By Bernhard Suess
The revised version of this consultant teaches photographers to systematically re-think the photographic procedure and take their strategy to a brand new point. the writer introduces an array of complex thoughts and ideas and explains how you can use them creatively to unravel a variety of tough aesthetic difficulties. The makes use of of subtle strategies concerning movie publicity and improvement keep an eye on, digital camera filters, cutting edge makes use of of print contrasts, dodging and burning, and bleaching are illustrated step by step utilizing comparative sequences of black-and-white photographs. furthermore, a brand new bankruptcy offers perception into the problem of electronic as opposed to conventional black-and-white images from an insider's viewpoint.
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Don't undergo in silence whilst assistance is on hand.
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Extra resources for Creative Black and White Photography: Advance Camera and Darkroom Techniques
Made from an under-exposed Any variations in negative contrast are handled in print developing. This also leaves open (by one stop), overdeveloped the option for creative contrast control (see chapter 4 for a more detailed discussion). (25 percent additional time) Bracketing the exposures—in half-stops to a stop over and under the meter-determined negative. settings—ensures usable negatives with this method. When I work in 4 × 5, I can adjust the developing time to suit the scene. I usually do this by shooting two sheets at the same exposure.
If you don’t have a spot meter, a reflected meter (even your camera meter) will do. You’ll just have to get close enough to read each surface separately. This typically means taking light readings from within a few inches of the surface. If using your camera’s meter, fill the frame with the side of the cube you want to meter. Don’t worry about focusing; that’s not critical when metering a reflectance. In fact, trying to focus too close can reduce the amount of light that gets through the lens. After metering closely—without focusing—recompose the shot to include the entire cube and shoot at that setting.
The overall contrast is rather low, and the shadows look similar to the MR-1 exposure that was developed normally (fig. 7). The highlights in this print (fig. 7) are much brighter than in the one from the minus 50 percent developing. In your test there is a good possibility that the meter-recommended exposure that was developed for the manufacturer’s recommended time is high in contrast. The print could have highlights that are much too bright, possibly even losing detail. This isn’t unusual. Most manufacturers are conservative in their film developing recommendations: conventional wisdom is that it is better to produce a negative that’s too dense than one that’s too thin.
Creative Black and White Photography: Advance Camera and Darkroom Techniques by Bernhard Suess