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الملحق ..
كتاب التصوير الفوتوغرافي
Darkroom work
The importance of having your own darkroom cannot be overstated . Com mercial processing and printing labora tories will , in most cases , produce a good " standard " result from a " properly " exposed negative , which has been taken in " average " lighting .
Many photographers , however , believe that this type of negative taken in " ideal " conditions does not exist , and that every print can be improved by adjusting exposure for different parts of the image .
Good printing technique starts with the ability to judge the negative . First , you must decide which paper grade best suits the contrast range of the negative . Weak , pale - toned negatives , for example , may require a hard , more contrasty paper grades 3 , 4 , or 5. A dense , more contrasty negative , though , will probably require a softer paper - grade 0 or 1 . Negatives with an extensive range of half tones often print well on normal , grade 2 paper . Next , look for parts of the negative which , if given a " straight " exposure , will print too dark or too light . To counteract this , you will either have to reduce or increase the exposure in these areas when printing by shading ( also known as dodging ) or burning - in . In a portrait taken in concentrated light , for ex ample , the forehead may be so well lit that , if printed normally , it would lack detail .
Start printing by making a test strip . Using the " step - wedge method " , divide the paper into sections and print a strip at a time , doubling the exposure at each step . Develop , fix , and wash your test strip and then examine it under white light . This is important because most prints appear too dark under safelighting . or After comparing your negative with the test strip you will know the best overall exposure . For darker parts , though , where the exposure should be shorter . you must hold back the light from the enlarger using either your hand fingers , or a dodger . For parts of the negative that would print too light , you must shield the rest of the paper before giving them extra exposure . Use your hand for this , or cut a small hole in a large piece of cardboard and direct the light to the desired area of the print .
Dodger types ▷ Print dodgers are available ready - made in a wide range of shapes and sizes . You can also make your own using opaque card board taped to thin , stiff wire . If light reflects from the wire , cover it with black tape . The closer you hold the dodger to the paper , the smaller and sharper the shaded area is .
Shading and burning - in Use your test strip to estimate the degree of shading or burning - in required . For some shapes , the most versatile tool you can use is your own hands When using all dodgers , keep them continually on the move to prevent a hard edge of different density appearing on the print . If you have a contrasty area that you cannot tone down using ordinary burning - in techniques , try using a masked - down flashlight ( torch ) to fog the area to gray or black .
Cupped hands If you only have a small area that requires additional exposure , you can cup your hands together and expose through a small gap left between them .
Flashlight First make a cone of opaque cardboard and tape it over a flashlight . When using it during print ing make sure the light is confined only to the area . you want to tone down .
Fingers You can only use your fingers as a dodging device if the area to be shaded is near one edge . Otherwise , your hand will create unwanted shadows .
Dodgers Use a cardboard dodger for a more central area of the paper . Keep the dodger moving continuously .
Opaque shape on glass Using opaque dye or paint , you can make any shape you require on a sheet of clean , scratch - free glass .
Making black borders ▷ Often , you can intensify the visual impact of your photographs by printing in a black border . This technique is particularly effective with a light - toned image that would otherwise seem to disappear into the normal white border left by most masking frames . You can vary the thickness of the black border to suit your image , but be careful not to allow it to become too dominant .
1 Cut out an area of black cardboard the size of your print . Trim the cardboard by an amount equal to the width of the border . Place this frame over your paper and expose the image .
2 Turn the enlarger off and add the central cut - out . Make sure that it leaves an equal gap all round the print . Remove the negative and give enough exposure to fog the edges .
Sandwiching
Normally , multi - image pictures involve successive printings . By contrast , sand wiching is done by printing two or more film images simultaneously . As with regular multiple printing , you must plan the image beforehand .
Usually , you will have to shoot the elements specially as it is important that the areas in the first negative that are to contain parts of the image from the second negative are empty or at least underexposed . If you do not pre - arrange this , the image detail to be superimposed will fail to project onto the first negative . You should also make sure that the images match each other in density .
The technique does not restrict you to black and white work . Experiment with color negatives or use color slides and print on positive / positive paper . You can also combine color and black and white . A further advantage is that you can get acceptable results with underexposed negatives and overexposed slides .
