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التحكم في النغمات والألوان .. الطباعة .. كيفية التقاط وتطوير الصور الملونة
CONTROLLING TONES & COLOURS
By following the steps so far , you should be able to reach the point of having a print that is a close approximation to either the slide , or to what you consider the right treatment for the negative . There is , however , quite a bit more that can be done to control the final appearance of the print , and the techniques allow you considerable room for experiment . There is not the same degree of flexibility as in printing black - and - white photographs , but enough to be useful .
A high - contrast image is one of the classic problems in photography . The subject of the image is interesting , the view well - composed , but despite care in selecting the exposure when shooting , there is an insurmountable difference between the brightness of important parts of the scene . If the bright areas are rendered correctly , the shadows may be too dark , and conceal needed detail . Conversely , the right exposure of the shadows gives washed - out highlights . With colour printing there is , unfortunately , no choice of contrast grade in the paper , as there is for black - and - white . The answer is to give different exposure during the enlargement to different parts of the image .
There are two procedures : burning - in to give extra exposure to a selected area of the print ; and dodging , to hold back the light from another area . In a complicated print , you may need to do both , in addition to a basic overall exposure for the rest of the image , but usually it is a matter of selecting one of the two techniques .
BURNING - IN
To do this , you will need to restrict the light from the enlarger head in the form of a hole , the shape of which should correspond with the area you want to affect . Either cut a hole in a sheet of black card and suspend this over the print , or cup your hands for a similar effect . It is important to move the hole around constantly , to prevent the edges of the extra exposure being too obvious on the print . When printing a negative , this technique will darken an area ; when printing a slide , it will lighten an area .
Printing - in with hands
For shading broad areas and for printing - in , hands are sometimes the most useful of all tools . By flexing and altering their shape as well as moving them over the print , complex and subtle results are possible ( 1 , 2 ) . When printing - in , be careful not to allow light to spill around the edges of the hands - raise them to cover a larger area or surround the edges of the paper with black card ( 3 , 4 ) . Burning - in is often done with cupped hands , in which case a foot switch is needed to operate the enlarger light .
BELOW RIGHT The contrast range of a colour print can be adjusted using two techniques ; dodging and burning - in . In this scene , the brightness of the sky has been lessened at the very top of the frame by preventing light from reaching the Cibachrome paper .
DODGING
In dodging , you block the light reaching an area . With a negative , this lightens the area ; with a slide , it darkens it . The tools are shapes cut from black card stuck onto the ends of wire ( proprietary tools are also available ) . For larger areas , you can use your hand , bunched into the appropriate shape .
LOCAL COLOUR CONTROL
Once you have mastered the skills of dodging and burning - in , try a similar procedure with colour . The colour ring - around shown on page 119 may indi- cate that a selected area of the print could do with a slight colour change ; for instance , you might want to increase the warmth of an evening sky . To do this , use a filter in the same way that you would use a dodging tool . When printing a negative , use the complementary colour to the one you want to introduce in the image ; with a slide , use the same colour of filter .
ABOVE For a smaller area , a dodging tool is used . This can be shaped to fit the exact area to be dodged . Hold it well above the print to cast an out - of - focus shadow and keep it moving .
ABOVE Moving your hand continuously will give a soft edge to the shading .
CONTROLLING TONES & COLOURS
By following the steps so far , you should be able to reach the point of having a print that is a close approximation to either the slide , or to what you consider the right treatment for the negative . There is , however , quite a bit more that can be done to control the final appearance of the print , and the techniques allow you considerable room for experiment . There is not the same degree of flexibility as in printing black - and - white photographs , but enough to be useful .
A high - contrast image is one of the classic problems in photography . The subject of the image is interesting , the view well - composed , but despite care in selecting the exposure when shooting , there is an insurmountable difference between the brightness of important parts of the scene . If the bright areas are rendered correctly , the shadows may be too dark , and conceal needed detail . Conversely , the right exposure of the shadows gives washed - out highlights . With colour printing there is , unfortunately , no choice of contrast grade in the paper , as there is for black - and - white . The answer is to give different exposure during the enlargement to different parts of the image .
There are two procedures : burning - in to give extra exposure to a selected area of the print ; and dodging , to hold back the light from another area . In a complicated print , you may need to do both , in addition to a basic overall exposure for the rest of the image , but usually it is a matter of selecting one of the two techniques .
BURNING - IN
To do this , you will need to restrict the light from the enlarger head in the form of a hole , the shape of which should correspond with the area you want to affect . Either cut a hole in a sheet of black card and suspend this over the print , or cup your hands for a similar effect . It is important to move the hole around constantly , to prevent the edges of the extra exposure being too obvious on the print . When printing a negative , this technique will darken an area ; when printing a slide , it will lighten an area .
Printing - in with hands
For shading broad areas and for printing - in , hands are sometimes the most useful of all tools . By flexing and altering their shape as well as moving them over the print , complex and subtle results are possible ( 1 , 2 ) . When printing - in , be careful not to allow light to spill around the edges of the hands - raise them to cover a larger area or surround the edges of the paper with black card ( 3 , 4 ) . Burning - in is often done with cupped hands , in which case a foot switch is needed to operate the enlarger light .
BELOW RIGHT The contrast range of a colour print can be adjusted using two techniques ; dodging and burning - in . In this scene , the brightness of the sky has been lessened at the very top of the frame by preventing light from reaching the Cibachrome paper .
DODGING
In dodging , you block the light reaching an area . With a negative , this lightens the area ; with a slide , it darkens it . The tools are shapes cut from black card stuck onto the ends of wire ( proprietary tools are also available ) . For larger areas , you can use your hand , bunched into the appropriate shape .
LOCAL COLOUR CONTROL
Once you have mastered the skills of dodging and burning - in , try a similar procedure with colour . The colour ring - around shown on page 119 may indi- cate that a selected area of the print could do with a slight colour change ; for instance , you might want to increase the warmth of an evening sky . To do this , use a filter in the same way that you would use a dodging tool . When printing a negative , use the complementary colour to the one you want to introduce in the image ; with a slide , use the same colour of filter .
ABOVE For a smaller area , a dodging tool is used . This can be shaped to fit the exact area to be dodged . Hold it well above the print to cast an out - of - focus shadow and keep it moving .
ABOVE Moving your hand continuously will give a soft edge to the shading .
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