[rollei_list] Re: OT: Antiques Roadshow... Photography Edition
- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
- To: <rollei_list@xxxxxxxxxxxxx>
- Date: Wed, 28 Jul 2010 18:07:03 -0700
----- Original Message -----
From: "Eric Goldstein" <egoldste@xxxxxxxxx>
To: <rollei_list@xxxxxxxxxxxxx>
Sent: Wednesday, July 28, 2010 5:26 PM
Subject: [rollei_list] Re: OT: Antiques Roadshow...
Photography Edition
Yet to be noted is the exceptional challenge of making
optical prints from
glass plates. They have a lot of contrast and require
special printing out
paper. Even with that special paper, it takes a master
printer to get an
exceptional piece.
If done digitally, you would want to use a HDR
methodology, marry the scans
and control contrast from there...
Eric Goldstein
I don't know that glass plates had any greater contrast
than the equivalent films. I think this may be from
confusion with wet plate photography. Wet plates had very
high contrast and print best on self-masking material such
as POP. Dry plates with gelatin emulsion were similar to
those coated on flexible film, at least from the time that
flexible film base became available, c.1890. Practice may
have been to develop to higher gamma but I think at the
period Adams was working that was not the case and both film
and plate gamma would have been much the same as fifty years
later.
Early glass plates did not have any anti-halation means
and tended to have very strong halation. This can make them
hard to print where there are very bright objects in the
image, such as open windows. The solution is maskign but in
individual mask must be made for each negative.
Anti-halation coating probably date from around 1900. There
are formulas in some of the old books for making you own
coatings. I don't know when commercial plates began to have
them.
From the history you gave earlier it appears that the
questions that seemed obvious to me were pretty obvious and
got investigated.
--
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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