Analog Photography - Basic Darkroom Technique. A practical guide explaining how to choose exposure and contrast of the print using from the test strip.
I studied with Ansel Adams and I can assure CZcams readers that your printing demonstration is one of the very best I've ever seen here. Bravo. One comment I would make (basically agreeing with your method but with a slightly different approach): I make my test prints in three-to-five basic steps. The first step concentrates ONLY on using an important white area (the lightest white which shows detail) to determine an over exposure time (which be tweeked later). Instead of moving a card to expose the whole print for my test, I expose ONLY that same white part (and, at a low contrast, such as grade 1.5) to various times by sliding the PAPER past a slot cut into a card which covers it. In that way I can compare this important white section, side by side. From here I can derive a basic exposure time for the whole print. After that I make an overall print at the best looking time to see what that exposure time does to my important dark & shadow areas, whose density I can test and control in my third test print by estimating which contrast filter will best do the job. I can normally arrive at a good "first" print after about five test prints (which, to save paper, needn't be whole sheets!) Thanks again for your excellent demonstration.
Yes, I do the same, I even narrow it to a smaller test strips with a special mask I created. Wasting a whole pieces of paper sheet just for testing is not an option, at least not for me in these crazy times when paper is so expensive. I am amazed how many people said it’s a great tutorial and I noticed no comment about paper wasted to do it.
Test strips are a waste of paper as they only show you the incorrect exposure in a small area of an image. They tell you very little about the whole image. The tonal strips he makes is not even in stops. One exposure for the whole image (or use strips of paper covering from shadows to highlights) will show how many stops you need to change the exposure from shadows to highlights. This is of course the primary function of The Zone System of exposure as formulated by Ansel Adam’s & Fred Archer in 1939 to 1940. Just apply those principles to your print. The rules are always the same. It’s why we talk in stops not time and aperture. I understand this may be a shock. I came to this realisation when I began teaching darkroom printing at the age of 47 after a lifetime of professional photography. I began teaching test strips as I was taught at college. I quickly realised that I don’t do that. I hadn’t made a test strip in decades. So what do I do I asked myself? Simple, I know the grey scale. I then got the students to make a set of small prints in stops from white to black of a whole negative and there is your reference for life. Soon you will just know. No need to repeat the process every time you do a print. This can then be transferred to knowing how much to dodge & burn when you reach the fine tones you require to make that beautiful silver print. The technician said it would waist a lot of paper but on the contrary it saved a lot of paper and also taught the students the Zone System of exposure. This is what I made in my darkroom…… www.hagsphotography.com
I second that, very nicely made video, clear explaination of the concepts, could we have some more please ? Books are good, to be shown is better. Thank you
That was quite possibly the best explanation and tutorial in making a test strip I've seen on CZcams. Thank you so much. Can't wait to see the rest of your videos.
This is the most useful darkroom video I have watched. Your explanations are clear and concise especially the part about getting the test strips. Well done and thank you!
The point at 10:30, about correct highlight in 1 exposure and the correct shadow in the other is the first objective description of picking correct/incorrect contrast I've seen on youtube, thankyou! (Obviously, it's still subjective, but adjusting contract filters makes a lot more sense to me now)!
The absolutely critical phase, which Mr. Calabresi touches on, is evaluating the whites - or highlights - determined by exposure (+usually much lighter than you think). Dialing in contrast for the blacks is relatively easy. Developing judgement to evaluate the highlights is pivotal - otherwise you will be turning round and round, like a dog chasing it's tail, as I did for many years, so I harp on it. Split grading while doing whites first is a good way to develop this judgement.
+Igaluit I am sorry, you missed the point. Yours is the old approach that suits graded paper. The statement - exposure determines the whites, contrast the blacks - is not true on multigrade papers, hence the need to find a method to determine exposure and contrast at the same time, as I show in this video. Your approach could only work with a condensor head and contrast filters IF the tone that does not vary when changing contrast was a highlight, but the tone (when it exists) is not so much a highlight and it is not so stable. You can see it clearly on the characteristic curves of papers, where the curves of the different grades tend to cross each other at densities of around 0,5 (and not so exactly), that's more a midtone than a highlight. The approach I suggest works with any paper on any enlarger. I am not a fan of split printing. Split printing makes it easy to get a work print, but afterwards it is simply double the work. I am not a fan also because split printing is a procedure and not a method and this means that you don't need to understand how things works to make a (work) print.
