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التصوير الفوتوغرافي الحديث
صنع الطباعة ..
المزيد حول توسيع الورق ..
ماركة ، مقابلة
MORE ABOUT ENLARGING PAPERS
There is a great deal more to know about enlarging papers than the very basic material we have given you up to this point . In order not to break into the continuity of our explanations on how to make a print , we have covered only those points which are absolutely essential to your understanding of the printing process . We will now cover some of the more important properties of printing paper so that you will be in a much better position to decide which paper to use for any particular job and for any particular purpose .
" What paper shall I use ? " is one of the most perplexing questions for students making their own prints . There is no simple answer except " That depends . " First , let us list those properties of photographic papers which influence your choice . When you know more about these properties , you will be able to make the choice that best suits you . These properties are :
1. Brand
2. Contrast
3. Surface
4. Weight
5. Image Tone
BRAND
Probably your first problem will be to decide what brand or make of paper to use . Actually , you won't go wrong if you choose any of the well - known brands . All standard enlarging papers sell for about the same price . When you consider that they are all used by successful commercial photographers , you cannot avoid the conclusion that there isn't much to choose among them . They all give excellent results . The important thing is to stick to the make you select until you become expert at using it . You will only confuse yourself and waste a lot of good material , not to mention time and money , if you continually switch from one paper to another .
Few papers behave the same way in the developer , even though the finished print may be identical . In some , the image comes up with a rush , and then development tapers off . In others , nothing seems to be happening for quite a long time , then all of a sudden the image comes up very rapidly . If you have become accustomed to a slow starting paper and switch to a fast starting one , you will tend to cut down exposure to slow down initial developing time and end up with underexposed prints . Your pictures will have insufficient highlight detail and grayish blacks . Again , for best results stick to one type of paper until you know how to handle it . You have a big enough job getting well acquainted with its several grades of contrast and its many surfaces . Don't invite more complications .
CONTRAST
We have already discussed contrast in both prints and negatives in a general way . Photographers use a number of different terms to denote contrast . It might be well to explain some of the more common ones here .
A high contrast print , in which there is a good detail in both highlights and shadows , is called brilliant . However , if the highlights are blank paper , if the shadows are empty and most of the middle tones are missing , it is called hard or harsh . The difference between a harsh , contrasty print and a brilliant one is not a matter of degree , but of truth in reproducing the original subject . Figure 31 , for example , is a brilliant print , while Figure 32 is harsh . In both cases the actual contrast is the same , since it ranges from the pure white of the paper to the deepest black of which the emulsion is capable . Yet , in Figure 31 there is a faithfulness of tonal value in the middle tones which is completely lacking in Figure 32 .
A low contrast print is also called a soft print . If the softness is due to faulty technique rather than the soft nature of the subject , the print is generally called flat . A muddy print is a flat one which is also overexposed so it has a very unpleasant , brownish tone . On the other hand , a high - key print in which everything is represented in the lightest possible tones and no blacks are permitted , also lacks contrast ; but in this case the softness or lack of contrast is due to the nature of the subject . It will , therefore , look right and be referred to as soft print .
صنع الطباعة ..
المزيد حول توسيع الورق ..
ماركة ، مقابلة
MORE ABOUT ENLARGING PAPERS
There is a great deal more to know about enlarging papers than the very basic material we have given you up to this point . In order not to break into the continuity of our explanations on how to make a print , we have covered only those points which are absolutely essential to your understanding of the printing process . We will now cover some of the more important properties of printing paper so that you will be in a much better position to decide which paper to use for any particular job and for any particular purpose .
" What paper shall I use ? " is one of the most perplexing questions for students making their own prints . There is no simple answer except " That depends . " First , let us list those properties of photographic papers which influence your choice . When you know more about these properties , you will be able to make the choice that best suits you . These properties are :
1. Brand
2. Contrast
3. Surface
4. Weight
5. Image Tone
BRAND
Probably your first problem will be to decide what brand or make of paper to use . Actually , you won't go wrong if you choose any of the well - known brands . All standard enlarging papers sell for about the same price . When you consider that they are all used by successful commercial photographers , you cannot avoid the conclusion that there isn't much to choose among them . They all give excellent results . The important thing is to stick to the make you select until you become expert at using it . You will only confuse yourself and waste a lot of good material , not to mention time and money , if you continually switch from one paper to another .
Few papers behave the same way in the developer , even though the finished print may be identical . In some , the image comes up with a rush , and then development tapers off . In others , nothing seems to be happening for quite a long time , then all of a sudden the image comes up very rapidly . If you have become accustomed to a slow starting paper and switch to a fast starting one , you will tend to cut down exposure to slow down initial developing time and end up with underexposed prints . Your pictures will have insufficient highlight detail and grayish blacks . Again , for best results stick to one type of paper until you know how to handle it . You have a big enough job getting well acquainted with its several grades of contrast and its many surfaces . Don't invite more complications .
CONTRAST
We have already discussed contrast in both prints and negatives in a general way . Photographers use a number of different terms to denote contrast . It might be well to explain some of the more common ones here .
A high contrast print , in which there is a good detail in both highlights and shadows , is called brilliant . However , if the highlights are blank paper , if the shadows are empty and most of the middle tones are missing , it is called hard or harsh . The difference between a harsh , contrasty print and a brilliant one is not a matter of degree , but of truth in reproducing the original subject . Figure 31 , for example , is a brilliant print , while Figure 32 is harsh . In both cases the actual contrast is the same , since it ranges from the pure white of the paper to the deepest black of which the emulsion is capable . Yet , in Figure 31 there is a faithfulness of tonal value in the middle tones which is completely lacking in Figure 32 .
A low contrast print is also called a soft print . If the softness is due to faulty technique rather than the soft nature of the subject , the print is generally called flat . A muddy print is a flat one which is also overexposed so it has a very unpleasant , brownish tone . On the other hand , a high - key print in which everything is represented in the lightest possible tones and no blacks are permitted , also lacks contrast ; but in this case the softness or lack of contrast is due to the nature of the subject . It will , therefore , look right and be referred to as soft print .
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