تويت
ملخص المعالجة والطباعة بالأبيض والأسود .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
SUMMARY Black and white processing and printing
Processing
Film processing is deceptively simple once you have mastered loading the developing tank spool , but take care over the factors that control results - time , temperature , agitation , and solution condition . Even at the washing or drying stage your processed film can be spoiled by careless handling . Cut up your strips of negatives and protect them as soon as possible .
Negatives
Negative quality determines final print quality . You cannot make a print with good detail and tone values if these do not first exist on the negative Learn to assess your films for technical errors . It may be better to re - shoot the picture than struggle for hours to print a second - rate negative .
Try to contact print all your negatives . Then you can study and mark up those prints for enlarging without further handling the film .
Darkroom and Printing
For contact printing and enlarging you need a darkroom it with wet and dry areas clearly divided , and keep it clean .
Your enlarger must give even lighting and have a good lens .
Standardize your print processing . Control the results by altering exposure time or con- trast grade of paper . The print needs thorough fixing and washing ; this causes no visible change but greatly affects the permanence of your picture .
Organize your test strip intelligently to give maximum exposure information , and process it with the same care as a full print .
Decide the best contrast grade to suit your picture . Usually flat ( low contrast ) negatives . need hard paper , contrasty ( high contrast ) negatives , soft grade paper .
Most print faults are caused by careless paper handling , fogging with light , and errors in focusing , exposure , or choice of paper grade . Make sure that the negative is not the real cause of the trouble .
Practice local control of print density by shading or printing - in . This is a really useful technique because cannot fully control lighting at the time of exposure . Enlarging skills improve with practice .
Don't be in too great a hurry give yourself time to experiment and produce the best possible print from one negative before changing to the next .
Finish off prints by careful drying or glazing , and finally spot in or knife out blemishes . If most of your prints require this . it suggests mishandling of negatives .
SUMMARY Black and white processing and printing
Processing
Film processing is deceptively simple once you have mastered loading the developing tank spool , but take care over the factors that control results - time , temperature , agitation , and solution condition . Even at the washing or drying stage your processed film can be spoiled by careless handling . Cut up your strips of negatives and protect them as soon as possible .
Negatives
Negative quality determines final print quality . You cannot make a print with good detail and tone values if these do not first exist on the negative Learn to assess your films for technical errors . It may be better to re - shoot the picture than struggle for hours to print a second - rate negative .
Try to contact print all your negatives . Then you can study and mark up those prints for enlarging without further handling the film .
Darkroom and Printing
For contact printing and enlarging you need a darkroom it with wet and dry areas clearly divided , and keep it clean .
Your enlarger must give even lighting and have a good lens .
Standardize your print processing . Control the results by altering exposure time or con- trast grade of paper . The print needs thorough fixing and washing ; this causes no visible change but greatly affects the permanence of your picture .
Organize your test strip intelligently to give maximum exposure information , and process it with the same care as a full print .
Decide the best contrast grade to suit your picture . Usually flat ( low contrast ) negatives . need hard paper , contrasty ( high contrast ) negatives , soft grade paper .
Most print faults are caused by careless paper handling , fogging with light , and errors in focusing , exposure , or choice of paper grade . Make sure that the negative is not the real cause of the trouble .
Practice local control of print density by shading or printing - in . This is a really useful technique because cannot fully control lighting at the time of exposure . Enlarging skills improve with practice .
Don't be in too great a hurry give yourself time to experiment and produce the best possible print from one negative before changing to the next .
Finish off prints by careful drying or glazing , and finally spot in or knife out blemishes . If most of your prints require this . it suggests mishandling of negatives .
تعليق