Warning: Cannot modify header information - headers already sent by (output started at /home/content/25/9105325/html/index.php:2) in /home/content/25/9105325/html/index.php on line 4

Warning: Cannot modify header information - headers already sent by (output started at /home/content/25/9105325/html/index.php:2) in /home/content/25/9105325/html/index.php on line 5

Warning: Cannot modify header information - headers already sent by (output started at /home/content/25/9105325/html/index.php:2) in /home/content/25/9105325/html/index.php on line 6

Warning: Cannot modify header information - headers already sent by (output started at /home/content/25/9105325/html/index.php:2) in /home/content/25/9105325/html/index.php on line 7

Warning: Cannot modify header information - headers already sent by (output started at /home/content/25/9105325/html/index.php:2) in /home/content/25/9105325/html/index.php on line 8

Warning: Cannot modify header information - headers already sent by (output started at /home/content/25/9105325/html/index.php:2) in /home/content/25/9105325/html/index.php on line 86
PHOTOGRAPHIC PRINT MAKING entries in Index to How To Do It Information
Norman Lathrop Enterprises  
nleindex.com | Norman Lathrop Enterprises
Index To How To Do It Information
Lathrop Report On Newspaper Indexes
A profile of Norman Lathrop Enterprises
 
NLEIndex.com
Last Updated
03/31/2019
 
Sitemap
 
  Index Home  |   A-Z Subject Heading Guide    |   Keyword Search  |   Union List 

Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.

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.
ASTRONOMY Mar 1988 (v.16#3) pg. 70

Six ways to better astrophotography print making in your darkroom.
ASTRONOMY Mar 1992 (v.20#3) pg. 76

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.
CAMERA & DARKROOM Dec 1990 (v.12#12) pg. 22
Added Info CAMERA & DARKROOM Mar 1991 (v.13#3) pg. 7

Techniques for minimizing grain in large B&W prints.
CAMERA & DARKROOM Dec 1990 (v.12#12) pg. 53

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).
CAMERA & DARKROOM Mar 1991 (v.13#3) pg. 44

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.
CAMERA & DARKROOM Mar 1991 (v.13#3) pg. 52
Added Info CAMERA & DARKROOM Jul 1991 (v.13#7) pg. 5, 6

Making it big. Tips on making presentation prints. Formulas for determining the "basic exposure time" for an image size larger than 8"x10".
CAMERA & DARKROOM Jul 1991 (v.13#7) pg. 20
Added Info CAMERA & DARKROOM Oct 1991 (v.13#10) pg. 4
Added Info CAMERA & DARKROOM Nov 1991 (v.13#11) pg. 14
Added Info CAMERA & DARKROOM Jan 1992 (v.14#1) pg. 8

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.
CAMERA & DARKROOM Dec 1991 (v.13#12) pg. 54

Becoming a better printmaker. Advice on equipment, materials, and judgement.
CAMERA & DARKROOM Jun 1992 (v.14#6) pg. 58

Controlling the exposure and developoment printing variables in the black-and-white darkroom.
CAMERA & DARKROOM Jul 1993 (v.15#7) pg. 18

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.
CAMERA & DARKROOM Jun 1994 (v.16#6) pg. 54

Suggested form layout for a print record sheet.
CAMERA & DARKROOM Jul 1994 (v.16#7) pg. 5

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.
CAMERA 35 Mar 1973 (v.17#2) pg. 56

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.
CAMERA 35 Jul-Aug 1973 (v.17#6) pg. 52

Tips from a news photographer on speedy processing of film, selection of images to print and rapid print making.
CAMERA 35 Dec 1973 (v.17#9) pg. 22

The Zone VI Workshop. The fine print. A detailed description of the production of a fine quality black and white print.
CAMERA 35 Dec 1973 (v.17#9) pg. 24

David Vestal's Book of Craft. Chapter 17. How to fine-tune print contrast through exposure, development, flashing, bleaching, toning and other methods.
CAMERA 35 Feb-Mar 1974 (v.18#1) pg. 56

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.
CAMERA 35 May 1974 (v.18#3) pg. 52

Basic printing technique. Reprint of a handwritten article which appeared in Novak's Photographic Magazine.
CAMERA 35 Oct 1974 (v.18#7) pg. 52

Tips on preparing a photographic print best suited for reproduction in newspapers and magazines.
CAMERA 35 Nov 1974 (v.18#8) pg. 18

Art of darkness. Some tools and techniques of print control including dodging, bleaching, darkening and paper selection.
CAMERA 35 Feb-Mar 1976 (v.20#1) pg. 28

Art of darkness. Printing with style. Creating prints which understand and convey the spirit (intent) of the image.
CAMERA 35 May 1976 (v.20#3) pg. 24

How to make high contrast prints using Kodalith film and other methods.
CAMERA 35 Aug-Sep 1976 (v.20#6) pg. 22

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.
CAMERA 35 Sep 1977 (v.21#8) pg. 52

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.
CAMERA 35 Feb 1981 (v.26#2) pg. 51

Fine tuning the print. How to produce a high-quality B&W photographic print. Includes the formula for Beers Solution paper developer.
CAMERA 35 Mar 1981 (v.26#3) pg. 55

How to print photographic images on fabric.
CREATIVE CRAFTS #61 Feb 1978 (v.6#1) pg. 33

Master printing. Lesson 4. How to fine tune the final print.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1984 (v.5#1) pg. 22

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1984 (v.5#5) pg. 16

Printing to perfection. Part 2. A discussion of high-quality black-and-white printing.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1984 (v.5#6) pg. 25

Printing to perfection. Part 3. A look at problems caused by enlarging lens flare, unsafe safe light, and faulty processing.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1985 (v.6#1) pg. 41