Posterization
Posterization transforms an image with a normal range of tones into one with dis tinct areas of tone or color . The first step with a black and white original is to make density separations . You enlarge the negative on three sheets of high - contrast lith or line film , giving underexposure with one sheet , normal exposure with the second , and overexposure with the third . The film has to be punched with registra tion holes beforehand .
Processing will produce one sheet in which the deepest shadow areas only I will all be recorded as black , a second showing the mid - tones and shadows as black , and a third with all the tones , except for the brightest highlights , also as black . Next , using equal exposure , you contact print the film positives on three sheets of high - contrast register - punched film . You then contact print the resulting separation negatives individually using normal - grade bromide paper , and expos ing so that you get a mid - gray result .
Making a vignette ▷ Vignetting is a method of changing the outline of your picture so that it shades off to black or white . It softens the overall effect . emphasizes the center , and eliminates distracting elements in the corners . Vignettes , which were popular in 19th century portraiture , are traditionally oval . Start by making a mask . Focus the image on your masking frame , then rough out a shape on cardboard held just above the frame .
White vignette Insert paper in masking frame . Using the red filter , cut - out surround in place . Remove filter and expose for result , right .
Black vignette Vignette as before . Use red filter and remove negative . Hold dodger over image . remove filter and fog edges , as shown right .
Solarization ▷ When a negative is exposed briefly to light during development , it begins to become a positive . This effect is known as solarization . Results with today's sensitive film , especially of the color negative type , are unpre dictable , and so it is best to work from copy negatives made on a contrasty material such as Kodalith .
1 Having selected the negative you want to solarize contact print it onto a sheet of contrasty film such as Kodalith or similar .
2 Give the second sheet of film development half as long as that received by the original film . Use absorbent paper on the enlarger baseboard .
3 Place the developer tray under the enlarger . With the emulsion side up , fog the film for the same period as in step 1 .
4 Complete the develop ment and carry out the processing . When the film image is dry , cut it out . Enlarge it on bromide printing paper .
الملحق ..
كتاب التصوير الفوتوغرافي
Darkroom work
The importance of having your own darkroom cannot be overstated . Com mercial processing and printing labora tories will , in most cases , produce a good " standard " result from a " properly " exposed negative , which has been taken in " average " lighting .
Many photographers , however , believe that this type of negative taken in " ideal " conditions does not exist , and that every print can be improved by adjusting exposure for different parts of the image .
Good printing technique starts with the ability to judge the negative . First , you must decide which paper grade best suits the contrast range of the negative . Weak , pale - toned negatives , for example , may require a hard , more contrasty paper grades 3 , 4 , or 5. A dense , more contrasty negative , though , will probably require a softer paper - grade 0 or 1 . Negatives with an extensive range of half tones often print well on normal , grade 2 paper . Next , look for parts of the negative which , if given a " straight " exposure , will print too dark or too light . To counteract this , you will either have to reduce or increase the exposure in these areas when printing by shading ( also known as dodging ) or burning - in . In a portrait taken in concentrated light , for ex ample , the forehead may be so well lit that , if printed normally , it would lack detail .
Start printing by making a test strip . Using the " step - wedge method " , divide the paper into sections and print a strip at a time , doubling the exposure at each step . Develop , fix , and wash your test strip and then examine it under white light . This is important because most prints appear too dark under safelighting . or After comparing your negative with the test strip you will know the best overall exposure . For darker parts , though , where the exposure should be shorter . you must hold back the light from the enlarger using either your hand fingers , or a dodger . For parts of the negative that would print too light , you must shield the rest of the paper before giving them extra exposure . Use your hand for this , or cut a small hole in a large piece of cardboard and direct the light to the desired area of the print .
Dodger types ▷ Print dodgers are available ready - made in a wide range of shapes and sizes . You can also make your own using opaque card board taped to thin , stiff wire . If light reflects from the wire , cover it with black tape . The closer you hold the dodger to the paper , the smaller and sharper the shaded area is .
