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كتاب التصوير الفوتوغرافي
Print finishing
Toning
Toning tints your black and white print , while retaining the tonal values of the original ( see pp . 140-1 ) . The three most popular toners are selenium toner , sepia toner , and gold toner . Most toners change the normally black silver on monochrome emulsion chemically . You should therefore start with a fully pro cessed print which has a rich range of tones - weak , soft contrast prints will not give good results .
Selenium toner adds a high - quality touch to a finished print , and is favored by perfectionist print makers like Ansel Adams . You purchase selenium toner as a ready - made , concentrated solution which you mix with 10 to 20 parts of water . Start by thoroughly fixing your print , next wash it for at least one hour in running water , then immerse it in selen ium toner for 3-6 minutes . At first it will acquire a very rich black tone with a tinge of purple ( some photographers do not proceed any further ) . A full selenium toning gives deep purple tones in the blacks and grays , while leaving the high lights almost clear . After toning , wash and dry the print .
Photography has become increasingly accepted as an art medium , and a number of galleries sell photographs for perma nent display . You can make your exhibi tion prints more permanent with selenium toner . First , fix the print in three succes sive fixing baths . Next , wash it for two hours in running water , then immerse it in a hypo - eliminating bath . Finally , selen ium tone the print to add to its perma nence . You must mount archival prints on specially - prepared mounting boards .
A two - stage sulfide toner gives rich . sepia tones . Take a thoroughly fixed and washed print and bleach it until the black image disappears almost completely and only faint yellowish outlines are still visible . Wash the bleached print briefly . then immerse it in a sodium sulfide bath for 1-2 minutes . Thoroughly wash and dry the toned print .
In spite of its name , gold toner gives a cold , bluish hue to bromide prints . It suits cool , moody portraits . As usual , fix and wash the print first . You make up gold toner from two stock solutions which you keep separately and mix shortly before use . Immerse the pre - soaked print for about one minute only and wash it care fully after toning - prolonged washing may weaken bluish tones .
There are also several toning kits on the market . Although these have limited application for the serious portrait photo grapher , they are great fun to experiment with . The " Colorvir " kit not only provides a rainbow range of toners , but also has pseudo - solarization chemicals which you can use in broad daylight . All kits have detailed instructions on use .
" Colorvir " dye / toner kit Kits contain dyes , toners and pseudo - solarization chemicals , as well as detailed instructions for each possible variation . Colorvir is most successful on resin - coated papers . For the best results select prints which have a full tonal range : contrasty prints are not suitable . You can work in bright daylight , but wear gloves because some dyes tend to stain .
Improving prints
To remove white marks spot them out using watercolor or dye . Dye is preferable because it is more permanent . You can buy a set of spotting dyes in a range of hues- black , gray , brown and intermedi ate tones - to match the color of your print . With a very fine sable brush pick up a small amount of dye , then partially dry the brush on absorbent paper so that it will apply dye evenly .
Black spots on the print are a result of dust on the negative prior to processing . Remove them by very gentle , gradual scratching with a scalpel . Larger marks are not easy to scrape off , but you can remove them chemically with Farmer's Reducer . This consists of two stock solutions : Solution A - 20g of potassium ferricyanide with 1 liter of water and Solution B - pure hypo crystals dissolved in the same proportion . Mix one part of Solution A , four parts of solution B , and eight parts of water . Apply the solution with a brush , and swab the print immedi ately with a wet cotton ball to stop the action . Repeat until the spot disappears . Wash and dry the print .
You can also use very weak Farmer's Reducer , diluted with 50 parts of water , to clear highlights and make the print brighter . Immerse a wet print in the solution for 10 seconds , rocking the dish all the time , then rinse . Examine the result and repeat if necessary .
Mounting
The best method of displaying your prints is to dry mount them on thick card board . Attach a layer of dry mounting tissue ( shellac ) to the back of your print . and place the print , tissue and board in a dry mounting press . The press melts the shellac , forming a permanent bond be tween print and board . Most presses are not suitable for resin - coated papers they produce too much heat and can melt the plastic surface . There are special dry mounting presses on the market for resin - coated papers .
Retouching
To remove white marks you need a small dish for mixing watercolors or dyes , and two sable brushes ( sizes 00 and 1 ) . A scalpel blade will remove black spots .
Scratching To remove black specks , gently scratch emulsion with a sharp scalpel . Cover remainder of print with paper to protect it from greasy marks .
Spotting To hide a white mark apply dye of the correct color with a very fine sable brush . Use only a very small amount of dye at one time .
Dry mounting Dry mounting produces a permanent , professional result . The press melts the shellac adhesive contained in the special tissue which you place between the mount and the print .
1 Clean the mounting board and print .
2 Use a tacking iron to attach tissue to print back .
3 Trim tissue with a scalpel to fit print .
4 Tack corners of tissue to the mounting board .
5 Place print , board and tissue in hot press .
Cutting an overlay
A cut - out mount with beveled edges is an attractive finishing touch to a mounted photograph . Normally , it is quite difficult to cut a perfect beveled edge , but you can buy a special knife which . with a little practice . makes this task quite simple .
Spray mounting
As an alternative to dry mounting , you can use aerosol adhesive . It is cheap , convenient and quite permanent . Simply spray an even coat on the back of the print , wait a moment until the adhesive becomes tacky , then place the print on the mounting board and exert a gentle . even pressure .
