Hi, I started analog photography about 1,5 years ago and just recently moved from printing PE/RC only to also printing FB-Paper (which are also my first medium format prints, incidentally).
I do have tim rudman´s book "the photographer´s master printing course", however I am looking for a second book to delve deeper into areas that I feel matter to me, as quite a large part of tim´s book is concerned with manipulating or combining negatives (even mediocre ones) to turn it into a visually interesting print (e.g. dodging/burning to an extent that the printed scene looks much more dramatic than it originally was). When perfected this certainly can be a valid tool in the creation of art, but I have to regard my photography more as a craft than the recreation of something that I originally "imagined" in the scene.
Therefore my aim is to improve my printing (and exposure/film processing) technique within the natural pictorial limits of the original scene, and learning how to ulitilize the full tonal potency (so to speak) of the silver gelatine process is on the top of my list. The same applies for toning (I plan to do my first Selenium/Sepia this weekend).
I would greatly appreciate any hints and directions on good books to help me improve. Apologies for the long text. cheers, jan
I do have tim rudman´s book "the photographer´s master printing course", however I am looking for a second book to delve deeper into areas that I feel matter to me, as quite a large part of tim´s book is concerned with manipulating or combining negatives (even mediocre ones) to turn it into a visually interesting print (e.g. dodging/burning to an extent that the printed scene looks much more dramatic than it originally was). When perfected this certainly can be a valid tool in the creation of art, but I have to regard my photography more as a craft than the recreation of something that I originally "imagined" in the scene.
Therefore my aim is to improve my printing (and exposure/film processing) technique within the natural pictorial limits of the original scene, and learning how to ulitilize the full tonal potency (so to speak) of the silver gelatine process is on the top of my list. The same applies for toning (I plan to do my first Selenium/Sepia this weekend).
I would greatly appreciate any hints and directions on good books to help me improve. Apologies for the long text. cheers, jan