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03/31/2019
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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION. |
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PHOTOGRAPHIC PRINT MAKING sa ALBUMEN PRINTING (PHOTOGRAPHIC) sa BLUEPRINTING sa BROMOIL PRINTING (PHOTOGRAPHIC) sa CARBON PRINTING (PHOTOGRAPHIC) sa CARBRO PRINTING (PHOTOGRAPHIC) sa CONTACT & PROOF-SHEET PRINTING (PHOTOGRAPHIC) sa DIAZO & DIAZOTYPE sa GUM BICHROMATE PRINTING (PHOTOGRAPHIC) sa INKJET PRINTING sa PHOTODRAWING sa PHOTOGRAM sa PHOTOGRAPHIC ENLARGER sa PHOTOGRAPHIC PAPER sa PHOTOGRAPHIC PRINT MAKING -- BURNING & DODGING sa PHOTOGRAPHIC PRINT MAKING (COLOR) sa PHOTOGRAPHIC PRINT MAKING (DIGITAL) sa PHOTOGRAPHIC PRINT PROCESSING sa PLATINUM PRINTING (PHOTOGRAPHIC) sa POSTERIZATION (PHOTOGRAPHIC) sa SALT PRINTING (PHOTOGRAPHIC) sa SOLARIZATION (PHOTOGRAPHIC) sa TEST STRIP (PHOTOGRAPHIC) sa TRANSPARENCY PRINT MAKING sa VAN DYKE BROWN PRINTING (PHOTOGRAPHIC) x PHOTOGRAPHIC ENLARGING x PRINT MAKING (PHOTOGRAPHIC) xx PHOTOGRAPHY Make your own black-and-white prints of astrophotos. Tips on equipment, supplies, burning and dodging, etc. Six ways to better astrophotography print making in your darkroom. Alternative processes. SPECIAL SECTION provides an introduction to alternatives in the making of photographic prints. Topics covered include platinum/palladium, salted paper, gum dichromate, the Photographer's Formulary company, cyanotypes, and handmade printing papers. Techniques for minimizing grain in large B&W prints. Collotypes. Rediscovering the lost process. A contemporary procedure for making collotypes (also known as: albertype, artotype, autogravure, autotype H, heliotype, lichtduck, photo-collographic, photogelatin, phototypie, phototype, phototint, and photolithographie). Finding the "basic exposure time" which provides the best possible print (before any dodging or burning-in). Understanding and learning to express print exposures in terms of f-stops. Making it big. Tips on making presentation prints. Formulas for determining the "basic exposure time" for an image size larger than 8"x10". Printing superimposed identical images to reduce the visibility of grain when printing from infrared negatives. Includes instructions for making and using a double-decker easel. Becoming a better printmaker. Advice on equipment, materials, and judgement. Controlling the exposure and developoment printing variables in the black-and-white darkroom. Darkroom 101. Lesson 2. Brightness vs. contrast in a black-and-white print. Understanding how contrast filters, paper grade, and exposure time alter contrast and brightness. Suggested form layout for a print record sheet. David Vestal's Book of Craft. Chapter 10. Quality control. Start to learn how to control the quality of pictures by modifying the standard exposure, development or printing rules. David Vestal's Book of Craft. Chapter 13. How to feel a print. There are 9 tonal alternatives in photographic printing. Three each of normal, low and higher contrast, each with a light, medium and dark version. How to make your own set of prints and determine the best one for each picture. Tips from a news photographer on speedy processing of film, selection of images to print and rapid print making. The Zone VI Workshop. The fine print. A detailed description of the production of a fine quality black and white print. David Vestal's Book of Craft. Chapter 17. How to fine-tune print contrast through exposure, development, flashing, bleaching, toning and other methods. A darkroom record form, called the "photolab Record" is an 8-1/2"x11" piece of paper, with 3 holes for a notebook. On it you record the negative, film, exposure, paper, processing info, filters and comments needed to produce that good print. Basic printing technique. Reprint of a handwritten article which appeared in Novak's Photographic Magazine. Tips on preparing a photographic print best suited for reproduction in newspapers and magazines. Art of darkness. Some tools and techniques of print control including dodging, bleaching, darkening and paper selection. Art of darkness. Printing with style. Creating prints which understand and convey the spirit (intent) of the image. How to make high contrast prints using Kodalith film and other methods. A philosophy of printing. It's the conditions you set up that predetermine great prints. Suggested darkroom technique and proceedures and the correct "frame of mind" to produce good black-and-white prints. Excerpts from the book HIGH CONTRAST by J. Seeley. The book is an attempt to set down all the author knows about producing good high contrast photographs. Excerpt covers making high contrast prints from continuous-tone negatives. Fine tuning the print. How to produce a high-quality B&W photographic print. Includes the formula for Beers Solution paper developer. How to print