloth dust cover . Store your printing paper in a cool dry place . If your darkroom doesn't fit that description , store your paper somewhere else . Paper developers are extremely vigorous and most of them will not keep more than half a day once they have been used . If you mix your own stop bath , throw it away - it is too cheap to bother saving . If you use a ready - mixed stop bath which contains a color indicator to tell you when it is exhausted , you may pour it back into the bottle and keep it for re - use .
The fixing solution will keep for months and should be saved . It becomes exhausted through use , not age . While there are tests to determine when a fixer is exhausted , the best and simplest way to determine this is by keeping a record of the number of prints fixed . This can be done quite easily by pasting a strip of adhesive tape on the bottle and writing down the number of prints fixed at each enlarging session . A gallon of standard fixer will fix 100-8 x 10 prints , or their equivalent .
Trays should be washed , and preferably dried before storing away . Rinsing alone is not enough . They should be swabbed with a sponge in plenty of water to clean off the sludge formed during their use . This is particularly important for the developer tray , which sludges up badly after every use . Once developer sludge has dried , it won't come off without hard scrubbing .
If you have been careful and done your work properly , you have turned out a good , straightforward enlargement . That is good enough for a start ; but only for a start . The real work , the enjoyable part of enlarging , is still to be learned .
To become an expert in this field , you should know at least the basic principles of enlarger design so you can select the type of enlarger that best suits the negative you are enlarging . You should know a good negative from a bad one , so that you won't waste a lot of time trying to make good prints from bad negatives when it is so much easier to make them from good negatives . You should know a lot more about developers than that they can be bought ready mixed . You should know more about paper than that it comes in a large variety of surfaces and contrasts . You should know that few successful prints are made by as simple and direct a system as the one just described in this Assignment - a certain amount of dodging and local control is usually necessary . These are some of the things you will learn in succeeding Assignments .
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