Printing to perfection. Part 4. Edge signing, producing identical negatives, development tests, and printing a difficult negative.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1985 (v.6#5) pg. 29

Achieving high quality black-and-white prints.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1985 (v.6#6) pg. 21

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1985 (v.6#6) pg. 32
Correction DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1986 (v.7#2) pg. 6

Remodeling paper curves. Altering local contrast in black-and-white prints. Using waterbath development and/or pre-exposure to control contrast.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1986 (v.7#4) pg. 18

Better black-and-white prints from color negatives. New panchromatic papers and a knowledge about filters make the job easier.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1987 (v.8#4) pg. 41

Comments on processing Ilford XP1 (a dye-forming b&w film) and making prints on color paper using ordinary minilab equipment.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1987 (v.8#5) pg. 8

How to determine the appropriate-size for a photographic print (enlargement) before you make a display print.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1987 (v.8#5) pg. 8

Fighting photo flaws. How to prevent or correct problems in photographic prints, negatives, mount boards, etc.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1987 (v.8#5) pg. 43

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1988 (v.9#1) pg. 16

Improving black-and-white shadow detail.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1988 (v.9#1) pg. 28
Correction DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1988 (v.9#2) pg. 2

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1988 (v.9#3) pg. 22

Crafting fine black-and-white prints.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1988 (v.9#4) pg. 21

Controlling tone reproduction. Film development versus paper grades.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1988 (v.9#5) pg. 34

The difference between camera and enlarger diffusion is explained, along with working methods for darkroom diffusion.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1989 (v.10#3) pg. 20

Masking black-and-white negatives. Part 1. Three contrast reducing masks. Includes plans for building a contact printer-registration carrier.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1989 (v.10#4) pg. 25

Masking black-and-white negatives. Part 2. Improving shadow contrast.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1989 (v.10#5) pg. 44

Masking black and white negatives. Part 3. The highlight mask.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1989 (v.10#6) pg. 56

Techniques for making black borders around prints.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1990 (v.11#2) pg. 23

Tips on making prints from color negatives using panchromatic black-and-white enlarging paper.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1991 (v.12#5) pg. 23

Tips on determining exposure time changes when making changes in enlarger head height.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1991 (v.12#5) pg. 25

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1992 (v.13#1) pg. 54

Process-control techniques to help achieve black-and-white print consistency.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1992 (v.13#4) pg. 6

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1992 (v.13#5) pg. 46

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.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1993 (v.14#5) pg. 8

A suggested approach to efficient black-and-white printing.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1993 (v.14#5) pg. 44

Pre-exposing (fogging) film and paper to achieve precision contrast control.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1994 (v.15#1) pg. 38

Printing black-and-white negatives on color paper.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1994 (v.15#3) pg. 13

Photographic principles. Part 2. Six principles that guide black-and-white printing (studying prints, contrast control, dodging/burning, paper quality, toning, and Dmax).
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1994 (v.15#6) pg. 59

Common questions about black-and-white. Countering some myths and misconceptions about negative making and print making.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1995 (v.16#4) pg. 14
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1995 (v.16#5) pg. 14

Use a mask to print pictures with a circular border to create interesting new photographs.
DARKROOM PHOTOGRAPHY May-Jun 1979 (v.1#2) pg. 22

Darkroom basics. Strengthen your pictures by cropping.
DARKROOM PHOTOGRAPHY Oct 1979 (v.1#5) pg. 28

Masters of the darkroom. Interview with Laura Gilpin includes some of her techniques.
DARKROOM PHOTOGRAPHY Jan-Feb 1980 (v.2#1) pg. 30

Flashprinting will produce prints with rich blacks and good tonal range.
DARKROOM PHOTOGRAPHY Jan-Feb 1980 (v.2#1) pg. 60

Adding words to prints. How to strip in words, drop in logos, and add other graphics to your prints.
DARKROOM PHOTOGRAPHY Mar-Apr 1980 (v.2#2) pg. 62

Masters of the darkroom. Interview with Anne Noggle.
DARKROOM PHOTOGRAPHY May-Jun 1980 (v.2#3) pg. 31

Create streaked backgrounds ("zoomed backgrounds") in your darkroom with your enlarger, instead of your camera.
DARKROOM PHOTOGRAPHY May-Jun 1980 (v.2#3) pg. 66

Masters of the darkroom. Interview with George Tice.
DARKROOM PHOTOGRAPHY Jul-Aug 1980 (v.2#4) pg. 31

Using rubylith masking material to mask out the background of a photograph.
DARKROOM PHOTOGRAPHY Dec 1980 (v.2#8) pg. 50

Tip: How to make your signature appear in white letters at the bottom of your photographs.
DARKROOM PHOTOGRAPHY May-Jun 1981 (v.3#3) pg. 14

Tip: Use a cassette recorder to remember the details of your darkroom printing session for later transfer to the back of the finished print.
DARKROOM PHOTOGRAPHY Jul-Aug 1981 (v.3#4) pg. 14

Pleasures and perils of making big prints (11x14 and up). How to improve the quality.
DARKROOM PHOTOGRAPHY Oct 1981 (v.3#6) pg. 60

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.
DARKROOM PHOTOGRAPHY Dec 1981 (v.3#8) pg. 16

How to make a black-and-white print from a color negative or color slide.
DARKROOM PHOTOGRAPHY Mar-Apr 1982 (v.4#3) pg. 56

Tricks of the trade. Specialized techniques you may find useful in printing.
DARKROOM PHOTOGRAPHY Sep-Oct 1982 (v.4#6) pg. 40

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.
DARKROOM PHOTOGRAPHY Jan 1983 (v.5#1) pg. 42