photographic images on fabric. Master printing. Lesson 4. How to fine tune the final print. Printing to perfection. Part 1. How to use a reference negative and reference print to aid you in making better black-and-white prints. Includes tips on correct exposure and development of B&W negatives. Printing to perfection. Part 2. A discussion of high-quality black-and-white printing. Printing to perfection. Part 3. A look at problems caused by enlarging lens flare, unsafe safe light, and faulty processing. Printing to perfection. Part 4. Edge signing, producing identical negatives, development tests, and printing a difficult negative. Achieving high quality black-and-white prints. Tones of a print. Author of the book "Zone VI Workshop" discusses the problems of achieving a wide range of tones in a black-and-white print. Remodeling paper curves. Altering local contrast in black-and-white prints. Using waterbath development and/or pre-exposure to control contrast. Better black-and-white prints from color negatives. New panchromatic papers and a knowledge about filters make the job easier. Comments on processing Ilford XP1 (a dye-forming b&w film) and making prints on color paper using ordinary minilab equipment. How to determine the appropriate-size for a photographic print (enlargement) before you make a display print. Fighting photo flaws. How to prevent or correct problems in photographic prints, negatives, mount boards, etc. Tips on making a simple series of trial-and-error tests to match any graded black-and-white paper to your light source/paper combination. Improving black-and-white shadow detail. Non-image light in printing. Reducing flare light or other non-image light to gain local contrast in the highlight end of the scale. A look at both good and bad effects of non-image forming light when printing. Crafting fine black-and-white prints. Controlling tone reproduction. Film development versus paper grades. The difference between camera and enlarger diffusion is explained, along with working methods for darkroom diffusion. Masking black-and-white negatives. Part 1. Three contrast reducing masks. Includes plans for building a contact printer-registration carrier. Masking black-and-white negatives. Part 2. Improving shadow contrast. Masking black and white negatives. Part 3. The highlight mask. Techniques for making black borders around prints. Tips on making prints from color negatives using panchromatic black-and-white enlarging paper. Tips on determining exposure time changes when making changes in enlarger head height. Confessions of a color printer. An abbreviated technical history of research which led to the Bertram W. Miller method of color printing. Part 5. Applying sensitometry to black-and-white printing. Process-control techniques to help achieve black-and-white print consistency. Ralph Steiner (1899-1986) on brilliancing. Two highlighting techniques that increase the separation between light tones in black-and-white prints. (1) Brilliancing by chemical reduction. (2) Brilliancing with copy film. A review of the major light sensitive, non-silver halide metallic salt imaging systems (iron-, chromium-, lead-, thallium-, and mercury-based) used to make photographic prints. A suggested approach to efficient black-and-white printing. Pre-exposing (fogging) film and paper to achieve precision contrast control. Printing black-and-white negatives on color paper. Photographic principles. Part 2. Six principles that guide black-and-white printing (studying prints, contrast control, dodging/burning, paper quality, toning, and Dmax). Common questions about black-and-white. Countering some myths and misconceptions about negative making and print making. Use a mask to print pictures with a circular border to create interesting new photographs. Darkroom basics. Strengthen your pictures by cropping. Masters of the darkroom. Interview with Laura Gilpin includes some of her techniques. Flashprinting will produce prints with rich blacks and good tonal range. Adding words to prints. How to strip in words, drop in logos, and add other graphics to your prints. Masters of the darkroom. Interview with Anne Noggle. Create streaked backgrounds ("zoomed backgrounds") in your darkroom with your enlarger, instead of your camera. Masters of the darkroom. Interview with George Tice. Using rubylith masking material to mask out the background of a photograph. Tip: How to make your signature appear in white letters at the bottom of your photographs. Tip: Use a cassette recorder to remember the details of your darkroom printing session for later transfer to the back of the finished print. Pleasures and perils of making big prints (11x14 and up). How to improve the quality. Tip: Make frames to support fabric while you coat it with liquid emulsion, expose, develop, and dry. This will result in fabric prints which are uniform and without wrinkles. How to make a black-and-white print from a color negative or color slide. Tricks of the trade. Specialized techniques you may find useful in printing. Rx for portfolios. How Steve Simmons produces matched sets of b&w prints for exhibition and sale. Includes Ansco 130 print developer formulas and a record-keeping system that allows repeatable results. How to make halftone prints using a Dossett halftone screen which is placed over the photo paper during the enlarging process. How to achieve "high-key" b&w prints where the predominate tones are gray and white, the overall effect of the print is soft and muted, and the contrast is low. A primer on making high contrast B&W prints. When and how to crop photographic enlargements. 