Thank-you for taking the time to explain this for me (and correcting my misconceptions), especially since there are few experts now of this arcane art. What we find in old photography texts is so often cursory and even misleading. I had nagging doubts about the highlights as a focal point and was more or less reverting to looking at the general aspect of the print. What you say about split-printing is true; it's sometimes a lot of work. Also, it seems to give a very distracting sheen or shine to the image. Still, on very difficult negatives I seemed to get better results. I prefer straight printing if I have a choice. I have never seen the methodology you teach before having seen your video. The beauty of your method is that it immediately orients you in the direction you ought to go - minus the endless tries and the going around in circles. Am looking forward to trying it. Thanks again for the feedback. Mille grazie.
In the past 12 months I have started shooting and developing my own film. I have recently purchased an enlarger to learn to make my own prints. Fantastic explanation, you are a great teacher. Thanks for taking the time to do this video.
most would not bother to go through the 3 contrast attempts, but this video is fascinating as you explore the 'correct' contrast through trial and error. thank you!
Před 5 lety+1
thanks a lot Mr Calabresi for sharing this method of finding the best contrast for a print. I've always struggled with contrast while printing. Really appreciate your kindness on sharing this. Best wishes, Santiago
Congratulations. This is a great darkroom tutorial. Excellent in every detail, technical and not only,... including the tone of your voice. Really superb. Thanks
As much as i simply love the technique, your amazing teaching skills and the result i can't help but thinking those test pieces were also amazing artworks.
I was taught very basic darkroom technique at highschool. This is how I've always done it. Your video has completely revolutionised my printing! Wow, thank you!
Reading AA's The Print, you both evaluate correct contrast in the same way, but your way is a measurable, easy to follow method with a nice demonstration and explanation. Thanks very much.
Very useful insight about contrast control on printing. Thank you very much for your video. Looking forward to more videos like these. Regards from Greece!
Thank you for sharing your technique, this is greatly appreciated! I've always been doing actual test strips by cutting up photo paper and exposing several single strips - then developing. This makes so much more sense and the work process feels much cleaner.
+Jakob Reisinger, it seems to me that you get a better reading by exposing a full sheet and in the end actually save paper by not having to keep printing with each adjustment. This method looks pretty accurate and I'm excited to give it a try. Best of luck in your work!
Mr Calabresi, thank you so much for your dedication to your art, the outcome of which is this very informative gem of a video! And thank you for your kindness to share!
Andrea! Many thanks for taking the time to share your skills and expertise. I am just setting up my first dark room and there seems so much to learn. Thanks again for your help in your video,so well presented and understandable. Regards Ken
What an excellent tutorial. I figured out more about nailing contrast in fifteen minutes here than a year of photo school and four years of sporadic darkroom practice (...and googling, forum-ing, book reading, etc. ...)!!! Any more tutorials coming???
Very very well explained. Some expert just say my feeling is to use this or that filter, but you explain why the filter you use is higher or lower. This helped me alot
Thank you for a very informative video Andrea! I can't wait till my next day off so that I can go into the darkroom and put this new knowledge to use. :-)
Just learned something. I have been leaving my print in the developer until the time was up. He takes it out a few seconds before and then waits for the time to end. Will start doing that tonight.
Thanks for chiming in so quickly. I will say the split grade works very well for and a lot success in tough negs situations. Like bullet proof skies like we have here in New Mexico. I do float between technique simile it to yours in low contrast negs and the other. Thanks for posting. Your technique is another tool I can use in my darkroom tool chest.
+ToddB987 I know. That's exactly what I intended about non optimal negatives quality and use of split printing. Why don't you reduce film developing times instead of saving them while printing? The results will be dramatically different and the freedom in print interpretation will be saved. The newest T-grain films can accomodate some 20 stops of dynamic range even on grade 2 if properly processed. BTW, Which light spource are you using in your enlarger, condensor or diffuser?
