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تقنيات الغرف المظلمة المتقدمة .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
ADVANCED DARKROOM TECHNIQUES
STEP 1 : Controlling the negative
STEP 2 : Manipulating the print
STEP 3 : Presenting prints
This section , like the last , covers more advanced techniques in black and white photography . It is concerned with dark- room work and other manipulations of the image after exposure , and includes ways of producing unusual results from normal negatives . You should already be doing your own black and white processing and printing - you need little more than the equipment introduced in that section of the book . It also helps if you have taken quite a number of pictures , perhaps by working through the first picture building section of the book .
Organization of the section
Much of this section deals with solving particular prob- lems on the negative or print so that you can get the final result you want . The first of the two main Steps explains the ways that film , exposure , and development interrelate . It shows you how , by altering one factor or another , you can produce a negative with better printing characteristics . It is helpful to read through this Step first , as the information given is fundamental to controlling the quality of your negatives .
The second Step covers a variety of different processes inside and outside the darkroom that alter the final print . Each page here can be regarded as a starting point for visual experiments . It is advisable to read through the whole Step to see its general scope , before you begin any particular technique . At this point it helps to have a wide range of existing negatives from which you can make experimental prints . Some of the diagrams and illustrations show the results of manipulating 35 mm negatives , but exactly the same principles apply to negatives in other formats . The final Step shows you some of the ways you can mount and present your final print .
For the first Step no new equipment is needed . However , you will want some new materials - different developers , normal contrast and line sheet film , and a few chemicals . A good photographic store will be able to supply these . Most of the solutions can either be bought in ready - to - use packs or are simple to make up from basic chemicals formulae and mixing advice are shown on page 213 . Don't be put off by the theoretical diagrams . You will find they are really quite straightforward , and all have a direct practical value . Most of the techniques here are only extensions of methods you have already learned .
Film control
Until now you have been working with one general- purpose film and a fine grain or universal developer . The effect of using films of slower or faster speed ratings was discussed in a general way on page 38 , and it may help to re - read this and what happens during processing ( see pp . 70 , 73 ) , before you start . Using different fast or slow films requires different developers . Generally these are chosen to enhance the particular qualities of the film itself perhaps to create maximum detail and sharpness on the negative , or effectively to increase the speed of a fast film still further .
Your choice of film and developer depends upon your type of subject , practical problems such as lighting , move- ment , and depth of field , and finally the type of image you want to produce . Perhaps the subject is a still - life , or a landscape where you want to show finest detail . To take the picture , you might have used the camera mounted on a tripod . To give a crisp resolution , improve contrast , and minimize grain on the image you should use a slow film and process this in a high acutance developer .
- The opposite combination ultra high speed film in a -speed enhancing developer - is ideal for photography in very dim lighting . It is particularly useful when , for example , you have to use a relatively short exposure , when the camera is hand - held or you want a large depth of field ( and therefore want to use a small aperture ) . Again , you might choose this same combination for a still - life or portrait to get a strong grainy pattern , destroying fine detail and giving an impressionistic effect .
Even with a particular film and developer combination you might still decide to set a higher or lower ASA setting on your meter , under- or overexposing the film slightly and compensating in the development . For example , if the subject is very contrasty , underdeveloping will help to give normal contrast negatives . To prepare for this you would slightly overexpose , so that the image on the negative is not too thin . ( Always think of development as mostly giving contrast , exposure as mostly giving density particularly shadow density . )
These sort of manipulations can really only be done with the complete film . You have to decide at the outset to treat all twenty or thirty - six exposures in the same way . But after processing , individual negatives ( as well as complete films ) can be given certain treatments to make them darker or lighter , or changed in contrast . The results are not as good as altering the exposure and development , but they do help to rectify mistakes . For example , you might discover that a negative turns out thin and gray , and will not print well . Intensification or reduction , and modifica- tions to the enlarger light , can then enable you to obtain a more acceptable final print .
Print manipulation
In the second Step of this section eleven techniques for manipulating prints are explained . These have been chosen partly for their general usefulness , such as printing borders around your prints , and partly to suggest new areas for you to experiment in , without being too com- plicated or unnecessarily time - consuming .
Double printing , for example , allows you to combine two or more images together on the same print to construct realistically new and unusual images . This technique , with montage , produces results quite different from normal photographic imagery . You can combine negatives and positives in the same picture , present things in bizarre relationships , and overturn normal perspective . Here it is worth looking ahead to the work of Jerry Uelsmann on pages 200-1 . Even though you may not want to use such extreme manipulations at the moment , it is worth knowing what is possible . On some future occasion , one of these techniques might provide the ideal way of making the statement you want with a particular subject .