35mm verses 4x5. With meticulous technique and fine-grain film, you can come surprisingly close to 4x5 quality with a 35mm camera. A combination of 35mm film, developer, and printing method that most closely approximates a 4x5 camera equipped with Tri-X film. Performing Ansel's score. An inside look at how the Ansel Adams special edition Yosemite prints are made. Tip: Make two 7x11 prints on one 11x14 sheet. This speeds up processing and fits the 35mm format better. Darkroom 1A. Introductory darkroom class for beginners. Part 1. Processing your first role of b&w film and making your first print. Darkroom 1A. Part 2. Proofsheets and fine-tuning the print. B&W prints from color negatives. Printing on both Kodak Panalure and regular B&W papers are discussed. A master apprenticeship. More than craft goes into the making of a fine black-and-white print. Discusses only B&W printing using a cold-light enlarging light source and graded, fiber-based papers. Looks at paper choices, printing sequences, dodging and burning, the factor system of development, two-soup control, toning, etc. Darkroom 1A. Part 4. Good records lead to better photographs. Keeping printing records. Fine lines. An easy way to add narrow black borders around your "borderless" prints. In pursuit of highlights. Ralph Steiner's approach to tone control and highlight enhancement as seen in his cloud photographs. Covers film exposure and processing, Steiner's reducing formula, and enhanced highlight negatives. Tips on producing high-quality B&W prints on Panalure paper from color negatives. Print contrast control in a flash. Using "flashing" to overcome tonal anomalies. Tip: Use a Kodak Projection Print Scale when making b&w prints. Brick work II. Doing two-axis perspective correction in the enlarger. Starting small. What you need to try B&W printing from 35mm. VC high. Printing to high contrast on Kodak's new Polycontrast III RC(resin-coated) paper. Hints on printing snowscapes shot on Kodak T-Max films in order to overcome the "Callier effect". Variations on a theme. Simple special effects that photographers can use to enhance their images. They include toning, hand painting, hand coating, and varying papers and materials. How to make exposures from multiple negatives onto the same photographic print without a pin-registration system. Strategies for printing. Part 2. Concepts and techniques behind obtaining sharp images. Strategies for printing. Part 4. Variable contrast printing. Changing your approach to darkroom exposure. Gene Nocon begins a series of articles that will enable you to understand and master the skills of high-quality black-and-white printing. The Zen system. The fine art of printing. Working in harmony with your materials. Advice on test prints, dry down, burning-and-dodging process, etc. How to tailor your photographic prints for halftone reproduction. Some tips. Grain in photographs. A look at the causes of grain, the effects of grain and the benefits of grain. Make new images from old negatives with composite printing. How to combine two or more negatives onto the same print. The professional amateur's notebook. Part 1. Improve print quality though correct exposure and development. First in a systematic technical approach to moderately serious b&w photography. Making the most of grain in photography. Tips on film, processing and techniques to emphasize grain. An introduction to skewed printing. How to overcome perspective distortion when making a photographic enlargement. The custom lab. When and how to work with one. The professional amateur's notebook. Part 4. How to make a perfect black & white print. Achieving fine grain is a combination of factors, including a clean lens, correct exposure, clear air, careful development, etc. How to make b&w prints from color negatives and color transparencies. How to make your first b&w enlargement. Learn what photograph "contrast" really is by making a series of exposures on different contrast grade paper. Creative printing. Part 7. Tone separation. A precision masking process resulting in a contrastier photograph. Tips on producing technical quality prints from 35mm negatives. A guide to the operation of negative image making or