تقليم الصورة Cropping .. كتاب فن التحميض والطبع والتكبير

Cropping the image:

Instead of enlarging all the negative, you can enlarge only a part of it, and to choose the area that you will enlarge, you can cut two pieces of paper in the shape of the letter (L) to make a mask through which you can see the image of the contact layer or an image of all the negative dimensions You can select the area that you want to enlarge, to give you The strongest effect of this image and of the aperture and change during resizing.

For example, you can get rid of the front of an image that is blank or blunt, or the background that is inappropriate or dirty, or get rid of the electric wires that appear at the top of the image. You can also get rid of people on the outskirts of the picture who have nothing to do with it. Or modifying the composition of the image so that the main subject of the image (the center of attention) is in one of the influential areas (see the author’s book, Photography, Science and Art).

And while the dimensions of the negative are defined as either a rectangle, the ratio of its length to its width is 3: 2, or a square, we find that the dimensions of sensitive paper are usually 4: 5 or 3: 4, and thus we are forced to trim the image, and this must be calculated when photographing.

By trimming the image, we can obtain any dimensions of the image from the rectangle to the square, to the vertical or horizontal rectangle, or even the circle. For example, the image of a tall man or a skyscraper appears taller in a vertical thin rectangular image, but if their image is in a thin horizontal rectangle, they will appear less tall. .

We notice that the right rectangle focuses on and highlights the length and breadth in the plane
Vertical and this increases the thinner the rectangle. The horizontal rectangle focuses on and highlights the width and breadth in the horizontal plane. As for the square image, it does not have a special orientation, and therefore it is suitable for static and fixed subjects, such as a large mosque, church, huge building, or a classic figure such as a turbaned sheikh or a priest.

the fish .

0 And when placing the negative in the negative carrier, cover the areas that will not appear in the image with black paper so that the light falling on the base of the magnifier and outside the scope of the image does not cause light haze on the required area, which causes a reduction in contrast and making the lighting areas gray. With the variable frame type, you can easily block these areas.

Fix the perspective of the image Perspective Control:

Tilt the magnifier to fix the perspective

Often when photographing architectural subjects. Due to the height of the buildings, we have to tilt the camera upwards in order to get an image of the whole building, and in this case unless we are using a large studio camera that has the ability to move
sensitive paper

- The lens and the negative holder on the body | The camera (and to some extent the use of a shift lens with a single-lens reflex camera - see the book Photography is Science and Art), parallel vertical lines will appear converging at the top. And while the human eye perceives this convergence in the parallel lines whenever the distance (perspective) goes farther in the horizontal plane (such as railway lines, for example), the eye and behind it the brain do not feel comfortable with the convergence of the parallel vertical lines in the image.

After fixing the perspective

before fixing perspective

These perspective defects (even if the perspective is the truth) that appear in the negative can be fixed by lifting one side of the sensitive paper holder on the base of the enlarger, but often, unless the perspective difference is slight, part of the image will be blunt. This can be overcome to some extent by using a very narrow lens aperture.

In order for the whole image to appear sharp, it is necessary to use a magnifier with the possibility of tilting the negative holder and the magnifier lens, in addition to tilting the sensitive paper holder on the base of the magnifier. In this case, we must imagine lines extending to these three levels, the level of the negative holder, the level of the lens, and the level of the sensitive paper). These three lines must meet at some point, no matter where this point is. Here, the image will appear sharp on all sides without resorting to using a narrow aperture
If the sensitive paper holder is tilted too much, we will find that the part closest to the lens has been overexposed and thus appears darker. Here, the near part must be shaded for some time during the exposure to get the same exposure as the far part the lens .