Condensor on 120 and diffuser on 35mm. I usually develop film on recommend manufactures recommendations. For example using Delta 100 developed at 12.00 min at 68 degrees using D-76. I know less time reduces contrast and more time adds more. I usually shoot a lot of varing light situation on a single roll that's why I use manufacturers recommend times. I usually shoot a lot of black and white film with a orange filter on most everything.
+ToddB987 Hi, this time I am late... Ilford developing times are generally producing negatives suitable for low contrast scenes to be printed with diffuser enlargers. So development times should be reduced (sometimes a lot) when printing with a condensor head, and/or shooting high contrast scenes. This is normal. I warmly suggest you an experiment: do dev times "bracketing" combined with exposure bracketing. Make the same images on three rolls of film (if you have a MF camera with film backs it's easy), expose with bracketing and then process for 50% 75% and suggested developing time. Finally print it all.
Wow This turned on the light for me. It's really quite simple when someone explains it in simple terms. Thank You for this. I'd like to see you explain the change of enlarger f stops and the results obtained. Thank You again
+EFD620G Hi. Glad you appreciated. Changing enlarger f-stop will affect exposure the usual way: closing one f-stop will require double the exposure. E.G. if the exposure is 12" @ f:8 it becomes 24" @ f:11. This follows the main exposure rule (reciprocity) wich says: E=txl - exposure= is time per light. Less light, more time and viceversa. Lens performance is also affected, but with good lenses this is visible only on higher magnification (bigger prints). Generally speaking the intermediate f-stops will yeld the better lens performance. It is advisable not to use the lens wide open or fully closed. For best performance every single lens shall be tested individually in a perfectly alligned system and at different magnifications. This requires equipment and expertise.
I never saw a contrast filter being inserted in the enlarger, you said there is s need to change contrast but not how did you do it, I'm so confused, thank you so much
Hello Brenda, The main image adjustments in black and white printing are esposure (darker - brighter) and contrast (the relationship between darker and brighter tones). They are related and shall be adjusted at the same time and that is the difficult part. This video shows a method to make these adjustments. While exposure is more intuitive, the more light you give the darker it becomes (it's a negative process) contrast is a much less intuitive thing. Maybe if you can imagine (figure in your mind) a picture where you like the midtones, but you would like to modify the darker and/or the brighter tones... that's exactly what changing the contrast does, it modifies the extremes of the tonal range, making them brighter or darker as you wish. To modify the contrast on contemporary (so called) Multigrade photo papers you need to change the colour of the light. This change of colour of the printing light can be obtained in different ways, one consists of putting coloured filters in the light path and many enlargers (the projection devices) have a specific drawer where you can place these coloured filters.
incredible, your clarity, simplicity of explanation and clear love for the subject are remarkable. So pleasant and instructive to see this. Thank you so much!
Yo, no shit this vid bangs hard. Cool technique with the contrast homeboi, I heard some guy said if I wanted more contrast I had to stick the print in the freezer but this makes more sense.
Brilliant vid and information. Ive never thought about getting both highlights and shadows within the same time! I'm going to put this to the test this weekend :-) Thank you for uploading this :-)
I studied with Ansel Adams and I can assure CZcams readers that your printing demonstration is one of the very best I've ever seen here. Bravo. One comment I would make (basically agreeing with your method but with a slightly different approach): I make my test prints in three-to-five basic steps. The first step concentrates ONLY on using an important white area (the lightest white which shows detail) to determine an over exposure time (which be tweeked later). Instead of moving a card to expose the whole print for my test, I expose ONLY that same white part (and, at a low contrast, such as grade 1.5) to various times by sliding the PAPER past a slot cut into a card which covers it. In that way I can compare this important white section, side by side. From here I can derive a basic exposure time for the whole print. After that I make an overall print at the best looking time to see what that exposure time does to my important dark & shadow areas, whose density I can test and control in my third test print by estimating which contrast filter will best do the job. I can normally arrive at a good "first" print after
about five test prints (which, to save paper, needn't be whole sheets!)
Thanks again for your excellent demonstration.
+mefourb Thank you very much. An expert appreciating is, indeed a great compliment. :)
NB. A more technical answer is above.
So you make the first test without filter?
Yes, I do the same, I even narrow it to a smaller test strips with a special mask I created.
Wasting a whole pieces of paper sheet just for testing is not an option, at least not for me in these crazy times when paper is so expensive.