Shading and burning - in Use your test strip to estimate the degree of shading or burning - in required . For some shapes , the most versatile tool you can use is your own hands When using all dodgers , keep them continually on the move to prevent a hard edge of different density appearing on the print . If you have a contrasty area that you cannot tone down using ordinary burning - in techniques , try using a masked - down flashlight ( torch ) to fog the area to gray or black .
Cupped hands If you only have a small area that requires additional exposure , you can cup your hands together and expose through a small gap left between them .
Flashlight First make a cone of opaque cardboard and tape it over a flashlight . When using it during print ing make sure the light is confined only to the area . you want to tone down .
Fingers You can only use your fingers as a dodging device if the area to be shaded is near one edge . Otherwise , your hand will create unwanted shadows .
Dodgers Use a cardboard dodger for a more central area of the paper . Keep the dodger moving continuously .
Opaque shape on glass Using opaque dye or paint , you can make any shape you require on a sheet of clean , scratch - free glass .
Making black borders ▷ Often , you can intensify the visual impact of your photographs by printing in a black border . This technique is particularly effective with a light - toned image that would otherwise seem to disappear into the normal white border left by most masking frames . You can vary the thickness of the black border to suit your image , but be careful not to allow it to become too dominant .
1 Cut out an area of black cardboard the size of your print . Trim the cardboard by an amount equal to the width of the border . Place this frame over your paper and expose the image .
2 Turn the enlarger off and add the central cut - out . Make sure that it leaves an equal gap all round the print . Remove the negative and give enough exposure to fog the edges .
Sandwiching
Normally , multi - image pictures involve successive printings . By contrast , sand wiching is done by printing two or more film images simultaneously . As with regular multiple printing , you must plan the image beforehand .
Usually , you will have to shoot the elements specially as it is important that the areas in the first negative that are to contain parts of the image from the second negative are empty or at least underexposed . If you do not pre - arrange this , the image detail to be superimposed will fail to project onto the first negative . You should also make sure that the images match each other in density .
The technique does not restrict you to black and white work . Experiment with color negatives or use color slides and print on positive / positive paper . You can also combine color and black and white . A further advantage is that you can get acceptable results with underexposed negatives and overexposed slides .
Posterization
Posterization transforms an image with a normal range of tones into one with dis tinct areas of tone or color . The first step with a black and white original is to make density separations . You enlarge the negative on three sheets of high - contrast lith or line film , giving underexposure with one sheet , normal exposure with the second , and overexposure with the third . The film has to be punched with registra tion holes beforehand .
Processing will produce one sheet in which the deepest shadow areas only I will all be recorded as black , a second showing the mid - tones and shadows as black , and a third with all the tones , except for the brightest highlights , also as black . Next , using equal exposure , you contact print the film positives on three sheets of high - contrast register - punched film . You then contact print the resulting separation negatives individually using normal - grade bromide paper , and expos ing so that you get a mid - gray result .
Making a vignette ▷ Vignetting is a method of changing the outline of your picture so that it shades off to black or white . It softens the overall effect . emphasizes the center , and eliminates distracting elements in the corners . Vignettes , which were popular in 19th century portraiture , are traditionally oval . Start by making a mask . Focus the image on your masking frame , then rough out a shape on cardboard held just above the frame .
White vignette Insert paper in masking frame . Using the red filter , cut - out surround in place . Remove filter and expose for result , right .
Black vignette Vignette as before . Use red filter and remove negative . Hold dodger over image . remove filter and fog edges , as shown right .
Solarization ▷ When a negative is exposed briefly to light during development , it begins to become a positive . This effect is known as solarization . Results with today's sensitive film , especially of the color negative type , are unpre dictable , and so it is best to work from copy negatives made on a contrasty material such as Kodalith .
1 Having selected the negative you want to solarize contact print it onto a sheet of contrasty film such as Kodalith or similar .
2 Give the second sheet of film development half as long as that received by the original film . Use absorbent paper on the enlarger baseboard .
3 Place the developer tray under the enlarger . With the emulsion side up , fog the film for the same period as in step 1 .
4 Complete the develop ment and carry out the processing . When the film image is dry , cut it out . Enlarge it on bromide printing paper .
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