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Stephen Benskin
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Where a curve is measured can result in different gradient values. Gradient is a function of the degree processing has on the densities of the film. The problem is where to measure the curve to determine the gradient value. The most obvious answer would be the area of usage, but even that can have it’s difficulties when considering factoring in flare or not. Another is to use the average exposure range and assume the curve is relatively consistent enough to apply to other exposure ranges. This can work well for short toed curves with their long linear curves, but not so with long toed curves, where the point of measurement can be more critical.

At this point I don’t want to make any judgments as to the best gradient method. I just wish to illustrate how the value is effected by the type of curve and where it is measured.

The first example has three curves. Using the Contrast Index method, Curves A and C are the same contrast. Curve B is slightly higher. Depending on where the curve is measured, A can have a higher gradient than B.

Comparing CI, G, Zone no grid copy.jpg

The following examples come from a graph uploaded by Chuck. I’m using it only because it is an excellent example of a short toed curve and a long toed curve that come together at one of the points measured. At the Zone VIII log-H indication (2.10 log-H range), they both have a density of 1.30 (1.20 density range over 0.10 Fb+f). If measured from this point, the two curves will have the same gradient. But what about other points.

The first example shows Alan Ross’ Zone IX method (2.4 log-H range), Ilford’s Average Gradient Method (1.50 log-H range), and a check at a range of 1.80 log-H.

Chuck - fixed log-H ranges.jpg

The next two use the Contrast Index template. The template is moved back and forth along the curve until the gradient in the small arc matches the gradient in the larger arc.

Chuck - CI - Blue.jpg Chuck - CI - Red.jpg

The last two examples comes from the template in Beyond the Zone System. This template has a series of tiered arcs to accommodate longer scene luminance ranges. Instead of a smaller arc in the toe, it uses a fixed density point of 0.17 over Fb+f.

Chuck - WBM - Blue.jpg Chuck - WBM - Red.jpg
 
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Bill Burk

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Thanks for the illustrations with the different indices points' we've been talking about shown in overlays on the graphs! Thanks Chuck for providing the excellent example.

If you illustrated this with just a D-76 graph, the wrong conclusion might be reached. With only D-76 you would think there is no difference which method you use. But HC-110 shows clearly that when the curve is not a straight line, you can get different results almost 0.10 different.

Now I have no illusions about my own process. I have 0.10 variation in my process when I am "out of control" but even in that situation my negatives are "fine".
 
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Stephen Benskin
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I think they illustrate why people can have difficulty exchanging processing values.
 
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markbarendt

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The fun thing I see in the D76 vs HC110 overay is in how I would expect them to print, HC110 "sacrifices" shadow separation to get "better" separation higher on the curve within the same printable range.
 

Chuck_P

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Thanks for the illustrations with the different indices points' we've been talking about shown in overlays on the graphs! Thanks Chuck for providing the excellent example.

If you illustrated this with just a D-76 graph, the wrong conclusion might be reached. With only D-76 you would think there is no difference which method you use. But HC-110 shows clearly that when the curve is not a straight line, you can get different results almost 0.10 different.

Now I have no illusions about my own process. I have 0.10 variation in my process when I am "out of control" but even in that situation my negatives are "fine".

I'm glad that I was able to contribute positively, in some way, to this thread, even though I didn't realize it at the time. :smile:

Regarding the CI overlay that Stephen used on my curves, that's neet. I have calculated CI in a way that I learned from Kodak publication F-5, "Kodak Professional Black and White Films" page 17, if anyone has it. Sounds complicated when verbalized, but, quote:

"draw a straight line parallel to the horizontal axis at the base-plus-fog level...........Then mark a straightedge---the edge of a piece of paper works well. Put the following marks (using the same scale as that on your graph paper) on the straight edge---a mark at zero, one at 0.2 density (log exposure) unit, and one at 2.2 density units. Place the straightedge on the characteristic curve so that the 0.2 mark is on the toe and the 2.2 mark is on the straight-line portion. Slide the straightedge up and down, keeping the marks on the curve, until the zero mark falls on the base-plus-fog line. Mark these three points and drawa straight line to connect them. The slope of this straight line is the contrast index."

Then, of course, determine the slope of the line using rise over run.

Although I don't use CI for any decision-making I fine it interesting to know. How would a person get one of those contrast index gauges?
 
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