I am amazed how many people said it’s a great tutorial and I noticed no comment about paper wasted to do it.
Test strips are a waste of paper as they only show you the incorrect exposure in a small area of an image. They tell you very little about the whole image. The tonal strips he makes is not even in stops.
One exposure for the whole image (or use strips of paper covering from shadows to highlights) will show how many stops you need to change the exposure from shadows to highlights.
This is of course the primary function of The Zone System of exposure as formulated by Ansel Adam’s & Fred Archer in 1939 to 1940. Just apply those principles to your print. The rules are always the same. It’s why we talk in stops not time and aperture.
I understand this may be a shock.
I came to this realisation when I began teaching darkroom printing at the age of 47 after a lifetime of professional photography. I began teaching test strips as I was taught at college. I quickly realised that I don’t do that. I hadn’t made a test strip in decades.
So what do I do I asked myself? Simple, I know the grey scale.
I then got the students to make a set of small prints in stops from white to black of a whole negative and there is your reference for life. Soon you will just know.
No need to repeat the process every time you do a print.
This can then be transferred to knowing how much to dodge & burn when you reach the fine tones you require to make that beautiful silver print.
The technician said it would waist a lot of paper but on the contrary it saved a lot of paper and also taught the students the Zone System of exposure.
This is what I made in my darkroom……
www.hagsphotography.com
@@hagishag I agree, test strip are a waste of paper if.... you do not know how to use them.
In my opinion, the best and most well explained darkroom tutorial on YT. Thanks so much for sharing this info and I would love to see more!
+A Bakken. Thank you very much!
I agree! Grazie Andrea!!
I also agree, thanks a lot for sharing this tutorial!
That was so informative I hope you post more in the future so we can learn from your expertise
I second that, very nicely made video, clear explaination of the concepts, could we have some more please ? Books are good, to be shown is better. Thank you
By far this is the most straight forward video I have seen on how to choose exposure time and contrast! You must be a very good professor!
Thank you Philip.
I've been teaching since 1996. It is still something i love doing.
This is probably the best b&w print making tutorial on youtube. Clear, simple, informative and well presented. Thank you Andrea!
Thank you Dilbert !!
By far the best explanation of what to look for in contrast, and how to achieve the correct results I have ever seen.
Thank you Mark
What a Great Guide! Often you find videos where just some guy talks in front of the camera, not here! Realy helpful
Really helpful video. Thanks so much. Am starting out and have not yet worked out when I’d need to mess with contrast settings. Now I know!
That was quite possibly the best explanation and tutorial in making a test strip I've seen on CZcams.
Thank you so much.
Can't wait to see the rest of your videos.
Finally! A method that makes logical sense of a subjective art form
Thank you @mosephina, that was my aim.
I came to find out about filters, I left wiser about a dozen things. Very concise, straightforward and well executed.
This is the most useful darkroom video I have watched. Your explanations are clear and concise especially the part about getting the test strips. Well done and thank you!
This is amazing, I just built my darkroom and this is wonderful.
Any way you could help me out
@@Kaemaci what help do you need?
Fantastic tutorial ! better than being in a class room !
Awesome tutorial! I have been printing for years and I have never seen this explained so clearly.
Thank you Garvin!
I appreciate your patient manner; it's the sign of a good teacher. Thank you.
I could not help but notice the cover on the book at his left elbow :-) Very good tutorial. Thanks.
Excellent tutorial. I learn something new every time I watch this.👍
The point at 10:30, about correct highlight in 1 exposure and the correct shadow in the other is the first objective description of picking correct/incorrect contrast I've seen on youtube, thankyou! (Obviously, it's still subjective, but adjusting contract filters makes a lot more sense to me now)!
Sir, you just gave a clinic! So you have more content on CZcams on another channel. I'd love to see more.
The absolutely critical phase, which Mr. Calabresi touches on, is evaluating the whites - or highlights - determined by exposure (+usually much lighter than you think). Dialing in contrast for the blacks is relatively easy. Developing judgement to evaluate the highlights is pivotal - otherwise you will be turning round and round, like a dog chasing it's tail, as I did for many years, so I harp on it. Split grading while doing whites first is a good way to develop this judgement.