silhouetting. Discussion of the two principal negative masking techniques in use today. Making prints on Kodalith LP paper using an orange bromide paper safelight results in prints with the appearance of fine gravure reproductions. Tips on the method. Tips on making unique certificates of award by photographic means. Depth in prints. Part 1. Tips on how printing techniques can contribute to the "depth" in photographs. Depth in prints. Part 2. Producing quality b&w prints suitable for publication in newspapers, magazines, etc. The fine print. Rigid discipline and exacting darkroom standards are the key to producing quality black-and-white images. Darkroom computerist. (1) Calculates a table of exposure times for various combinations of f-stop and enlarger heights when making enlargements with various papers. (2) Make title slides by photographing text from video terminal. Try vignetting, its easy. A simple vignetter made from a wire coat hanger, a scrap of paper, and a block of wood. Darkroom basics. Getting started in processing your own black and white film and making enlarged prints. Tips on printmaking including contact printing with enlarger, dodging, and note-taking. A series of contrasty subjects are both under- and over-exposed and over- and under-developed on Pan-X film to determine the limits within which a good print can still be made. Getting the clouds on a photographed sky to print without cutting a special mask to cover the foreground while increasing exposure. Three ways to get acceptable prints from impossibly underexposed negatives. How to print a burnt-out backlit print. Tips for making prints on sensitized linen. How to make a bas-relief print. Tips on making extreme contrast prints using very high contrast paper or by making internegatives on graphic arts film. Examples of photo prints possible using old print making formulas and techniques. A discussion of the companies which will reproduce photos as posters, buttons, jigsaw puzzles, etc. Make the great print. James Karales explains all the steps needed to make a black and white print of very high quality. Direct steps to enlarging. Step-by-step photographs show how to make test print and enlargement from 35mm black and white negative. Tip on how to get black borders around enlargements. Custom labs vs photofinshers. What is the difference and when does your work need the custom lab approach. Enlarging your negatives is the correct way to super quality b&w prints or to using alternate photo processes. How to add white lettering to a b&w print by using transfer letters to block out light during the exposure. How to make color or b&w enlargements up to 20"x24" in your own darkroom. Fine tune your black & white prints. Try the techniques of master printers for exhibition-quality pictures. How to use the "golden section" rule when cropping photographs. How to combine black borders with wide white margins to enhance the visual impact of a photographic print. The wonderful, wild world of multiple-image printing. Tips on selecting and preparing the negative and making the print. Color into black & white. Making b&w prints from both b&w negatives and color negatives is compared. Six color and four b&w films are compared. Neat trick to calculate the proper exposure time for any size print based on the correct exposure for a 4x5 test print. Handle with care. Three examples show how to make an acceptable print from very poor negatives. Create clean halftones in five easy steps using Adobe Photoshop and a desktop scanner. Using Photoshop to transform color images into monochromes. (1) Making the best grayscale conversions. (2) Color-tone a monochrome image. (3) Add a Polaroid border effect. Photographing, processing and printing the Kodak Gray Scale under controlled conditions can help establish criteria for evaluating photographic materials and darkroom practice. Making unsharp masks for reducing overall contrast (or density range) for printing from b&w negatives. Tips on printing variable contrast b&w paper using cold light. Gradation (the relationship of the internal grays to each other) and its role in producing a good black-and-white print. Basics of fine black-and-white printing. Looks at test strip, VC filters, toning, fixing, light source, and paper. Lith printing. Making a print onto a suitable paper from any "normal" negative by heavily overexposing and then under-developing it in very dilute lithographic developer. Part 1. Lith printing. Part 2. Tip: How to permanently sign your black-and-white prints. Considerations which must be given to photographic prints which will be reproduced by graphic art printing. Tips on using controlled fogging (called "flashing") of enlarging paper in order to eliminate unwanted highlights. Extending the limits of technique. Oliver Gagliani talks about his unique approach to producing his bold, contrasty black-and-white prints. Includes exposure