How to make halftone prints using a Dossett halftone screen which is placed over the photo paper during the enlarging process.
DARKROOM PHOTOGRAPHY Jan 1983 (v.5#1) pg. 56

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.
DARKROOM PHOTOGRAPHY Jan 1983 (v.5#1) pg. 64

A primer on making high contrast B&W prints.
DARKROOM PHOTOGRAPHY Sep 1984 (v.6#5) pg. 84

When and how to crop photographic enlargements.
DARKROOM PHOTOGRAPHY Dec 1984 (v.6#8) pg. 72

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.
DARKROOM PHOTOGRAPHY Jan-Feb 1985 (v.7#1) pg. 18

Performing Ansel's score. An inside look at how the Ansel Adams special edition Yosemite prints are made.
DARKROOM PHOTOGRAPHY Mar-Apr 1985 (v.7#2) pg. 20

Tip: Make two 7x11 prints on one 11x14 sheet. This speeds up processing and fits the 35mm format better.
DARKROOM PHOTOGRAPHY Mar-Apr 1986 (v.8#2) pg. 14

Darkroom 1A. Introductory darkroom class for beginners. Part 1. Processing your first role of b&w film and making your first print.
DARKROOM PHOTOGRAPHY Sep 1986 (v.8#5) pg. 54
Added Info DARKROOM PHOTOGRAPHY Dec 1986 (v.8#8) pg. 12

Darkroom 1A. Part 2. Proofsheets and fine-tuning the print.
DARKROOM PHOTOGRAPHY Oct 1986 (v.8#6) pg. 54

B&W prints from color negatives. Printing on both Kodak Panalure and regular B&W papers are discussed.
DARKROOM PHOTOGRAPHY Nov 1986 (v.8#7) pg. 22
Added Info DARKROOM PHOTOGRAPHY Mar-Apr 1987 (v.9#2) pg. 8

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 PHOTOGRAPHY Dec 1986 (v.8#8) pg. 33

Darkroom 1A. Part 4. Good records lead to better photographs. Keeping printing records.
DARKROOM PHOTOGRAPHY Dec 1986 (v.8#8) pg. 52

Fine lines. An easy way to add narrow black borders around your "borderless" prints.
DARKROOM PHOTOGRAPHY Dec 1986 (v.8#8) pg. 55

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.
DARKROOM PHOTOGRAPHY Jan-Feb 1987 (v.9#1) pg. 40
Added Info DARKROOM PHOTOGRAPHY Mar-Apr 1988 (v.10#2) pg. 57

Tips on producing high-quality B&W prints on Panalure paper from color negatives.
DARKROOM PHOTOGRAPHY May-Jun 1987 (v.9#3) pg. 22
Added Info DARKROOM PHOTOGRAPHY Jul-Aug 1987 (v.9#4) pg. 6

Print contrast control in a flash. Using "flashing" to overcome tonal anomalies.
DARKROOM PHOTOGRAPHY Sep 1987 (v.9#5) pg. 62

Tip: Use a Kodak Projection Print Scale when making b&w prints.
DARKROOM PHOTOGRAPHY Nov 1988 (v.10#4) pg. 14

Brick work II. Doing two-axis perspective correction in the enlarger.
DARKROOM PHOTOGRAPHY Nov 1988 (v.10#4) pg. 49

Starting small. What you need to try B&W printing from 35mm.
DARKROOM PHOTOGRAPHY Dec 1988 (v.10#5) pg. 50

VC high. Printing to high contrast on Kodak's new Polycontrast III RC(resin-coated) paper.
DARKROOM PHOTOGRAPHY Jan 1989 (v.11#1) pg. 54
Added Info DARKROOM PHOTOGRAPHY Apr 1989 (v.11#4) pg. 5

Hints on printing snowscapes shot on Kodak T-Max films in order to overcome the "Callier effect".
DARKROOM PHOTOGRAPHY Feb 1989 (v.11#2) pg. 6
Added Info DARKROOM PHOTOGRAPHY Jun 1989 (v.11#6) pg. 4

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.
DARKROOM PHOTOGRAPHY Feb 1989 (v.11#2) pg. 22

How to make exposures from multiple negatives onto the same photographic print without a pin-registration system.
DARKROOM PHOTOGRAPHY Apr 1989 (v.11#4) pg. 7

Strategies for printing. Part 2. Concepts and techniques behind obtaining sharp images.
DARKROOM PHOTOGRAPHY Aug 1989 (v.11#8) pg. 52

Strategies for printing. Part 4. Variable contrast printing.
DARKROOM PHOTOGRAPHY Nov 1989 (v.11#11) pg. 14

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.
DARKROOM PHOTOGRAPHY Oct 1990 (v.12#10) pg. 20

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.
DARKROOM PHOTOGRAPHY Nov 1990 (v.12#11) pg. 24

How to tailor your photographic prints for halftone reproduction. Some tips.
DARKROOM TECHNIQUES Fall 1979 pg. 30

Grain in photographs. A look at the causes of grain, the effects of grain and the benefits of grain.
DARKROOM TECHNIQUES Winter 1980 (v.1#1) pg. 41

Make new images from old negatives with composite printing. How to combine two or more negatives onto the same print.
DARKROOM TECHNIQUES Winter 1980 (v.1#1) pg. 48

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.
DARKROOM TECHNIQUES Oct 1980 (v.1#3) pg. 16

Making the most of grain in photography. Tips on film, processing and techniques to emphasize grain.
DARKROOM TECHNIQUES Oct 1980 (v.1#3) pg. 41

An introduction to skewed printing. How to overcome perspective distortion when making a photographic enlargement.
DARKROOM TECHNIQUES Oct 1980 (v.1#3) pg. 46