+Igaluit I am sorry, you missed the point. Yours is the old approach that suits graded paper. The statement - exposure determines the whites, contrast the blacks - is not true on multigrade papers, hence the need to find a method to determine exposure and contrast at the same time, as I show in this video.
Your approach could only work with a condensor head and contrast filters IF the tone that does not vary when changing contrast was a highlight, but the tone (when it exists) is not so much a highlight and it is not so stable.
You can see it clearly on the characteristic curves of papers, where the curves of the different grades tend to cross each other at densities of around 0,5 (and not so exactly), that's more a midtone than a highlight.
The approach I suggest works with any paper on any enlarger.
I am not a fan of split printing. Split printing makes it easy to get a work print, but afterwards it is simply double the work. I am not a fan also because split printing is a procedure and not a method and this means that you don't need to understand how things works to make a (work) print.
Thank-you for taking the time to explain this for me (and correcting my misconceptions), especially since there are few experts now of this arcane art. What we find in old photography texts is so often cursory and even misleading. I had nagging doubts about the highlights as a focal point and was more or less reverting to looking at the general aspect of the print. What you say about split-printing is true; it's sometimes a lot of work. Also, it seems to give a very distracting sheen or shine to the image. Still, on very difficult negatives I seemed to get better results. I prefer straight printing if I have a choice. I have never seen the methodology you teach before having seen your video. The beauty of your method is that it immediately orients you in the direction you ought to go - minus the endless tries and the going around in circles. Am looking forward to trying it. Thanks again for the feedback. Mille grazie.
thank you for being so generous with your time
Very educational video for a beginner like me! Great work and thanx !
Hans Schumacher Thank you for watching. ;-)
In the past 12 months I have started shooting and developing my own film. I have recently purchased an enlarger to learn to make my own prints. Fantastic explanation, you are a great teacher. Thanks for taking the time to do this video.
Multi8991 I love analog photography. Sharing and keeping analog photography alive is a pleasure.
most would not bother to go through the 3 contrast attempts, but this video is fascinating as you explore the 'correct' contrast through trial and error. thank you!
thanks a lot Mr Calabresi for sharing this method of finding the best contrast for a print. I've always struggled with contrast while printing. Really appreciate your kindness on sharing this.
Best wishes, Santiago
Thank you Santiago, I am very glad to have been useful.
Watching this gave me a whole new map in editting digital photos. Wow, thanks!
Shoot film next 😜😜
@@nickfanzo i am honestly considering it, but only for personal photos :D
@@geotsaou once you start, there’s no stopping it
Congratulations. This is a great darkroom tutorial. Excellent in every detail, technical and not only,... including the tone of your voice. Really superb. Thanks
Thank you very much!
As much as i simply love the technique, your amazing teaching skills and the result i can't help but thinking those test pieces were also amazing artworks.
This is now my new test strip method! Thank you!
I was taught very basic darkroom technique at highschool. This is how I've always done it. Your video has completely revolutionised my printing! Wow, thank you!
Reading AA's The Print, you both evaluate correct contrast in the same way, but your way is a measurable, easy to follow method with a nice demonstration and explanation. Thanks very much.
Mr. Calabresi, thank you so much. Ultra professional. Grazie.
+Bill Leontaritis Thank you!
Thank you so much! Very helpful! It took me 5 times to get the correct contrast.
Excellent illustration....
I just made my first ever print from a Ferrania P30Alpha negative, thanks to this video. Grazie molto, Andrea!
That's how you do it. I was thinking about it this week.
Very useful insight about contrast control on printing. Thank you very much for your video. Looking forward to more videos like these. Regards from Greece!
Thank you for the such a great instruction in master printing Andrea. I really look forward to you next tutorial.
Thank you for sharing your technique, this is greatly appreciated!
I've always been doing actual test strips by cutting up photo paper and exposing several single strips - then developing. This makes so much more sense and the work process feels much cleaner.
+Jakob Reisinger Thank you for watching and appreciating.
+Jakob Reisinger, it seems to me that you get a better reading by exposing a full sheet and in the end actually save paper by not having to keep printing with each adjustment. This method looks pretty accurate and I'm excited to give it a try. Best of luck in your work!
Great video Andrea.
Thank you Olivier!