and printmaking ideas. Includes formulas for a modified D-7 film developer. How to develop standards of print quality by comparing printing variables like paper contrast, surfaces, developing time, temperature, effect of toning, etc. Technique involves printing gray scales and comparing the results. Basic darkroom. Making your first enlargement. The art of selective cropping. How to get high-contrast b&w prints from 35mm Kodalith film without opaquing the film itself. Instead, make a high-contrast print from any negative, enhance (opaque) the print with black and/or white opaquing materials, then rephotograph. Basic darkroom. Troubleshooting problems in your negative and print. How to add custom black borders to your photos. Simplified print-masking. A simple method to obtain full-scale prints without dodging or burning-in. Paper: A creative tool. How to create photographic "paintings" from your negatives and transparencies. How to make paper negatives and retouch them with charcoal sticks before making the final print. Tips for achieving a top quality black-and-white print (without regard for the content of the image). Less may be more. Part 2. Cropping for impact. How to make and use cropping "L" to improve your prints. Less may be more. Part 3. Subduing detail that can't be cropped. How to compile a printing data file. Simple system to record darkroom printing data uses 3-ring binder to hold proofs and negatives and a file of 3x5 cards. How to make big enlargements from tiny sections of negatives and salvage great details from terrible compositions. Make enlargements, photograph the print, and enlarge again. Tip: Give photographic prints that "wet" look by coating with paste wax. How to achieve large-format quality from 35mm Tri-X negatives by processing in more dilute HC-110 and careful printing. Make "mirror-image montage" photograpic prints from a single negative. Controlling contrast through darkroom techniques. Heirlooms. How to collect, store and make prints from old family negatives. Producing perfect prints. Part 1. Print sharpness. Includes tips on aligning your enlarger. Viewing the basics. The 35mm fine print. Refinements of the basic B&W steps which must be followed to produce a fine quality 8x10 or 11x14 print. Ten tips to make life easier in the darkroom. Producing perfect prints. Part 4. Exposure time and contrast (paper grade). Producing perfect prints. Part 5. Print evaluation. The perfect match. Choosing the right developer, black-and-white film, and subject to give perfect prints every time. Some tips. SPECIAL SECTION on 35mm single-lens reflex photography. Processing and printing 35mm black-and-white film. Basic cropping. How to make a good photo even better. Basic photo techniques: Improving your black-and-white prints. Topics include contrast control, dodging and burning-in, printing papers, and enlargers. Creative print masking. Use masking techniques to break out of rectangular formats, save problem negatives, etc. Tips on achieving a high key (light) or low key (dark) photograph using both in-camera and darkroom means. Sophisticated masking techniques. Produce a special effects photograph with an eerie and provocative impact created by the difference between environment and subject matter. Spacious sky. Use double printing techniques to put the desired background in your photographs. Tips on photographing sky/cloud patterns and combining them with other images during the printing stage. Basics of black-and-white printing. Equipment list, making a proof sheet, and enlarging. Darkroom magic. Using multiple printing to make the images you couldn't take. Building a registration easel to hold print masks, making the masks, and printing the multiple exposures. Includes suggestions for producing master negatives on duplicating film. Basics of black-and-white printing. Darkroom basics. A special section on black-and-white. (1) Developing film. (2) Making a contact proof sheet. (3) Making enlargements. (4) Multiple-printing tricks. Darkroom maintenance and print-making procedures which will result in better images. A primer on black & white printing. Special section on achieving good black-and-white photos. (1) Making good negatives through proper exposure and proper development. (2) Understanding your camera's light meter. (3) Developing film. (4) Making a contact proof sheet. (5) Making enlargements. School of photography. Part 6. Basic black-and-white darkroom techniques. Darkroom basics. Black-and-white printing for the beginner. Darkroom tips for making great black-and-white prints (full range of tones, a strong black and a clean white). How to make prints with black borders. An interview with Axel Grosser results in tips to help you improve your black & white print quality. Cutting silhouettes. Improve black-and-white product photographs by printing on a clean white background. Eliminate background by masking it with