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كتاب التصوير الفوتوغرافي
Using grain
Grain and film speed are interdependent - the faster the film ( the more sensitive to light ) , the more pronounced the grain . Although most manufacturers of negative and positive materials constantly strive toward production of films with as little grain as possible , at times it can be interesting to use grain as part of inter pretation . If you want a grainy print for a special effect you often have to work for it . One way is to use as fast a film as possible . Kodak 2475 Recording film is at present the fastest com mercially - produced film . If you " push " it underexpose it by one or two stops - and then overdevelop it for about double the required exposure time in a fairly contrasty developer it will produce attractive grain . If still more grain is your aim , try developing Recording film in a very high contrast developer .
You can also achieve grainy prints by under exposing and overdeveloping high speed film , then enlarging a very small portion of the negative . Or to obtain a very regular grain pattern effect you could try reticulation . Develop a black and white film in a very hot developer ( 104-113 ° F / 40-45 ° C ) then plunge it into an icy cold fixer to break up the emulsion . However , modern films are quite resistant to reticulation and it is not so easy to achieve a good result as it used to be . An alternative way to obtain a regular pattern is to use a ready made grain screen over your printing paper .
Grainy results in color can also be very effective , as shown on p . 144. The well - known fashion photographer , Sarah Moon , became famous for her grainy shots on GAF 500 film ( no longer available ) . She pushed this film con siderably to get coarse grain and warm colors You could try to achieve a similar effect with the new 3M 640 ASA ( tungsten ) film . If you push it to 1600 ASA and then extend development you will get an attractive coarse grain .
◄ Using Kodak Recording film To create this image I used the film at about 2500 ASA and developed it in high contrast developer . However , the resulting negative was still soft in contrast , so I copied it twice on Kodalith Ortho Type 3 film to get good blacks and whites . Pentax Spotmatic , 28 mm . 1/125 sec at f22 , Kodak 2475 Recording film .
Enlarging for grain A I used normal 400 ASA film and underexposed it by one stop ( setting the meter to 800 ASA ) , then I gave a third more development than the time . The recommended top print was made from about half the negative , while the bottom one has been blown up still further , then printed on very high contrast ( Grade 6 ) paper . High contrast printing paper usually produces a more grainy image than normal grade paper . Nikkormat FT , 50 mm . 1/250 sec at f16 , Tri - X .
Grain in color ▷ Part of the attraction of the photographic medium . is the texture of a photographic monochrome print - or color . But modern fine grain films reduce the grain - the texture of the emulsion - to a minimum . To achieve a grainy effect in color I tried using a very fast ( 640 ASA ) film and gave it one stop underexposure , then extended the development . This gives a romantic , very slightly grainy image . Nikon FE , 50 mm . 1/125 sec at f16 , 3M 640 .
تقنيات خاصة ..
كتاب التصوير الفوتوغرافي
Using grain
Grain and film speed are interdependent - the faster the film ( the more sensitive to light ) , the more pronounced the grain . Although most manufacturers of negative and positive materials constantly strive toward production of films with as little grain as possible , at times it can be interesting to use grain as part of inter pretation . If you want a grainy print for a special effect you often have to work for it . One way is to use as fast a film as possible . Kodak 2475 Recording film is at present the fastest com mercially - produced film . If you " push " it underexpose it by one or two stops - and then overdevelop it for about double the required exposure time in a fairly contrasty developer it will produce attractive grain . If still more grain is your aim , try developing Recording film in a very high contrast developer .
You can also achieve grainy prints by under exposing and overdeveloping high speed film , then enlarging a very small portion of the negative . Or to obtain a very regular grain pattern effect you could try reticulation . Develop a black and white film in a very hot developer ( 104-113 ° F / 40-45 ° C ) then plunge it into an icy cold fixer to break up the emulsion . However , modern films are quite resistant to reticulation and it is not so easy to achieve a good result as it used to be . An alternative way to obtain a regular pattern is to use a ready made grain screen over your printing paper .
Grainy results in color can also be very effective , as shown on p . 144. The well - known fashion photographer , Sarah Moon , became famous for her grainy shots on GAF 500 film ( no longer available ) . She pushed this film con siderably to get coarse grain and warm colors You could try to achieve a similar effect with the new 3M 640 ASA ( tungsten ) film . If you push it to 1600 ASA and then extend development you will get an attractive coarse grain .
◄ Using Kodak Recording film To create this image I used the film at about 2500 ASA and developed it in high contrast developer . However , the resulting negative was still soft in contrast , so I copied it twice on Kodalith Ortho Type 3 film to get good blacks and whites . Pentax Spotmatic , 28 mm . 1/125 sec at f22 , Kodak 2475 Recording film .
Enlarging for grain A I used normal 400 ASA film and underexposed it by one stop ( setting the meter to 800 ASA ) , then I gave a third more development than the time . The recommended top print was made from about half the negative , while the bottom one has been blown up still further , then printed on very high contrast ( Grade 6 ) paper . High contrast printing paper usually produces a more grainy image than normal grade paper . Nikkormat FT , 50 mm . 1/250 sec at f16 , Tri - X .
Grain in color ▷ Part of the attraction of the photographic medium . is the texture of a photographic monochrome print - or color . But modern fine grain films reduce the grain - the texture of the emulsion - to a minimum . To achieve a grainy effect in color I tried using a very fast ( 640 ASA ) film and gave it one stop underexposure , then extended the development . This gives a romantic , very slightly grainy image . Nikon FE , 50 mm . 1/125 sec at f16 , 3M 640 .
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