The custom lab. When and how to work with one.
DARKROOM TECHNIQUES Oct 1980 (v.1#3) pg. 70

The professional amateur's notebook. Part 4. How to make a perfect black & white print.
DARKROOM TECHNIQUES Jun 1981 (v.2#2) pg. 20

Achieving fine grain is a combination of factors, including a clean lens, correct exposure, clear air, careful development, etc.
DARKROOM TECHNIQUES Jun 1982 (v.3#2) pg. 12

How to make b&w prints from color negatives and color transparencies.
DARKROOM TECHNIQUES Jan-Feb 1983 (v.4#1) pg. 23

How to make your first b&w enlargement.
DARKROOM TECHNIQUES Jul-Aug 1983 (v.4#4) pg. 50

Learn what photograph "contrast" really is by making a series of exposures on different contrast grade paper.
INDUSTRIAL PHOTOGRAPHY Aug 1970 (v.19#8) pg. 4

Creative printing. Part 7. Tone separation. A precision masking process resulting in a contrastier photograph.
INDUSTRIAL PHOTOGRAPHY Feb 1971 (v.20#2) pg. 20

Tips on producing technical quality prints from 35mm negatives.
INDUSTRIAL PHOTOGRAPHY Aug 1972 (v.21#8) pg. 24

A guide to the operation of negative image making or silhouetting. Discussion of the two principal negative masking techniques in use today.
INDUSTRIAL PHOTOGRAPHY Apr 1973 (v.22#4) pg. 29

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.
INDUSTRIAL PHOTOGRAPHY Sep 1973 (v.22#9) pg. 55

Tips on making unique certificates of award by photographic means.
INDUSTRIAL PHOTOGRAPHY Mar 1976 (v.25#3) pg. 32

Depth in prints. Part 1. Tips on how printing techniques can contribute to the "depth" in photographs.
INDUSTRIAL PHOTOGRAPHY Jun 1976 (v.25#6) pg. 8

Depth in prints. Part 2.
INDUSTRIAL PHOTOGRAPHY Sep 1976 (v.25#9) pg. 10

Producing quality b&w prints suitable for publication in newspapers, magazines, etc.
INDUSTRIAL PHOTOGRAPHY Oct 1983 (v.32#10) pg. 30

The fine print. Rigid discipline and exacting darkroom standards are the key to producing quality black-and-white images.
INDUSTRIAL PHOTOGRAPHY Sep 1988 (v.37#9) pg. 20

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.
KILOBAUD MICROCOMPUTING #46 Oct 1980 pg. 75

Try vignetting, its easy. A simple vignetter made from a wire coat hanger, a scrap of paper, and a block of wood.
MECHANIX ILLUSTRATED #464 Jan 1967 (v.63) pg. 104

Darkroom basics. Getting started in processing your own black and white film and making enlarged prints.
MECHANIX ILLUSTRATED #535 Dec 1972 (v.68) pg. 78

Tips on printmaking including contact printing with enlarger, dodging, and note-taking.
MODERN PHOTOGRAPHY Dec 1966 (v.30#12) pg. 152

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.
MODERN PHOTOGRAPHY Mar 1968 (v.32#3) pg. 70

Getting the clouds on a photographed sky to print without cutting a special mask to cover the foreground while increasing exposure.
MODERN PHOTOGRAPHY Mar 1968 (v.32#3) pg. 124

Three ways to get acceptable prints from impossibly underexposed negatives.
MODERN PHOTOGRAPHY Apr 1968 (v.32#4) pg. 96

How to print a burnt-out backlit print.
MODERN PHOTOGRAPHY Dec 1968 (v.32#12) pg. 86

Tips for making prints on sensitized linen.
MODERN PHOTOGRAPHY Apr 1970 (v.34#4) pg. 50

How to make a bas-relief print.
MODERN PHOTOGRAPHY Apr 1971 (v.35#4) pg. 56

Tips on making extreme contrast prints using very high contrast paper or by making internegatives on graphic arts film.
MODERN PHOTOGRAPHY May 1971 (v.35#5) pg. 56

Examples of photo prints possible using old print making formulas and techniques.
MODERN PHOTOGRAPHY May 1971 (v.35#5) pg. 78

A discussion of the companies which will reproduce photos as posters, buttons, jigsaw puzzles, etc.
MODERN PHOTOGRAPHY Jul 1972 (v.36#7) pg. 98

Make the great print. James Karales explains all the steps needed to make a black and white print of very high quality.
MODERN PHOTOGRAPHY Sep 1973 (v.37#9) pg. 106

Direct steps to enlarging. Step-by-step photographs show how to make test print and enlargement from 35mm black and white negative.
MODERN PHOTOGRAPHY Nov 1974 (v.38#11) pg. 108

Tip on how to get black borders around enlargements.
MODERN PHOTOGRAPHY Sep 1976 (v.40#9) pg. 137

Custom labs vs photofinshers. What is the difference and when does your work need the custom lab approach.
MODERN PHOTOGRAPHY Mar 1980 (v.44#3) pg. 25

Enlarging your negatives is the correct way to super quality b&w prints or to using alternate photo processes.
MODERN PHOTOGRAPHY May 1980 (v.44#5) pg. 102

How to add white lettering to a b&w print by using transfer letters to block out light during the exposure.
MODERN PHOTOGRAPHY Jan 1983 (v.47#1) pg. 85

How to make color or b&w enlargements up to 20"x24" in your own darkroom.
MODERN PHOTOGRAPHY Apr 1983 (v.47#4) pg. 68

Fine tune your black & white prints. Try the techniques of master printers for exhibition-quality pictures.
MODERN PHOTOGRAPHY Apr 1984 (v.48#4) pg. 80

