[pure-silver] Re: NOW: Exposing paper was Re: POP with paper negs?
- From: Ryuji Suzuki <rs@xxxxxxxxxxxxxxx>
- To: pure-silver@xxxxxxxxxxxxx
- Date: Wed, 15 Dec 2004 20:31:15 -0500 (EST)
From: DarkroomMagic <info@xxxxxxxxxxxxxxxx>
Subject: [pure-silver] Re: NOW: Exposing paper was Re: POP with paper negs?
Date: Thu, 16 Dec 2004 01:44:13 +0100
> We are just talking about good work prints here.
[...]
> Of course, I'm talking about traditional fine-art photography. These
> rules may not apply for all areas of photography.
I didn't know that in your book traditional fine-art photography is
based on good work prints.
> The tool which provides the finest control is more likely to get the
> job right.
I don't know about that. I wouldn't trust a tool that can't come to
the ballpark before getting to fine tuning, trimmings, pointless fancy
or whatever. Fine tuning is something that comes after everything is
within the range of fine tuning.
> Manipulative controls like dodging and burning are a completely
> different matter and come later.
Those should come early because they are more powerful tools than
talking about 1/12 stop difference in exposure.
> 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.
Are you saying there is no style of photography where highlights are
only secondary to more important midtone?
Also, you said "eyes are attracted by light" --- Is that an assertion
or a fact?
While I agree exposing for highlight is a good strategy in some cases,
I don't think this system can be universally superior to other ways. I
tried to understand your reasoning but I found more disagreements.
--
Ryuji Suzuki
"Keep a good head and always carry a light camera."
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