Multiple negative printing , and montage , have a long tradition in photography . Some of the most influential photographers , who dominated exhibitions and clubs in the late nineteenth century , literally constructed images piece - by - piece . Aping the painter , they would compose and photograph figures individually , then find or construct a suitable background setting and photograph this too . Unwanted parts of each negative were painted out with opaque pigment and the separate negatives were carefully positioned and printed in sequence on to one sheet of paper .
All this technical skill was directed toward a totally accurate re - creation of a scene , just as sketches are incorporated into a painting . Although we often regard this work as contrived and artificial , it would probably have been unacceptable at the time for photographers to make the more surrealistic or graphic images that we are accustomed to seeing today .
Photograms the direct printing of objects placed on light - sensitive material - is another " open - ended " , creative printing technique . It is an area which requires no special equipment and gives quick results . No two photograms are ever quite the same . There is hardly any limit here to the way shadows can be cast on to printing paper from three - dimensional and flat objects . You can light them from above or obliquely , or shift or remove them after part of the exposure . The photograms by Man Ray or Laszlo Moholy - Nagy illustrate some of the possibilities available .
Many other special techniques are possible in printing . Some processes are perhaps more complicated than the final results justify . Two we have chosen here , bas - relief and solarization , are not difficult to undertake . They give strange results and teach you quite a lot about the way positive and negative images relate . You will need the 5x4 ins sheet film specified , and an appropriate safelight . normally deep red ( orthochromatic ) . Panchromatic films . can be used for these processes instead , but since you have to handle them in total darkness or under an almost invisible dark green safelight the work is more difficult .
We also look at some manipulations which can be carried out in normal room lighting after the darkroom side of printing has been completed . Here you might decide to change the image color , either completely or just in certain areas . Backgrounds can be bleached away so that objects appear isolated against white paper . You can also lighten local areas of the print using a weak reducing solution to get similar effects to shading or dodging during the printing exposure .
The final Step in the section deals with presentation of your final work . Mounting really does make a big difference to the finished appearance of your prints . The last three pages 138-40 apply equally to the presentation of black and white and color prints . At this stage you can make your final decision on how and where to crop the composition . Two cards cut as " L " shapes ( as used in a miniature form for contact print assessment on page 79 ) will help . After mounting you can spot and retouch any blemishes as explained on page 88. You might finally frame the picture , with or without a mat surround .
Working through this section on darkroom techniques will improve your technical understanding and control of your final image . If you know the sort of images each process makes possible . you can plan everything right from the start , beginning with lighting , viewpoint , type of film and exposure , and leading to processing and printing .
ADVANCED DARKROOM TECHNIQUES
STEP 1 : Controlling the negative
STEP 2 : Manipulating the print
STEP 3 : Presenting prints
This section , like the last , covers more advanced techniques in black and white photography . It is concerned with dark- room work and other manipulations of the image after exposure , and includes ways of producing unusual results from normal negatives . You should already be doing your own black and white processing and printing - you need little more than the equipment introduced in that section of the book . It also helps if you have taken quite a number of pictures , perhaps by working through the first picture building section of the book .
Organization of the section
Much of this section deals with solving particular prob- lems on the negative or print so that you can get the final result you want . The first of the two main Steps explains the ways that film , exposure , and development interrelate . It shows you how , by altering one factor or another , you can produce a negative with better printing characteristics . It is helpful to read through this Step first , as the information given is fundamental to controlling the quality of your negatives .
The second Step covers a variety of different processes inside and outside the darkroom that alter the final print . Each page here can be regarded as a starting point for visual experiments . It is advisable to read through the whole Step to see its general scope , before you begin any particular technique . At this point it helps to have a wide range of existing negatives from which you can make experimental prints . Some of the diagrams and illustrations show the results of manipulating 35 mm negatives , but exactly the same principles apply to negatives in other formats . The final Step shows you some of the ways you can mount and present your final print .
For the first Step no new equipment is needed . However , you will want some new materials - different developers , normal contrast and line sheet film , and a few chemicals . A good photographic store will be able to supply these . Most of the solutions can either be bought in ready - to - use packs or are simple to make up from basic chemicals formulae and mixing advice are shown on page 213 . Don't be put off by the theoretical diagrams . You will find they are really quite straightforward , and all have a direct practical value . Most of the techniques here are only extensions of methods you have already learned .
Film control
Until now you have been working with one general- purpose film and a fine grain or universal developer . The effect of using films of slower or faster speed ratings was discussed in a general way on page 38 , and it may help to re - read this and what happens during processing ( see pp . 70 , 73 ) , before you start . Using different fast or slow films requires different developers . Generally these are chosen to enhance the particular qualities of the film itself perhaps to create maximum detail and sharpness on the negative , or effectively to increase the speed of a fast film still further .