How to use the "golden section" rule when cropping photographs.
MODERN PHOTOGRAPHY Oct 1984 (v.48#10) pg. 82

How to combine black borders with wide white margins to enhance the visual impact of a photographic print.
MODERN PHOTOGRAPHY Jan 1985 (v.49#1) pg. 124

The wonderful, wild world of multiple-image printing. Tips on selecting and preparing the negative and making the print.
MODERN PHOTOGRAPHY Oct 1987 (v.51#10) pg. 8

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.
MODERN PHOTOGRAPHY Oct 1987 (v.51#10) pg. 26
Added Info MODERN PHOTOGRAPHY Mar 1988 (v.52#3) pg. 4

Neat trick to calculate the proper exposure time for any size print based on the correct exposure for a 4x5 test print.
MODERN PHOTOGRAPHY May 1988 (v.52#5) pg. 46

Handle with care. Three examples show how to make an acceptable print from very poor negatives.
MODERN PHOTOGRAPHY Sep 1988 (v.52#9) pg. 44
Correction MODERN PHOTOGRAPHY Nov 1988 (v.52#11) pg. 57

Create clean halftones in five easy steps using Adobe Photoshop and a desktop scanner.
PHOTO ELECTRONIC IMAGING 1995 (v.38#11) pg. 30

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.
PHOTO ELECTRONIC IMAGING Oct 1999 (v.42#10) pg. 20

Photographing, processing and printing the Kodak Gray Scale under controlled conditions can help establish criteria for evaluating photographic materials and darkroom practice.
PHOTO METHODS FOR INDUSTRY Aug 1973 (v.16#8) pg. 32

Making unsharp masks for reducing overall contrast (or density range) for printing from b&w negatives.
PHOTO TECHNIQUES Jan-Feb 1996 (v.17#1) pg. 63
Added Info PHOTO TECHNIQUES Sep-Oct 1997 (v.18#5) pg. 36

Tips on printing variable contrast b&w paper using cold light.
PHOTO TECHNIQUES Jan-Feb 1997 (v.18#1) pg. 23

Gradation (the relationship of the internal grays to each other) and its role in producing a good black-and-white print.
PHOTO TECHNIQUES Nov-Dec 1997 (v.18#6) pg. 34
Added Info PHOTO TECHNIQUES Jan-Feb 1998 (v.19#1) pg. 12

Basics of fine black-and-white printing. Looks at test strip, VC filters, toning, fixing, light source, and paper.
PHOTO TECHNIQUES Mar-Apr 1998 (v.19#2) pg. 38

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.
PHOTO TECHNIQUES Jul-Aug 1998 (v.19#4) pg. 47

Lith printing. Part 2.
PHOTO TECHNIQUES Sep-Oct 1998 (v.19#5) pg. 30

Tip: How to permanently sign your black-and-white prints.
PHOTOGRAPHIC Aug 1978 (v.7#4) pg. 120

Considerations which must be given to photographic prints which will be reproduced by graphic art printing.
PHOTOGRAPHIC Apr 1979 (v.7#12) pg. 54

Tips on using controlled fogging (called "flashing") of enlarging paper in order to eliminate unwanted highlights.
PHOTOGRAPHIC Oct 1979 (v.8#6) pg. 106

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.
PHOTOGRAPHIC Nov 1979 (v.8#7) pg. 72

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.
PHOTOGRAPHIC Mar 1980 (v.8#11) pg. 81

Basic darkroom. Making your first enlargement.
PHOTOGRAPHIC May 1980 (v.9#1) pg. 55

The art of selective cropping.
PHOTOGRAPHIC Jun 1980 (v.9#2) pg. 49

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.
PHOTOGRAPHIC Aug 1980 (v.9#4) pg. 58

Basic darkroom. Troubleshooting problems in your negative and print.
PHOTOGRAPHIC Sep 1980 (v.9#5) pg. 69

How to add custom black borders to your photos.
PHOTOGRAPHIC Feb 1981 (v.9#10) pg. 81

Simplified print-masking. A simple method to obtain full-scale prints without dodging or burning-in.
PHOTOGRAPHIC Mar 1981 (v.9#11) pg. 68

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.
PHOTOGRAPHIC Jun 1981 (v.10#2) pg. 36

Tips for achieving a top quality black-and-white print (without regard for the content of the image).
PHOTOGRAPHIC Jul 1981 (v.10#3) pg. 16

Less may be more. Part 2. Cropping for impact. How to make and use cropping "L" to improve your prints.
PHOTOGRAPHIC May 1982 (v.11#1) pg. 17

Less may be more. Part 3. Subduing detail that can't be cropped.
PHOTOGRAPHIC Jun 1982 (v.11#2) pg. 20

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.
PHOTOGRAPHIC Jun 1982 (v.11#2) pg. 71

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.
PHOTOGRAPHIC Jul 1982 (v.11#3) pg. 78

Tip: Give photographic prints that "wet" look by coating with paste wax.
PHOTOGRAPHIC Jan 1983 (v.11#9) pg. 82

How to achieve large-format quality from 35mm Tri-X negatives by processing in more dilute HC-110 and careful printing.
PHOTOGRAPHIC Feb 1983 (v.11#10) pg. 64

Make "mirror-image montage" photograpic prints from a single negative.
PHOTOGRAPHIC Aug 1983 (v.12#4) pg. 82

Controlling contrast through darkroom techniques.
PHOTOGRAPHIC Mar 1984 (v.12#11) pg. 49

Heirlooms. How to collect, store and make prints from old family negatives.
PHOTOGRAPHIC May 1984 (v.13#1) pg. 30

