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تخطيط الطباعة .. المعالجة والطباعة .. كيفية التقاط وتطوير الصور بالأبيض والأسود
PLANNING THE PRINT
In black - and - white photography , the print is the end - product , and if ; you know exactly what choices and controls are available to you in the darkroom , you will be able to shoot more effectively . Experienced black - and - white photographers visualise the final print when they are setting up a shot .
First , printing allows selective enlargement . You do not have to stay with the full negative frame , or with your original composition . Instead , you can crop the image to exclude parts that are distracting or irrelevant , and to concentrate on the main components . You can keep the same general proportions of the picture , or experiment by setting the enlarger easel to an unusual shape : for example , a long horizontal frame for a low , panoramic landscape . While it can become sloppy technique to rely always on darkroom decisions to make suc- cessful images , many people find that they can make more effective composi- tions when they have the time to consider an already - shot photograph .
Having chosen how to crop the negative , and the size of enlargement , there is then considerable choice in overall density , overall contrast , and in the rela- tive tones between different areas of the image . These are determined by the exposure , the choice of paper , and the developing technique ( strength and temperature of the developer , and how long it is allowed to act on the print ) .
So much can be done at this stage of making a photograph that there is a temptation to be less careful when shooting - to rely on the darkroom stage to make the photograph successful . This certainly works , but is rather a waste of darkroom skills , which can be used to better effect for making delicate improve- ments to a good negative .
Choosing and Using
In the print crop out this girl as only half her face appears .
Key tones are the faces and arms of the girls .
Be careful in printing not to block highlights on these areas .
The shadow detail in the eyes needs to be retained .
BELOW When compared with the low - contrast example ( bottom ) , changing to glossy paper brings a noticeable increase in contrast .
ABOVE Printing on a low - contrast , matt - surfaced paper is a sure - fire method of ensuring a low - contrast print .
LEFT Note how , when compared with the print below the shadow over the doorway in this scene has lost all detail . This has been achieved by dodging - preventing light from reaching the print .
BELOW If you are looking for stark , high contrasts , then choose a high - contrast , glossy white printing paper .
OVERALL DENSITY
This is controlled principally by altering the exposure in the enlarger and , just as there is often no single ' correct ' exposure when shooting , most negatives can be printed lighter or darker according to taste . Although either the aperture or the time can be adjusted , most darkroom workers find it easier to leave the aperture at a fixed setting and give several seconds more or less . Further density control is possible in the development but , as with film , changes here also affect contrast .
OVERALL CONTRAST
The usual method of setting this is by selecting an appropriate paper grade , but the paper texture and tint also contribute . A glossy surface ( which gives the deepest black ) and white paper stock ( which gives the brightest highlights ) help to produce the highest contrast .
LOCAL CONTRAST
This can be adjusted by allowing more light to some parts of the print and less to others .
PLANNING THE PRINT
In black - and - white photography , the print is the end - product , and if ; you know exactly what choices and controls are available to you in the darkroom , you will be able to shoot more effectively . Experienced black - and - white photographers visualise the final print when they are setting up a shot .
First , printing allows selective enlargement . You do not have to stay with the full negative frame , or with your original composition . Instead , you can crop the image to exclude parts that are distracting or irrelevant , and to concentrate on the main components . You can keep the same general proportions of the picture , or experiment by setting the enlarger easel to an unusual shape : for example , a long horizontal frame for a low , panoramic landscape . While it can become sloppy technique to rely always on darkroom decisions to make suc- cessful images , many people find that they can make more effective composi- tions when they have the time to consider an already - shot photograph .
Having chosen how to crop the negative , and the size of enlargement , there is then considerable choice in overall density , overall contrast , and in the rela- tive tones between different areas of the image . These are determined by the exposure , the choice of paper , and the developing technique ( strength and temperature of the developer , and how long it is allowed to act on the print ) .
So much can be done at this stage of making a photograph that there is a temptation to be less careful when shooting - to rely on the darkroom stage to make the photograph successful . This certainly works , but is rather a waste of darkroom skills , which can be used to better effect for making delicate improve- ments to a good negative .
Choosing and Using
In the print crop out this girl as only half her face appears .
Key tones are the faces and arms of the girls .
Be careful in printing not to block highlights on these areas .
The shadow detail in the eyes needs to be retained .
BELOW When compared with the low - contrast example ( bottom ) , changing to glossy paper brings a noticeable increase in contrast .
ABOVE Printing on a low - contrast , matt - surfaced paper is a sure - fire method of ensuring a low - contrast print .
LEFT Note how , when compared with the print below the shadow over the doorway in this scene has lost all detail . This has been achieved by dodging - preventing light from reaching the print .
BELOW If you are looking for stark , high contrasts , then choose a high - contrast , glossy white printing paper .
OVERALL DENSITY
This is controlled principally by altering the exposure in the enlarger and , just as there is often no single ' correct ' exposure when shooting , most negatives can be printed lighter or darker according to taste . Although either the aperture or the time can be adjusted , most darkroom workers find it easier to leave the aperture at a fixed setting and give several seconds more or less . Further density control is possible in the development but , as with film , changes here also affect contrast .
OVERALL CONTRAST
The usual method of setting this is by selecting an appropriate paper grade , but the paper texture and tint also contribute . A glossy surface ( which gives the deepest black ) and white paper stock ( which gives the brightest highlights ) help to produce the highest contrast .
LOCAL CONTRAST
This can be adjusted by allowing more light to some parts of the print and less to others .
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