Mr Calabresi, thank you so much for your dedication to your art, the outcome of which is this very informative gem of a video! And thank you for your kindness to share!
I would take a photography course with you, any time and any place. Thank you so much for sharing your magnificent stores of knowledge.
Thank you Sandra,
I teach courses every weekend in Bologna, you're wellcome. :)
Andrea! Many thanks for taking the time to share your skills and expertise. I am just setting up my first dark room and there seems so much to learn. Thanks again for your help in your video,so well presented and understandable. Regards Ken
elegantly explained. Thank you.
Excellent demonstration!
Mr Calabresi, I thank you sir for this video. I hope to start printing some of my images this year.
Best video on this topic. Thanks a lot. Greetings from Slovenia. I hope to meet you in person one day.
Thank you, I'm glad to be useful. :) We're not too far, it may well happen. :)
very good explonation for beginners. especially the contrast development was helpful. thanks.
Thanks so much for making this video! It's a huge help to me! Thank you!
+Joey Pasco I am very pleased to have been helpful. Thank you!
Your DRKRM feels So Medieval...
I love it... Great vid
newmutant1 It is Medieval! The drkrm is located in an ancient building of a middle age village in Tuscany.
Yes the best printing tutorial I have seen. Love to see more tutorials from you.
Very interesting, I did learn something here. Thanks
What an excellent tutorial. I figured out more about nailing contrast in fifteen minutes here than a year of photo school and four years of sporadic darkroom practice (...and googling, forum-ing, book reading, etc. ...)!!!
Any more tutorials coming???
Hi! Thank you so much. It is really nice to know that this is helpful!
I would like to make more videos, but it will take some time.
Thank you very much, starting darkroom printing from medium format and this was the best video
Thank you Fred!
Glad you find it useful.
An excellent tutorial, very helpful with regard to contrast. Thank you very much - I shall watch it again.
Thank you - great video, you have cleared up many questions I have had about my printing.....
Great job... Thank you so much for sharing your know how
+Emanuele Altieri Thank you for watching.
Very very well explained. Some expert just say my feeling is to use this or that filter, but you explain why the filter you use is higher or lower. This helped me alot
Thank you Jreey! Glad to be useful! Keep on printing!
Great tutorial, you are a wonderful teacher!
This is extremely useful! Thank you so much for this video. Greetings from Malaysia!
The lesson on contrast grade selection is strong in this video.
Thank you for a very informative video Andrea! I can't wait till my next day off so that I can go into the darkroom and put this new knowledge to use. :-)
Thank for sharing. The best explanation which i have seen. Grazie
I really enjoyed your video and learned a lot. Thanks!
Great explanation, thank you! Also a great picture
Wow i wish my photography teacher could teach like you. Wait.. no.. I wish my teacher WAS YOU
+Harun Younussi I can be your teacher. You can come to my workshops in Italy. :) Thank you very much for your appreciation.
Just learned something. I have been leaving my print in the developer until the time was up. He takes it out a few seconds before and then waits for the time to end. Will start doing that tonight.
Thank you! Excellent video and I hope to see more.
Thanks for chiming in so quickly. I will say the split grade works very well for and a lot success in tough negs situations. Like bullet proof skies like we have here in New Mexico. I do float between technique simile it to yours in low contrast negs and the other. Thanks for posting. Your technique is another tool I can use in my darkroom tool chest.
+ToddB987 I know. That's exactly what I intended about non optimal negatives quality and use of split printing. Why don't you reduce film developing times instead of saving them while printing? The results will be dramatically different and the freedom in print interpretation will be saved.
The newest T-grain films can accomodate some 20 stops of dynamic range even on grade 2 if properly processed.
BTW, Which light spource are you using in your enlarger, condensor or diffuser?
Condensor on 120 and diffuser on 35mm. I usually develop film on recommend manufactures recommendations. For example using Delta 100 developed at 12.00 min at 68 degrees using D-76. I know less time reduces contrast and more time adds more. I usually shoot a lot of varing light situation on a single roll that's why I use manufacturers recommend times. I usually shoot a lot of black and white film with a orange filter on most everything.
+ToddB987 Hi, this time I am late...
Ilford developing times are generally producing negatives suitable for low contrast scenes to be printed with diffuser enlargers. So development times should be reduced (sometimes a lot) when printing with a condensor head, and/or shooting high contrast scenes. This is normal.