red masking film. Black-and-white printing for reproduction. How to make photographs that will reproduce well as halftones. Tip on making a guide for sizing passport photos. Tips on how to crop photographs for better pictures. Muddy prints and how to cure them. How to assure that your prints have good tonal range from white to black and all gray tones in between. The too-thin negative may be saved by changing print paper or intensification of the negative. Using moire patterns to create interesting patterns in photos. Using filters, dodging, bleaching, etc. to improve the print made from a portrait negative taken on a gray day. How to simulate "antique" pictures. The Hattersley Class. Violating some rules, while making photo enlargements, can produce some interesting results. A pro's guide to successful printing by Earl Steinbicker. Save underexposed negatives by printing on high contrast paper (#4,5,6) and through the use of chemical intensifiers. How to obtain rich tonality in your prints. How to determine and eliminate the cause of scratches which may appear on your prints. "Building" a print by using several exposures at different times and with different filters, masking out those portions of the print not to be exposed. How to salvage pictures that are less than desirably sharp. How to make pictures appear sharp when they aren't. Some of the unique filming and printmaking techniques of Stephen Livick are described. The Hattersley Class: The secrets of black. The use of heavy black areas to add emphasis to photographic prints. Using a magnifying glass to concentrate light under the enlarger lens to subdue white highlights. Three top black and white print makers tell how to make good quality prints. The Hattersley Class: Basic print making. Step-by-step instructions for making an enlargement, even if you have never made one before. The Hattersley Class: Basic print making. The fundamentals of black and white photo enlargements. Use a penlight and fiber-optics tube to subdue small highlights in dark prints by flashing. Flashing. Part 2. How to zap out large areas of highlights and shadows without losing control. Techniques to add a touch of flattery in portraits and friends. Print making tips on softening facial lines and other features which might detract from the person's image. How you can improve image sharpness when making prints. Tips on choice of paper, safelights, enlarger vibration, focusing, etc. How to get the blackest blacks and the whitest whites that your enlarging paper is capable of delivering. Tips on improving your ability to make good black & white prints more often. The Hattersley class. How to tilt, bend, squeeze, stretch and otherwise distort your prints by tilting the paper holder or bending the paper during the enlarging process. All of your tools (camera, enlarger, projector) contribute to the final print quality. Some considerations and tips. The quest for better prints. Part 1. Learning what's good and how to make tests. The quest for better prints. Part 2. How to get rich blacks, avoid goofs, rescue imperfect exposures. Contrast. What it is, how to judge it and keep it under control. Masters of the darkroom. How W. Eugene Smith shoots and prints. Masters of the darkroom. Ralph Gibson. How he creates his fractional images. Masters of the darkroom. Eikoh Hosoe. How he controls the photographic process. How to avoid excessive grain when using ASA 400 films and general-purpose paper developers. How to use diffusion tools to soften the grain. How to make quality black & white prints from ASA 400 color negatives. A comparison of prints made on Kodak Ektamatic SC, Panalure and Kodabromide papers. Which filters to use and what light source is best. Cole Weston describes how he prints and mounts the negatives made by his father, Edward Weston. Turn kids onto photo darkroom work by having them make prints from discarded X-ray film. How to find image-magnification ratios and printing times for a given enlarger and lens combination. Making b&w conversions from color negatives with Kodak Panalure II RC paper. The Hattersley Class for Beginners. Six ways to control contrast. How to do it before, during, and after you shoot the picture. Choice of paper and film, film development, lighting, print flashing, etc. are all methods to control contrast. Getting black-and-white image quality. Basic enlarging: How to make "straight" black-and-white prints on RC paper. How to get into black-and-white printing on a budget with these cost-cutting ideas. Beating that old-devil contrast. An understanding of the relationship between exposure and development is the key to black-and-white contrast control. Tips on making black-and-white prints from your color negatives. Grain: How to use it to add visual texture to your black-and-white or color photographs. Printing with photography's magic numbers. How to recalculate your enlarger exposure time