Producing perfect prints. Part 1. Print sharpness. Includes tips on aligning your enlarger.
PHOTOGRAPHIC Aug 1984 (v.13#4) pg. 18

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.
PHOTOGRAPHIC Sep 1984 (v.13#5) pg. 75

Ten tips to make life easier in the darkroom.
PHOTOGRAPHIC Sep 1984 (v.13#5) pg. 78

Producing perfect prints. Part 4. Exposure time and contrast (paper grade).
PHOTOGRAPHIC Nov 1984 (v.13#7) pg. 30

Producing perfect prints. Part 5. Print evaluation.
PHOTOGRAPHIC Dec 1984 (v.13#8) pg. 26

The perfect match. Choosing the right developer, black-and-white film, and subject to give perfect prints every time. Some tips.
PHOTOGRAPHIC Feb 1985 (v.13#10) pg. 30

SPECIAL SECTION on 35mm single-lens reflex photography. Processing and printing 35mm black-and-white film.
PHOTOGRAPHIC Dec 1985 (v.14#8) pg. A (40+)

Basic cropping. How to make a good photo even better.
PHOTOGRAPHIC Dec 1985 (v.14#8) pg. 50

Basic photo techniques: Improving your black-and-white prints. Topics include contrast control, dodging and burning-in, printing papers, and enlargers.
PHOTOGRAPHIC Apr 1986 (v.14#12) pg. 41

Creative print masking. Use masking techniques to break out of rectangular formats, save problem negatives, etc.
PHOTOGRAPHIC Apr 1986 (v.14#12) pg. 49

Tips on achieving a high key (light) or low key (dark) photograph using both in-camera and darkroom means.
PHOTOGRAPHIC Oct 1986 (v.15#6) pg. 32

Sophisticated masking techniques. Produce a special effects photograph with an eerie and provocative impact created by the difference between environment and subject matter.
PHOTOGRAPHIC Nov 1986 (v.15#7) pg. 42

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.
PHOTOGRAPHIC Nov 1987 (v.16#7) pg. 44

Basics of black-and-white printing. Equipment list, making a proof sheet, and enlarging.
PHOTOGRAPHIC Jun 1988 (v.17#2) pg. 40

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.
PHOTOGRAPHIC Sep 1989 (v.18#5) pg. 22

Basics of black-and-white printing.
PHOTOGRAPHIC Sep 1991 (v.20#5) pg. 83

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.
PHOTOGRAPHIC Oct 1992 (v.21#6) pg. 57

Darkroom maintenance and print-making procedures which will result in better images.
PHOTOGRAPHIC Dec 1992 (v.21#8) pg. 68

A primer on black & white printing.
PHOTOGRAPHIC Jun 1993 (v.22#2) pg. 46

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.
PHOTOGRAPHIC Oct 1993 (v.22#6) pg. 58

School of photography. Part 6. Basic black-and-white darkroom techniques.
PHOTOGRAPHIC Oct 1994 (v.23#6) pg. 63

Darkroom basics. Black-and-white printing for the beginner.
PHOTOGRAPHIC Dec 1998 (v.27#8) pg. 14

Darkroom tips for making great black-and-white prints (full range of tones, a strong black and a clean white).
PHOTOGRAPHIC Feb 1999 (v.27#10) pg. 72

How to make prints with black borders.
PHOTOGRAPHIC Aug 1999 (v.28#4) pg. 20

An interview with Axel Grosser results in tips to help you improve your black & white print quality.
PHOTOMETHODS Aug 1976 (v.19#8) pg. 17

Cutting silhouettes. Improve black-and-white product photographs by printing on a clean white background. Eliminate background by masking it with red masking film.
PHOTOMETHODS Sep 1981 (v.24#9) pg. 71

Black-and-white printing for reproduction. How to make photographs that will reproduce well as halftones.
PHOTOMETHODS Jun 1984 (v.27#6) pg. 15

Tip on making a guide for sizing passport photos.
PHOTOMETHODS Jun 1987 (v.30#6) pg. 49

Tips on how to crop photographs for better pictures.
POPULAR MECHANICS Feb 1970 (v.133#2) pg. 144

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.
POPULAR MECHANICS Jan 1974 (v.141#1) pg. 122

The too-thin negative may be saved by changing print paper or intensification of the negative.
POPULAR PHOTOGRAPHY Aug 1966 (v.59#2) pg. 92

Using moire patterns to create interesting patterns in photos.
POPULAR PHOTOGRAPHY Feb 1967 (v.60#2) pg. 88

Using filters, dodging, bleaching, etc. to improve the print made from a portrait negative taken on a gray day.
POPULAR PHOTOGRAPHY Feb 1968 (v.62#2) pg. 67

How to simulate "antique" pictures.
POPULAR PHOTOGRAPHY Dec 1968 (v.63#6) pg. 34

The Hattersley Class. Violating some rules, while making photo enlargements, can produce some interesting results.
POPULAR PHOTOGRAPHY Feb 1969 (v.64#2) pg. 95

A pro's guide to successful printing by Earl Steinbicker.
POPULAR PHOTOGRAPHY Mar 1969 (v.64#3) pg. 78

Save underexposed negatives by printing on high contrast paper (#4,5,6) and through the use of chemical intensifiers.
POPULAR PHOTOGRAPHY Apr 1969 (v.64#4) pg. 74

How to obtain rich tonality in your prints.
POPULAR PHOTOGRAPHY Dec 1970 (v.67#6) pg. 42

How to determine and eliminate the cause of scratches which may appear on your prints.
POPULAR PHOTOGRAPHY Jan 1971 (v.68#1) pg. 42

"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.
POPULAR PHOTOGRAPHY Feb 1971 (v.68#2) pg. 34

