That's a great question. I tend to think that tone reproduction analysis is, at least these days, meant to be descriptive, rather than prescriptive. But, back when it was developed, analog photography was beginning to be serious, used not just in art and in preserving family memories, but in science, medicine, business, military, etc. It was believed that, for a more rigorous approach to tonality, esp. print quality, it was necessary to develop a paradigm based on (numerical) data, rather than verbal descriptors. As we can see even in this thread, photographers disagree about the most basic verbal terms, such as "tone," not to mention more subtle ones, like "elegant," "extended," "smooth," etc.How would everyone translate this technical explanation to a simple process of getting great tonal pictures from shooting the subject stage to the final print or display stage?
The "tonality" in my example came from three things mainly.
1) The direction and character of the light;
2) How the subject looked - the presence of deep shadows and luminous reflections arrayed (fortuitously) in a pleasing manner; and
3) the reflectivity of some of the subject.
It is taken with the camera (Mamiya C330) pointing almost straight down, with me and my tripod hanging over the edge of an elevated wooden walkway. I metered using an incident meter pointing up toward the forest canopy and overcast skies. IIRC, it was T-Max 400 developed in replenished HC-110 1 + 49 (but it might have been Plus-X).
The negative appears quite thin to the naked eye. It prints beautifully. As an aside, I think most beginners seem to want thicker negatives than I prefer. But then, some very experienced photographer friends prefer those thick negatives as well.
This shot is taken on the same roll, from almost the same place, while (obviously) pointing the camera in a different direction. It's subject is another Photrio moderator
View attachment 323515
The first example image was taken looking over the left side of the walkway, from a location just out of the field of view in the second image.
I share the second image here because it gives an indication of the light.
it's not using the whole tonal scale but still has good tonality because going back to the Agfa comments it has finely differentiated scale in the grey tone.
Does this mean that a typical lith print has poor tonality? Or does it just have another type of tonality?
Does this mean that a typical lith print has poor tonality? Or does it just have another type of tonality?
Just another type of tonality, an altered reality. That said of course there can be poor quality lith prints in terms of technique.
There are many ways of interpreting negatives at the printing (or scanning) stage, the importance of Craft is good technique at the shooting and processing stage allows a negative to be printed different ways.
Ian
Lith printing is its own world. That is a separate discussion.
And at the risk of adding an additional element of potential uncertainty, having a clear vision about the desired results is a major component of Craft.
For my first example, when I looked down into the leaves, water and mud, it was important to be able to envision a print.
Same applies to the photo of the (now) moderator.
To my eye tonality is a subjective thing that depends in part on how the colors in a scene are transcribed into shades of grey. That's why I prefer old school films to t grain films. The t grain films have a more neutral tonality. But the whole argument is like debating how many angels fit onto the head of a pin. Fun. but pointless.
......but that would completely kill the atmosphere.
You mentioned it but maybe its a discussion for another thread. I'm curious why using the words Zone System would kill the atmosphere........in general, I've wondered why on many occasions, those words are such a trigger for some people.
Tonality is something.....there is a definition for it. Tonality is like bread....it exists....and you have the option of subjectively preferring one recipe over another. (T grain films have a different grain structure. I can develop them in Rodinal for example and get a pretty different outcome than processing them in my favourite staining developer). Things are pretty slow in the photo world as yesterday's entire day of posts on tonality show.... Bring on that new Kentmere 120!!!....prints & opinions !!To my eye tonality is a subjective thing that depends in part on how the colors in a scene are transcribed into shades of grey. That's why I prefer old school films to t grain films. The t grain films have a more neutral tonality. But the whole argument is like debating how many angels fit onto the head of a pin. Fun. but pointless.
Ian wasn't referring to Zone System discussion killing the atmosphere. He was referring to using Zone System expansion to increase the tonal range - darker shadows and brighter highlights and more tonal separation in the mid-tones - to change the result.
That change in result would "kill the atmosphere".
The "tonality" in my example came from three things mainly.
1) The direction and character of the light;
2) How the subject looked - the presence of deep shadows and luminous reflections arrayed (fortuitously) in a pleasing manner; and
3) the reflectivity of some of the subject.
It is taken with the camera (Mamiya C330) pointing almost straight down, with me and my tripod hanging over the edge of an elevated wooden walkway. I metered using an incident meter pointing up toward the forest canopy and overcast skies. IIRC, it was T-Max 400 developed in replenished HC-110 1 + 49 (but it might have been Plus-X).
The negative appears quite thin to the naked eye. It prints beautifully. As an aside, I think most beginners seem to want thicker negatives than I prefer. But then, some very experienced photographer friends prefer those thick negatives as well.
This shot is taken on the same roll, from almost the same place, while (obviously) pointing the camera in a different direction. It's subject is another Photrio moderator
View attachment 323515
The first example image was taken looking over the left side of the walkway, from a location just out of the field of view in the second image.
I share the second image here because it gives an indication of the light.
Which developer with Tmax film brings out more tonality? D76 or Xtol?
So it's you in that photograph? It's an awesome capture of that particular moment. It also has a very interesting composition, where it's not clear where the photographer ends and the camera begins, which is a great metaphor for how a lot of photographers feel about their art/craft. The camera becomes an extension of one's eye, so to speak. Really cool.I forgot my belt that day...Oh and I finally retired that minky old vest!
I am not sure if this is generalizable over the entire T-MAX line, but, in my tests, XTOL stock produces curves that are more linear through the mid-range and lower highlights than D76 with the T-MAX P3200, especially with longer developing times (in a typical pushing scenario). These curves, therefore, look smoother, less "lumpy." I guess one could describe such tonality as having more mid-tone separation, with less tonal compression in the highlights. Whether that's a good thing or a bad thing is up to one's individual taste, the subject matter, the print medium, etc. I will be posting more P3200 and XTOL data soon. With shorter developing times, these differences are less pronounced.
It's an awesome capture of that particular moment.
Do you think those mid-ranges and tonal effects are better using XTOL with Tmax 100 and Tmax 400 also which are what I shoot?
Which developer with Tmax film brings out more tonality? D76 or Xtol?
Assuming that output is digital for post-processing as well, would XTol give a better range for the scanning and editing stages with all other things remaining equal?Yes
Tonality isn't a thing, which you can achieve a range from small to large. It is a measure of quality, while it is a quality in itself.
Tonality isn't a single type of result, achieved by doing "x", with film "y" developed in developer "z".
There are subjects and lighting conditions that are best dealt with using one combination of film, developer and printing approaches.
Other subjects and lighting conditions are best dealt with using other combinations of film, developer and printing approaches.
In many cases, a number of combinations of film and developer may be used to create negatives that can lead to tonality that pleases, as long as the right approaches to printing are employed.
It is the printing stage that gives you the most flexibility.
If your output is digital, substitute scanning and post processing for the printing controls.
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