[pure-silver] Re: NOW: Exposing paper was Re: POP with paper negs?
- From: DarkroomMagic <info@xxxxxxxxxxxxxxxx>
- To: PureSilverNew <pure-silver@xxxxxxxxxxxxx>
- Date: Thu, 16 Dec 2004 01:44:13 +0100
On 12/16/04 1:01 AM, "Ryuji Suzuki" <rs@xxxxxxxxxxxxxxx> wrote:
> From: DarkroomMagic <info@xxxxxxxxxxxxxxxx>
> Subject: [pure-silver] Re: NOW: Exposing paper was Re: POP with paper negs?
> Date: Wed, 15 Dec 2004 23:24:41 +0100
>
>> In general it wouldn't matter which side of the tonal range one exposes for
>> if the other side is controlled by paper contrast, assuming that both
>> approaches lead to the same result. However, we need to remind ourselves
>> that exposure can be fine-controlled down to 1/12 f/stop, where contrast
>> control is usually in rough 1/2 grade steps. Consequently, there are some
>> good reasons to pick the highlight side in most circumstances.
>
> I don't understand it. Why that makes highlight more preferred
> exposure target?
For the same reason you use the fine-tuning knob on an enlarger to get the
focus right. The tool which provides the finest control is more likely to
get the job right.
>
> Also, do you try to fit the entire scale of negative into the range of
> the paper by manipulating contrast? If you shoot something in the
> shade of otherwise bright sunlight scene, and if you do this, the
> print may retain enough details everywhere but the main subject in the
> shade will be very dull and boring. I would not use contrast control
> as the primary scale-range squeezing tool. Such goal can be achieved
> with burning, dodging, bleaching and intesifying. Yes abusing contrast
> control can minimize the need for these manipulations.
>
> Also, I wouldn't care much if some highlight of the background is
> blown out in that example. So, "don't care" about extreme ends as
> long as main subject is printed perfectly is yet another option.
We are just talking about good work prints here. Manipulative controls like
dodging and burning are a completely different matter and come later.
>
>> 2. In most images, the highlights form the dominant pictorial content. Why
>> select an image of lower priority to pick the point of fine-control?
>
> Really? In most of my images, dominant pictorial content is often in
> midtones.
Well, eyes are attracted by light, and that's where the print observer looks
first. What you think of being dominant in your pictures might not be seen
first, if it remains in the midtones. In that case, make sure the highlights
are interesting enough to keep the viewer involved, or they may never get to
the good bits. Of course, I'm talking about traditional fine-art
photography. These rules may not apply for all areas of photography.
>
> --
> Ryuji Suzuki
> "Keep a good head and always carry a light camera."
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