How to salvage pictures that are less than desirably sharp.
POPULAR PHOTOGRAPHY Jul 1971 (v.69#1) pg. 32

How to make pictures appear sharp when they aren't.
POPULAR PHOTOGRAPHY Sep 1971 (v.69#3) pg. 40

Some of the unique filming and printmaking techniques of Stephen Livick are described.
POPULAR PHOTOGRAPHY Jan 1972 (v.70#1) pg. 90

The Hattersley Class: The secrets of black. The use of heavy black areas to add emphasis to photographic prints.
POPULAR PHOTOGRAPHY Oct 1972 (v.71#4) pg. 88

Using a magnifying glass to concentrate light under the enlarger lens to subdue white highlights.
POPULAR PHOTOGRAPHY Mar 1973 (v.72#3) pg. 16

Three top black and white print makers tell how to make good quality prints.
POPULAR PHOTOGRAPHY May 1973 (v.72#5) pg. 112

The Hattersley Class: Basic print making. Step-by-step instructions for making an enlargement, even if you have never made one before.
POPULAR PHOTOGRAPHY Aug 1973 (v.73#2) pg. 88

The Hattersley Class: Basic print making. The fundamentals of black and white photo enlargements.
POPULAR PHOTOGRAPHY Sep 1973 (v.73#3) pg. 128

Use a penlight and fiber-optics tube to subdue small highlights in dark prints by flashing.
POPULAR PHOTOGRAPHY Mar 1974 (v.74#3) pg. 34

Flashing. Part 2. How to zap out large areas of highlights and shadows without losing control.
POPULAR PHOTOGRAPHY Apr 1974 (v.74#4) pg. 32

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.
POPULAR PHOTOGRAPHY Jun 1974 (v.74#6) pg. 30

How you can improve image sharpness when making prints. Tips on choice of paper, safelights, enlarger vibration, focusing, etc.
POPULAR PHOTOGRAPHY Nov 1974 (v.75#5) pg. 68

How to get the blackest blacks and the whitest whites that your enlarging paper is capable of delivering.
POPULAR PHOTOGRAPHY Dec 1974 (v.75#6) pg. 50

Tips on improving your ability to make good black & white prints more often.
POPULAR PHOTOGRAPHY Feb 1975 (v.76#2) pg. 60

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.
POPULAR PHOTOGRAPHY Jul 1975 (v.77#1) pg. 68

All of your tools (camera, enlarger, projector) contribute to the final print quality. Some considerations and tips.
POPULAR PHOTOGRAPHY Mar 1976 (v.78#3) pg. 44

The quest for better prints. Part 1. Learning what's good and how to make tests.
POPULAR PHOTOGRAPHY Apr 1976 (v.78#4) pg. 100

The quest for better prints. Part 2. How to get rich blacks, avoid goofs, rescue imperfect exposures.
POPULAR PHOTOGRAPHY May 1976 (v.78#5) pg. 112

Contrast. What it is, how to judge it and keep it under control.
POPULAR PHOTOGRAPHY Nov 1976 (v.79#5) pg. 48

Masters of the darkroom. How W. Eugene Smith shoots and prints.
POPULAR PHOTOGRAPHY Feb 1977 (v.80#2) pg. 76

Masters of the darkroom. Ralph Gibson. How he creates his fractional images.
POPULAR PHOTOGRAPHY Mar 1977 (v.80#3) pg. 110

Masters of the darkroom. Eikoh Hosoe. How he controls the photographic process.
POPULAR PHOTOGRAPHY Jul 1977 (v.81#1) pg. 102

How to avoid excessive grain when using ASA 400 films and general-purpose paper developers. How to use diffusion tools to soften the grain.
POPULAR PHOTOGRAPHY Sep 1977 (v.81#3) pg. 64

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.
POPULAR PHOTOGRAPHY Jul 1978 (v.83#1) pg. 120

Cole Weston describes how he prints and mounts the negatives made by his father, Edward Weston.
POPULAR PHOTOGRAPHY Oct 1978 (v.83#4) pg. 130

Turn kids onto photo darkroom work by having them make prints from discarded X-ray film.
POPULAR PHOTOGRAPHY Mar 1979 (v.84#3) pg. 25

How to find image-magnification ratios and printing times for a given enlarger and lens combination.
POPULAR PHOTOGRAPHY Apr 1979 (v.84#4) pg. 17

Making b&w conversions from color negatives with Kodak Panalure II RC paper.
POPULAR PHOTOGRAPHY Jun 1979 (v.84#6) pg. 80

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.
POPULAR PHOTOGRAPHY Jun 1980 (v.86#6) pg. 102

Getting black-and-white image quality.
POPULAR PHOTOGRAPHY Jun 1981 (v.88#6) pg. 86

Basic enlarging: How to make "straight" black-and-white prints on RC paper.
POPULAR PHOTOGRAPHY Jul 1981 (v.88#7) pg. 95

How to get into black-and-white printing on a budget with these cost-cutting ideas.
POPULAR PHOTOGRAPHY Jan 1982 (v.89#1) pg. 26

Beating that old-devil contrast. An understanding of the relationship between exposure and development is the key to black-and-white contrast control.
POPULAR PHOTOGRAPHY Oct 1983 (v.90#10) pg. 85

Tips on making black-and-white prints from your color negatives.
POPULAR PHOTOGRAPHY May 1984 (v.91#5) pg. 14

Grain: How to use it to add visual texture to your black-and-white or color photographs.
POPULAR PHOTOGRAPHY Apr 1986 (v.93#4) pg. 22

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.
POPULAR PHOTOGRAPHY Dec 1986 (v.93#12) pg. 26