I warmly suggest you an experiment: do dev times "bracketing" combined with exposure bracketing. Make the same images on three rolls of film (if you have a MF camera with film backs it's easy), expose with bracketing and then process for 50% 75% and suggested developing time. Finally print it all.
Grazie Mr. Calabresi!
+Matei Gruber Thank you for watching!
Great explanation of contrast. Thank you
Pedro Rica Thank for watching!
WOW Great video !!!
Thank you Din!
Wow This turned on the light for me. It's really quite simple when someone explains it in simple terms. Thank You for this. I'd like to see you explain the change of enlarger f stops and the results obtained. Thank You again
+EFD620G Hi. Glad you appreciated.
Changing enlarger f-stop will affect exposure the usual way: closing one f-stop will require double the exposure. E.G. if the exposure is 12" @ f:8 it becomes 24" @ f:11. This follows the main exposure rule (reciprocity) wich says: E=txl - exposure= is time per light. Less light, more time and viceversa.
Lens performance is also affected, but with good lenses this is visible only on higher magnification (bigger prints). Generally speaking the intermediate f-stops will yeld the better lens performance. It is advisable not to use the lens wide open or fully closed.
For best performance every single lens shall be tested individually in a perfectly alligned system and at different magnifications. This requires equipment and expertise.
Great video! please do more!
woooooooohaa man, it is amazing to work and experiment with what we are made of:light.
I never saw a contrast filter being inserted in the enlarger, you said there is s need to change contrast but not how did you do it, I'm so confused, thank you so much
Hello Brenda,
The main image adjustments in black and white printing are esposure (darker - brighter) and contrast (the relationship between darker and brighter tones). They are related and shall be adjusted at the same time and that is the difficult part. This video shows a method to make these adjustments.
While exposure is more intuitive, the more light you give the darker it becomes (it's a negative process) contrast is a much less intuitive thing. Maybe if you can imagine (figure in your mind) a picture where you like the midtones, but you would like to modify the darker and/or the brighter tones... that's exactly what changing the contrast does, it modifies the extremes of the tonal range, making them brighter or darker as you wish.
To modify the contrast on contemporary (so called) Multigrade photo papers you need to change the colour of the light. This change of colour of the printing light can be obtained in different ways, one consists of putting coloured filters in the light path and many enlargers (the projection devices) have a specific drawer where you can place these coloured filters.
incredible, your clarity, simplicity of explanation and clear love for the subject are remarkable. So pleasant and instructive to see this. Thank you so much!
Thank you so much for sharing .
Very good video! Thanks !
Glad you found it useful!
very good video, thanks very much......cant wait too try your method next time printing....thanks
Amazing. Great video. Thank you.
This was a very informative and fun experience, i really enjoyed the way you explained everything. Thank you so much.
Thank you Sir!!! This is an excellent tutorial for beginners like me!
Very well explained, i think even the most novice could understand.
Let's hope so!
I'll be glad to help some novice.
Wonderful video. Thank you.
Brilliant! thanks for sharing your knowledge
Thank you very much for this great video, andrea!
Yo, no shit this vid bangs hard. Cool technique with the contrast homeboi, I heard some guy said if I wanted more contrast I had to stick the print in the freezer but this makes more sense.
Rotfl! Thak you GIZ!
Best!!! More!!!
It will be coming soon, stay tuned.
Lovely !
Thanks!
Great! Thank you so much for this video! You should upload more photography videos !
+Raul Becerril When I made the video I did not expect so much appreciation. It it quite surprising for me.
So know I am planning next.
Thnak you.
Brilliant vid and information. Ive never thought about getting both highlights and shadows within the same time! I'm going to put this to the test this weekend :-)
Thank you for uploading this :-)
THank you for watching!
Let me know how it goes.
I will :-)
Again... Thank you
Amazing tutorial bravo!
+DrPoolShark Thanks!
Very helpful! Thank you!
really good, thank you xxxxxx
Thank you Mr Andrea! This is perfect!
Glad you appreciated!
Thank you!
that was incredible!
Yeah, pure magic. ;)
yes. would like to see more
:)
Super helpful! Thank you so much
Great explanation!Tnx 4 share.