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Pump House?

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Pump House?

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Deer Lake Infrared

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Deer Lake Infrared

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Tree in warm light

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Tree in warm light

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Sonatas XII-33 (Homes)

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Sonatas XII-33 (Homes)

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24mm

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24mm

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Donald Miller

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Joined
Dec 21, 2002
Messages
6,230
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Large Format
Claire,

Thank you for your kind words and your suggestion. If this would be of help to anyone then I would be happy to provide to anyone who wants a print to evaluate for their own learning purposes. The price and shipping arrangements would be satisfactory for me.

My address is Donald Miller, 3355 E Hampton Ln. Gilbert, Arizona 85297
 

fhovie

Member
Joined
Mar 20, 2003
Messages
1,250
Location
Powell Wyoming
Format
Large Format
Tonality is often a subjective term for planned sensitometry. For example: The grade 2 paper I use will print a density range of 1.25 from jet black to paper white. I expose and develop my negatives to give me a density range of 1.25. For low contrast scenes, I use FP4 and Pyrocat and develop to expand a scene with less than 5 stops from detailed light to detailed dark to expand to a density range of 1.25. (A small push) For scenes with 9 stops or more of range, I used TRI-X and develop it to capture all the scene within a density range of 1.25.

This is my standard approach and of course a scene can be made flat or lith if you desire but I like to use the whole tonal range of my paper and so I work backwards from what it will print from a negative. My grade 3 papers will expand a density range of 1.0 to go from paper white to jet black and grade 1 (either VC or water bath) will allow up to 1.5 density ranges. The key is matching the negative to the paper and matching the scene to the negative by chosing the film that expands or contracts easily. TRI X has a huge dynamic range and with careful develoment can suck up 12 stops or more. FP4 us a very lively emulsion and can expand 2 or 3 stops with very little effort. Not that either can't do both, these are strengths of the film.

I use pyrocat because it enhances accutance and it clamps runaway highlights (another long discussion) If I were shooting roll film, I might prefer XTOL or MYTOL. It is smoother and gives more film speed without giving mushy grain. D76, D23 Microdol are among the "mushy grain club" im my humble opinion. (And I know I stepped on someones holy grail on that comment) it is the action of large quantities of sulfite in the stew that erodes (softens) the sharp edges of the grain.

Without a densitometer, and practice, it is hard to achieve these goals and perfect these techniques. It would be cool to just borrow one to work out the details because they are not terribly usefull after you have figured all this out. Yes - a good spot meter is mandatory - like a Pentax Zone VI modified one.

Good luck and beware of the "dark side" -> Di***al
 

Loren Sattler

Subscriber
Joined
Dec 25, 2005
Messages
381
Location
Toledo, Ohio
Format
Medium Format
Good advice above. I feel a weekend workshop can help print quality tremendously. Last year I attended a weekend workshop in Ann Arbor, MI with Howard Bond. He is a master printer/photographer that has been devoted to black and white photography for over 50 years. His workshops are held on a Saturdays and Sundays. You spend time studying high quality black and white prints and hands on printing in the darkroom. It is a very worthwhile experience full of techniques and discussions on everything from materials and equipment to shadow detail, contrast and print luminance. Check out his website: http://www.apogeephoto.com/howard_bond.html
 
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