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.
POPULAR PHOTOGRAPHY Mar 1987 (v.94#3) pg. 50

Making high-contrast prints to deliver maximum visual impact. How to control contrast with film, developer, and in printing.
POPULAR PHOTOGRAPHY Jul 1987 (v.94#7) pg. 56
Added Info POPULAR PHOTOGRAPHY Oct 1987 (v.94#10) pg. 12

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.
POPULAR PHOTOGRAPHY Nov 1987 (v.94#11) pg. 88

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.
POPULAR PHOTOGRAPHY Nov 1987 (v.94#11) pg. 94

RC paper internegatives. Part 1. Making black-and-white prints from color or b&w slides by first making an internegative on RC paper.
POPULAR PHOTOGRAPHY Dec 1987 (v.94#12) pg. 44

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.
POPULAR PHOTOGRAPHY Oct 1999 (v.63#10) pg. 47

Secrets of making a masterpiece black-and-white silver gelatin print.
POPULAR PHOTOGRAPHY Nov 2000 (v.64#11) pg. 108

Rediscover the lost art of cropping images.
POPULAR PHOTOGRAPHY May 2001 (v.65#5) pg. 80

Rediscovering a lost art. Paper-negative printing and the abrasion-tone process. A step-by-step description.
PROFESSIONAL PHOTOGRAPHER #2191 Dec 1994 (v.121) pg. 58

Making prints smaller than 1:1.
SHUTTERBUG #263 Aug 1992 (v.21#10) pg. 88

Printing your own B&W images. Simple and basic ways of controlling the appearance of the finished print.
SHUTTERBUG #265 Oct 1992 (v.21#12) pg. 66

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.
SHUTTERBUG #270 Mar 1993 (v.22#5) pg. 22

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.
SHUTTERBUG #271 Apr 1993 (v.22#6) pg. 50

Tips for advanced contrast control when making b&w prints on variable-contrast papers.
SHUTTERBUG #278 Nov 1993 (v.23#1) pg. 62

Black-and-white printing onto variable-contrast paper. An introduction to the terminology, basic rules and techniques of b&w printing.
SHUTTERBUG #284 May 1994 (v.23#7) pg. 76

Printing b&w photos suitable for reproduction in printed publications.
SHUTTERBUG #293 Feb 1995 (v.24#4) pg. 48

Maximum grain in b&w photography. How to get it and how to use it. Looks at both film and paper selection and processing.
SHUTTERBUG #293 Feb 1995 (v.24#4) pg. 72

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.
SHUTTERBUG #307 Apr 1996 (v.25#6) pg. 166

Quality enlargements. How to get professonal looking blowups from 35mm negatives. Looks at negative, composition, paper selection, test strips, etc.
SHUTTERBUG #308 May 1996 (v.25#7) pg. 66

Oversized enlargements. Customize your darkroom for making large prints. Tips on making oversized trays, raising the enlarger, making large easels, exposure, ... etc.
SHUTTERBUG #313 Oct 1996 (v.25#12) pg. 110

Making prints smaller than 1:1 (smaller than the negative size).
SHUTTERBUG #323 Aug 1997 (v.26#10) pg. 180

Working with two enlargers can facilitate the process of pre-flashing, fogging, post-flashing, combination printing, collages, exotic borders, pen lines and black borders.
SHUTTERBUG #325 Oct 1997 (v.26#12) pg. 72

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.
SHUTTERBUG #325 Oct 1997 (v.26#12) pg. 194

Printing the light. Manipulating black and white prints to lighten and darken areas of a print to improve the result.
SHUTTERBUG #326 Nov 1997 (v.27#1) pg. 98

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.
SHUTTERBUG #326 Nov 1997 (v.27#1) pg. 220

Controlling density and contrast by using variable contrast printing papers. Looks at printing with both a b&w and color enlarger.
SHUTTERBUG #327 Dec 1997 (v.27#2) pg. 200

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.
SHUTTERBUG #329 Feb 1998 (v.27#4) pg. 232

Send your best. Advice on printing black-and-white for reproduction.
SHUTTERBUG #330 Mar 1998 (v.27#5) pg. 30

Size matters. Advice on determining how big to print your pictures.
SHUTTERBUG #330 Mar 1998 (v.27#5) pg. 82

The making and mounting of an archival black-and-white print.
SHUTTERBUG #348 Sep 1999 (v.28#11) pg. 62

Enlarger lenses. Tips on selecting the necessary quality and focal length. Also includes instructions for making prints smaller than the negative.
SHUTTERBUG #350 Nov 1999 (v.29#1) pg. 136

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.
SHUTTERBUG #361 Oct 2000 (v.29#12) pg. 22

Subtle differences. An introduction to the complex subject of making warm-tone black and white prints.
SHUTTERBUG #373 Oct 2001 (v.30#12) pg. 108

Printing black and white negatives with a color enlarger.
SHUTTERBUG #377 Feb 2002 (v.31#4) pg. 162

Darkroom techniques for softening and vignetting black and white photos.
SHUTTERBUG #380 May 2002 (v.31#7) pg. 26

Nightmare negs. Darkroom techniques which may help you produce a usable print.
SHUTTERBUG #395 Aug 2003 (v.32#10) pg. 148

Fine black and white printing. Includes advice on film, exposure, developing, bleaching and toning.
SHUTTERBUG #396 Sep 2003 (v.32#11) pg. 52

How to transfer family photographs onto aprons, placemats, quilted dolls and hand puppets.
SUNSET Dec 1977 (v.159#6) pg. 124

Tips on producing 35mm still prints from a Super-8 frame.
SUPER-8 FILMAKER May 1981 (v.9#3) pg. 12