when you change the size of your enlargement. Understanding the concept of f-stop numbers. The concept can also be applied to close-up flash photography. A flash in the dark. When the usual methods of tonal control don't give you the b&w results you want, try print flashing. Making high-contrast prints to deliver maximum visual impact. How to control contrast with film, developer, and in printing. Shades of color. With panchromatic papers, you can make excellent black-and-white prints from color negatives and explore a new method of darkroom tonal control. Color crossover. Unique combination of Konica SR-V 3200 color print film and panchromatic paper blazes a new frontier in black-and-white available-light photography. RC paper internegatives. Part 1. Making black-and-white prints from color or b&w slides by first making an internegative on RC paper. Making prints from Kodak's APS Advantix Black & White 400+ film in your own darkroom. Tips on getting film out of cartridge, exposure, filters, and processing. Secrets of making a masterpiece black-and-white silver gelatin print. Rediscover the lost art of cropping images. Rediscovering a lost art. Paper-negative printing and the abrasion-tone process. A step-by-step description. Making prints smaller than 1:1. Printing your own B&W images. Simple and basic ways of controlling the appearance of the finished print. Ultra-high contrast. Procedure for making ultra-high contrast black-and-white prints. Part 1. Tips on exposing Kodak's Technical Pan film, processing in D-19, and printing on variable contrast paper. Ultra-high contrast. Procedure for making ultra-high contrast black-and-white prints. Part 2. Visualizing line and geometric forms suitable for high-contrast images. Tips for advanced contrast control when making b&w prints on variable-contrast papers. Black-and-white printing onto variable-contrast paper. An introduction to the terminology, basic rules and techniques of b&w printing. Printing b&w photos suitable for reproduction in printed publications. Maximum grain in b&w photography. How to get it and how to use it. Looks at both film and paper selection and processing. Adjusting contrast and density of b&w prints. How to zero in on the correct density level using either a density meter, a print projection scale, or a test strip. Quality enlargements. How to get professonal looking blowups from 35mm negatives. Looks at negative, composition, paper selection, test strips, etc. Oversized enlargements. Customize your darkroom for making large prints. Tips on making oversized trays, raising the enlarger, making large easels, exposure, ... etc. Making prints smaller than 1:1 (smaller than the negative size). Working with two enlargers can facilitate the process of pre-flashing, fogging, post-flashing, combination printing, collages, exotic borders, pen lines and black borders. Why you need a densitometer. An introduction to an important instrument in understanding black and white photography. Part 1. What a densitometer is, how it works, and how to use it in b&w printing. Printing the light. Manipulating black and white prints to lighten and darken areas of a print to improve the result. Why you need a densitometer. An introduction to an important instrument in understanding black and white photography. Part 2. How to get a perfect negative for printing on a middling grade of paper. Controlling density and contrast by using variable contrast printing papers. Looks at printing with both a b&w and color enlarger. The world's greatest darkroom secret. Using distortion control (such as tilting paper, curving paper, tilting negative, ...) when making enlargements in order to enhance the image. Send your best. Advice on printing black-and-white for reproduction. Size matters. Advice on determining how big to print your pictures. The making and mounting of an archival black-and-white print. Enlarger lenses. Tips on selecting the necessary quality and focal length. Also includes instructions for making prints smaller than the negative. Art's sake. A process to produced the imagined b&w print. Using partial diffusion and split processing (the use of both high and low contrast filters on one image printed on variable-contast paper) to print soft images which still retain sharp features. Subtle differences. An introduction to the complex subject of making warm-tone black and white prints. Printing black and white negatives with a color enlarger. Darkroom techniques for softening and vignetting black and white photos. Nightmare negs. Darkroom techniques which may help you produce a usable print. Fine black and white printing. Includes advice on film, exposure, developing, bleaching and toning. How to transfer family photographs onto aprons, placemats, quilted dolls and hand puppets. Tips on producing 35mm still prints from a Super-8 frame. | |||||||||
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