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الطباعة النهائية .. المعالجة والطباعة .. كيفية التقاط وتطوير الصور بالأبيض والأسود
THE FINAL PRINT
With the test print complete , you can now evaluate it and choose the settings for the final print . Study the different exposures - the palest received 5sec , the next 10sec , and so on . Decide which looks best , and set the enlarger timer to this . Also check the test print for dust marks , and if necessary clean the negative again ( but do not simply blow air into the enlarger head ; that will throw up hidden dust ) .
At this point you may also decide that some changes are needed to the overall contrast and to local density . Contrast changes are made by choosing a differ- ent grade ( or a different filter if you are using variable - contrast paper ) , but there may be a difference in speed between them . If you change from grade 2 to grade 3 , for example , the print may need less exposure . The difference will not be great , so it may be sufficient to take a small cut piece of paper and make a single exposure as a test .
If some areas of the print seem to need more or less exposure , you will need to use some of the print controls described earlier . Even so , until you have the experience to be able to predict the exact amount of shading and burning - in , it will probably be easier to make one straight , unmanipulated first print . Then you can examine this to calculate variations in exposure for a later print .
MAKING THE FINAL PRINT
1. Prepare the chemicals as before ( although normally , this stage of final printing follows the test print ) .
2. With the safelight on and the room light off , check the composition and focus once more particularly if you have removed the negative carrier to remove any more dust .
3. Remove a sheet of paper from its box and insert it in the easel .
4. Make the exposure to the chosen time .
5. Process the paper as before .
Negative carriers
Glassless negative carriers ( TOP ) are quite adequate for 35mm film but larger formats need glass ( ABOVE ) to hold them flat .
LEFT The final print .
The Final Print - Procedure
1. Check that the three chemicals - developer , stop bath and fixer- are in the right order , and that the developer is at 20 ° C ( 68 ° F ) . Make the exposure .
2. Slide the paper , emulsion side down , into the developer tray . Press it down with the developer tongs so that it is fully immersed .
3. Turn the paper over so that the emulsion side is facing up and you can see the developing image .
4. Agitate the solution by rocking the tray gently . This ensures that the paper receives eventlevelopment . Develop for 90 seconds .
5. Lift the paper out of the developer tray with the tongs and allow excess solution to drip off . Transfer the paper to the stop bath , take care not to dip the develop tongs into the stop bath . Rock the tray as during development .
6. After 10 secs , lift the print out of the stop bath and drain . Transfer to the fixer , rocking the tray at intervals . After one or two minutes , you can switch on the room lights and examine the print . Leave it in the fixer for at least 10 mins , but no more than 20 mins .
7. Wash the print in running water to remove all traces of the chemicals ; washing time varies according to paper manufacturer's recommendations . If the paper is resin - coated , it needs washing for only 4 mins ; paper - based papers need about 15 mins .
8. Put the print against a smooth flat surface , and wipe off water drops .
Drying the Print
Resin - coated prints . Dry them flat without using a dryer . Air - drying print racks are ideal , as water cannot get trapped underneath the prints .
Paper - based prints . These should be dried in a heated dryer ( a flatbed machine is normal ) . Glossy prints can be glazed by being placed face down on the dryer's metal plate . The majority of professional photographers use glossy paper unglazed ( ie dried face up ) .
THE FINAL PRINT
With the test print complete , you can now evaluate it and choose the settings for the final print . Study the different exposures - the palest received 5sec , the next 10sec , and so on . Decide which looks best , and set the enlarger timer to this . Also check the test print for dust marks , and if necessary clean the negative again ( but do not simply blow air into the enlarger head ; that will throw up hidden dust ) .
At this point you may also decide that some changes are needed to the overall contrast and to local density . Contrast changes are made by choosing a differ- ent grade ( or a different filter if you are using variable - contrast paper ) , but there may be a difference in speed between them . If you change from grade 2 to grade 3 , for example , the print may need less exposure . The difference will not be great , so it may be sufficient to take a small cut piece of paper and make a single exposure as a test .
If some areas of the print seem to need more or less exposure , you will need to use some of the print controls described earlier . Even so , until you have the experience to be able to predict the exact amount of shading and burning - in , it will probably be easier to make one straight , unmanipulated first print . Then you can examine this to calculate variations in exposure for a later print .
MAKING THE FINAL PRINT
1. Prepare the chemicals as before ( although normally , this stage of final printing follows the test print ) .
2. With the safelight on and the room light off , check the composition and focus once more particularly if you have removed the negative carrier to remove any more dust .
3. Remove a sheet of paper from its box and insert it in the easel .
4. Make the exposure to the chosen time .
5. Process the paper as before .
Negative carriers
Glassless negative carriers ( TOP ) are quite adequate for 35mm film but larger formats need glass ( ABOVE ) to hold them flat .
LEFT The final print .
The Final Print - Procedure
1. Check that the three chemicals - developer , stop bath and fixer- are in the right order , and that the developer is at 20 ° C ( 68 ° F ) . Make the exposure .
2. Slide the paper , emulsion side down , into the developer tray . Press it down with the developer tongs so that it is fully immersed .
3. Turn the paper over so that the emulsion side is facing up and you can see the developing image .
4. Agitate the solution by rocking the tray gently . This ensures that the paper receives eventlevelopment . Develop for 90 seconds .
5. Lift the paper out of the developer tray with the tongs and allow excess solution to drip off . Transfer the paper to the stop bath , take care not to dip the develop tongs into the stop bath . Rock the tray as during development .
6. After 10 secs , lift the print out of the stop bath and drain . Transfer to the fixer , rocking the tray at intervals . After one or two minutes , you can switch on the room lights and examine the print . Leave it in the fixer for at least 10 mins , but no more than 20 mins .
7. Wash the print in running water to remove all traces of the chemicals ; washing time varies according to paper manufacturer's recommendations . If the paper is resin - coated , it needs washing for only 4 mins ; paper - based papers need about 15 mins .
8. Put the print against a smooth flat surface , and wipe off water drops .
Drying the Print
Resin - coated prints . Dry them flat without using a dryer . Air - drying print racks are ideal , as water cannot get trapped underneath the prints .
Paper - based prints . These should be dried in a heated dryer ( a flatbed machine is normal ) . Glossy prints can be glazed by being placed face down on the dryer's metal plate . The majority of professional photographers use glossy paper unglazed ( ie dried face up ) .
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