الملحق ..
كتاب التصوير الفوتوغرافي
Print finishing
Toning
Toning tints your black and white print , while retaining the tonal values of the original ( see pp . 140-1 ) . The three most popular toners are selenium toner , sepia toner , and gold toner . Most toners change the normally black silver on monochrome emulsion chemically . You should therefore start with a fully pro cessed print which has a rich range of tones - weak , soft contrast prints will not give good results .
Selenium toner adds a high - quality touch to a finished print , and is favored by perfectionist print makers like Ansel Adams . You purchase selenium toner as a ready - made , concentrated solution which you mix with 10 to 20 parts of water . Start by thoroughly fixing your print , next wash it for at least one hour in running water , then immerse it in selen ium toner for 3-6 minutes . At first it will acquire a very rich black tone with a tinge of purple ( some photographers do not proceed any further ) . A full selenium toning gives deep purple tones in the blacks and grays , while leaving the high lights almost clear . After toning , wash and dry the print .
Photography has become increasingly accepted as an art medium , and a number of galleries sell photographs for perma nent display . You can make your exhibi tion prints more permanent with selenium toner . First , fix the print in three succes sive fixing baths . Next , wash it for two hours in running water , then immerse it in a hypo - eliminating bath . Finally , selen ium tone the print to add to its perma nence . You must mount archival prints on specially - prepared mounting boards .
A two - stage sulfide toner gives rich . sepia tones . Take a thoroughly fixed and washed print and bleach it until the black image disappears almost completely and only faint yellowish outlines are still visible . Wash the bleached print briefly . then immerse it in a sodium sulfide bath for 1-2 minutes . Thoroughly wash and dry the toned print .
In spite of its name , gold toner gives a cold , bluish hue to bromide prints . It suits cool , moody portraits . As usual , fix and wash the print first . You make up gold toner from two stock solutions which you keep separately and mix shortly before use . Immerse the pre - soaked print for about one minute only and wash it care fully after toning - prolonged washing may weaken bluish tones .
There are also several toning kits on the market . Although these have limited application for the serious portrait photo grapher , they are great fun to experiment with . The " Colorvir " kit not only provides a rainbow range of toners , but also has pseudo - solarization chemicals which you can use in broad daylight . All kits have detailed instructions on use .
" Colorvir " dye / toner kit Kits contain dyes , toners and pseudo - solarization chemicals , as well as detailed instructions for each possible variation . Colorvir is most successful on resin - coated papers . For the best results select prints which have a full tonal range : contrasty prints are not suitable . You can work in bright daylight , but wear gloves because some dyes tend to stain .
Improving prints
To remove white marks spot them out using watercolor or dye . Dye is preferable because it is more permanent . You can buy a set of spotting dyes in a range of hues- black , gray , brown and intermedi ate tones - to match the color of your print . With a very fine sable brush pick up a small amount of dye , then partially dry the brush on absorbent paper so that it will apply dye evenly .
Black spots on the print are a result of dust on the negative prior to processing . Remove them by very gentle , gradual scratching with a scalpel . Larger marks are not easy to scrape off , but you can remove them chemically with Farmer's Reducer . This consists of two stock solutions : Solution A - 20g of potassium ferricyanide with 1 liter of water and Solution B - pure hypo crystals dissolved in the same proportion . Mix one part of Solution A , four parts of solution B , and eight parts of water . Apply the solution with a brush , and swab the print immedi ately with a wet cotton ball to stop the action . Repeat until the spot disappears . Wash and dry the print .
You can also use very weak Farmer's Reducer , diluted with 50 parts of water , to clear highlights and make the print brighter . Immerse a wet print in the solution for 10 seconds , rocking the dish all the time , then rinse . Examine the result and repeat if necessary .
Mounting
The best method of displaying your prints is to dry mount them on thick card board . Attach a layer of dry mounting tissue ( shellac ) to the back of your print . and place the print , tissue and board in a dry mounting press . The press melts the shellac , forming a permanent bond be tween print and board . Most presses are not suitable for resin - coated papers they produce too much heat and can melt the plastic surface . There are special dry mounting presses on the market for resin - coated papers .
Retouching
To remove white marks you need a small dish for mixing watercolors or dyes , and two sable brushes ( sizes 00 and 1 ) . A scalpel blade will remove black spots .
Scratching To remove black specks , gently scratch emulsion with a sharp scalpel . Cover remainder of print with paper to protect it from greasy marks .
Spotting To hide a white mark apply dye of the correct color with a very fine sable brush . Use only a very small amount of dye at one time .
Dry mounting Dry mounting produces a permanent , professional result . The press melts the shellac adhesive contained in the special tissue which you place between the mount and the print .
1 Clean the mounting board and print .
2 Use a tacking iron to attach tissue to print back .
3 Trim tissue with a scalpel to fit print .
4 Tack corners of tissue to the mounting board .
5 Place print , board and tissue in hot press .
Cutting an overlay
A cut - out mount with beveled edges is an attractive finishing touch to a mounted photograph . Normally , it is quite difficult to cut a perfect beveled edge , but you can buy a special knife which . with a little practice . makes this task quite simple .
Spray mounting
As an alternative to dry mounting , you can use aerosol adhesive . It is cheap , convenient and quite permanent . Simply spray an even coat on the back of the print , wait a moment until the adhesive becomes tacky , then place the print on the mounting board and exert a gentle . even pressure .
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