Your choice of film and developer depends upon your type of subject , practical problems such as lighting , move- ment , and depth of field , and finally the type of image you want to produce . Perhaps the subject is a still - life , or a landscape where you want to show finest detail . To take the picture , you might have used the camera mounted on a tripod . To give a crisp resolution , improve contrast , and minimize grain on the image you should use a slow film and process this in a high acutance developer .
- The opposite combination ultra high speed film in a -speed enhancing developer - is ideal for photography in very dim lighting . It is particularly useful when , for example , you have to use a relatively short exposure , when the camera is hand - held or you want a large depth of field ( and therefore want to use a small aperture ) . Again , you might choose this same combination for a still - life or portrait to get a strong grainy pattern , destroying fine detail and giving an impressionistic effect .
Even with a particular film and developer combination you might still decide to set a higher or lower ASA setting on your meter , under- or overexposing the film slightly and compensating in the development . For example , if the subject is very contrasty , underdeveloping will help to give normal contrast negatives . To prepare for this you would slightly overexpose , so that the image on the negative is not too thin . ( Always think of development as mostly giving contrast , exposure as mostly giving density particularly shadow density . )
These sort of manipulations can really only be done with the complete film . You have to decide at the outset to treat all twenty or thirty - six exposures in the same way . But after processing , individual negatives ( as well as complete films ) can be given certain treatments to make them darker or lighter , or changed in contrast . The results are not as good as altering the exposure and development , but they do help to rectify mistakes . For example , you might discover that a negative turns out thin and gray , and will not print well . Intensification or reduction , and modifica- tions to the enlarger light , can then enable you to obtain a more acceptable final print .
Print manipulation
In the second Step of this section eleven techniques for manipulating prints are explained . These have been chosen partly for their general usefulness , such as printing borders around your prints , and partly to suggest new areas for you to experiment in , without being too com- plicated or unnecessarily time - consuming .
Double printing , for example , allows you to combine two or more images together on the same print to construct realistically new and unusual images . This technique , with montage , produces results quite different from normal photographic imagery . You can combine negatives and positives in the same picture , present things in bizarre relationships , and overturn normal perspective . Here it is worth looking ahead to the work of Jerry Uelsmann on pages 200-1 . Even though you may not want to use such extreme manipulations at the moment , it is worth knowing what is possible . On some future occasion , one of these techniques might provide the ideal way of making the statement you want with a particular subject .
Multiple negative printing , and montage , have a long tradition in photography . Some of the most influential photographers , who dominated exhibitions and clubs in the late nineteenth century , literally constructed images piece - by - piece . Aping the painter , they would compose and photograph figures individually , then find or construct a suitable background setting and photograph this too . Unwanted parts of each negative were painted out with opaque pigment and the separate negatives were carefully positioned and printed in sequence on to one sheet of paper .
All this technical skill was directed toward a totally accurate re - creation of a scene , just as sketches are incorporated into a painting . Although we often regard this work as contrived and artificial , it would probably have been unacceptable at the time for photographers to make the more surrealistic or graphic images that we are accustomed to seeing today .
Photograms the direct printing of objects placed on light - sensitive material - is another " open - ended " , creative printing technique . It is an area which requires no special equipment and gives quick results . No two photograms are ever quite the same . There is hardly any limit here to the way shadows can be cast on to printing paper from three - dimensional and flat objects . You can light them from above or obliquely , or shift or remove them after part of the exposure . The photograms by Man Ray or Laszlo Moholy - Nagy illustrate some of the possibilities available .
Many other special techniques are possible in printing . Some processes are perhaps more complicated than the final results justify . Two we have chosen here , bas - relief and solarization , are not difficult to undertake . They give strange results and teach you quite a lot about the way positive and negative images relate . You will need the 5x4 ins sheet film specified , and an appropriate safelight . normally deep red ( orthochromatic ) . Panchromatic films . can be used for these processes instead , but since you have to handle them in total darkness or under an almost invisible dark green safelight the work is more difficult .
We also look at some manipulations which can be carried out in normal room lighting after the darkroom side of printing has been completed . Here you might decide to change the image color , either completely or just in certain areas . Backgrounds can be bleached away so that objects appear isolated against white paper . You can also lighten local areas of the print using a weak reducing solution to get similar effects to shading or dodging during the printing exposure .
The final Step in the section deals with presentation of your final work . Mounting really does make a big difference to the finished appearance of your prints . The last three pages 138-40 apply equally to the presentation of black and white and color prints . At this stage you can make your final decision on how and where to crop the composition . Two cards cut as " L " shapes ( as used in a miniature form for contact print assessment on page 79 ) will help . After mounting you can spot and retouch any blemishes as explained on page 88. You might finally frame the picture , with or without a mat surround .
Working through this section on darkroom techniques will improve your technical understanding and control of your final image . If you know the sort of images each process makes possible . you can plan everything right from the start , beginning with lighting , viewpoint , type of film and exposure , and leading to processing and printing .
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