7 posts tagged “exposure”

 **The overall Density of a Black and White Photos may appear to be
normal except some areas seem to be to light or dark.
**Dodging and burning in are two methods of giving different exposures
to differnt parts of a print.
** If an area is too dark, Dodging is called for. That area of the
Print is simply shadowed during part of the initial exposure time.
A dodging tool is useful: it is simply a piece of card board
attached to the end of wire. Your hand or a finger, a piece of card-
board or any other object can be used. Dodging is effective when details
in the shadow areas of the negative image. Dodging of areas that lack
details or texture too long a time produces a murky gray tone in the
Print.
**Burning in is the opposite procedure, often used when part of the
black and white print is too light. After the entire negative has
received exposure that is correct for most areas, the light is
blocked from most of the Print while the area that is too light
receives extra exposure. A large piece of card board that can be
cut to an appropiate shape or size. Your hands can be used, cupping
 or speading yours fingers out so that light reaches the paper only
where you want it to.
**Some areas may need to be darken, you can flash these areas with
a small penlight flashlight. unlike burning in, which darkens the
image, flashing fogs the paper: it adds a solid gray or black tone.
There a other light sources that you can use. A cone around the end
of a penlight works very well in texture and detail areas of the
Print. You can devise your on Techniques on what works best for
you.
**Whether you are dodging, burning in or flashing, it is important
to keep your dodging or burning tool, your hands or penlight in
constant motion from side to side so that tones of the affected
area blend into the rest of the Print.
**This process of dodging and burning in is a part of "Zone 1",
(zone A,zone B). I used "Zone 1" to manipulate my tones in the final
Print. I usual range in my Black and White Photos, zone III to zone
VIII. In "Zone 2" when I apply my Hand Tints the colors seem to
levitate. My " 2 Zone Technique " allows me freedom that no computer
in the World can duplicate. When Zone 2 harmonizes with Zone 1 the
Prints surpass any computer generated Print. I become a conductor in
the visual world of Hand Tinted Photo Art. The music is universal and
soothing to ones eye. I love creating works of Art where the spoken
word becomes obsolete. Sight is the only unspoken language that exist.

  The goal during printing is usually to make a full-scale Black and White Print that has a full range of Tones and a realistic sense of texture and substance. You may deliberately depart from this goal at times. A test Print are judged for two characteristics: Density and Contrast.
  Density refers to the overall darkness or lightness of the print. It is controlled primarily by the amount of Exposure, the greater the Density of Silver produced, the darker the Print. Exposure can be adjusted either by opening or closing the enlarger lens aperture or by changing the lenght of the Exposure time.
  Contrast is the difference in brightness between light and dark areas within the print. A full scale Print of normal Contrast and Density has a wide range of Tones: rich blacks, many shades of gray, brilliant whites. A low-contrast or flat Black and White Print seems gray and weak with no real blacks or brilliant whites. A high-contrast Black and White Print seems harsh. Large shadows areas seem too dark and may print as solid black; highlights seem too light and may be completely white. Texture and details are missing in shadows, highlights or both. The contrast of a Black and White Photo is mainly controlled by the grade of paper used.
  I use multi grade,matte enlarging paper. It gives me good contrast and fair density in the shoulder area. I Expose my prints in the middle gray area of the Zone scale. It allows me to Hand Tint all areas of my Print if I choose. I use the rules of third in my composition and balance. I then use my " 2 Zone Technique to apply my colors to the final Black and White Photo. It gives my Photo Art a three dimensional effect. I always add colors to my shadow areas to enhance texture and details unseen to the naked eye. I enjoy adding colors where there is  a lack to enhance my balance and  composition. This give my Black and White Photo Art that Special touch.
I am the only Photo Artist in the world that use the above mention techniques. My Photo Art is unique because of this Technique which I developed myself. Don't miss out on a chance to own tomorows Piccasso. They are the best investment in todays Art world. Its still affordable, as time goes on those who own Black and White Photo Art will see their investment appreciate like no other type of Art. The main reason is, most Photos are taken with a digital camera and won't be around long enough to appraise, they will fade away in due time. My Photo Art matures and the Colors become more intense as they age gracefully. They are like a like fine vintage bottle of wine. If you have the chance to buy a Black and White Print do so. there are not many left on the market. I recommend going to flea markets or garage sells to look for these forgotten treasures of the past.

  The goal during printing is usually to make a full-scale Black and White Print that has a full range of Tones and a realistic sense of texture and substance. You may deliberately depart from this goal at times. A test Print are judged for two characteristics: Density and Contrast.
  Density refers to the overall darkness or lightness of the print. It is controlled primarily by the amount of Exposure, the greater the Density of Silver produced, the darker the Print. Exposure can be adjusted either by opening or closing the enlarger lens aperture or by changing the lenght of the Exposure time.
  Contrast is the difference in brightness between light and dark areas within the print. A full scale Print of normal Contrast and Density has a wide range of Tones: rich blacks, many shades of gray, brilliant whites. A low-contrast or flat Black and White Print seems gray and weak with no real blacks or brilliant whites. A high-contrast Black and White Print seems harsh. Large shadows areas seem too dark and may print as solid black; highlights seem too light and may be completely white. Texture and details are missing in shadows, highlights or both. The contrast of a Black and White Photo is mainly controlled by the grade of paper used.
  I use multi grade,matte enlarging paper. It gives me good contrast and fair density in the shoulder area. I Expose my prints in the middle gray area of the Zone scale. It allows me to Hand Tint all areas of my Print if I choose. I use the rules of third in my composition and balance. I then use my " 2 Zone Technique to apply my colors to the final Black and White Photo. It gives my Photo Art a three dimensional effect. I always add colors to my shadow areas to enhance texture and details unseen to the naked eye. I enjoy adding colors where there is  a lack to enhance my balance and  composition. This give my Black and White Photo Art that Special touch.
I am the only Photo Artist in the world that use the above mention techniques. My Photo Art is unique because of this Technique which I developed myself. Don't miss out on a chance to own tomorows Piccasso. They are the best investment in todays Art world. Its still affordable, as time goes on those who own Black and White Photo Art will see their investment appreciate like no other type of Art. The main reason is, most Photos are taken with a digital camera and won't be around long enough to appraise, they will fade away in due time. My Photo Art matures and the Colors become more intense as they age gracefully. They are like a like fine vintage bottle of wine. If you have the chance to buy a Black and White Print do so. there are not many left on the market. I recommend going to flea markets or garage sells to look for these forgotten treasures of the past.

  How is it possible to decide in advance what tone an important  area will have in the final Photograph. It is quite simple if you know that for any area of uniform brightness, a reflected-light meter will recommend an exposure that will render that brightness in the middle gray in the Black and White Photo.
  Two areas often metered when calculating exposures this way are skin tones and shadow areas. An exposure for a portrait is often based on the skin tone of the subject. The other area frequently metered as a basis for exposure is the darkest area in which the photographer wants to keep a full sense of texture and detail.
  One object that can be metered is the palm of your hand. Another useful substitution reading is from a gray test card, it reflects 18 % of the light falling on it and a white side that reflects 90 % of the light. A gray card is often used to balance the light in a studio setup or when copying an object such as a painting. It is also useful in color photography as a standard against which the color balance of a print can be matched.
 With our digital camera all of the above want apply. Most digital cameras are automated and advanced that you simply point and shoot. Choosing your f/stops or apertures are not important in obtaining a quality print or a rendition of any scene. The photographer hands are tied and creativity takes a back seat.
  I will never shoot a digital camera due to those restraints and a lack of negative, which I will need to create my Hand Tinted Black and White photo Art. I love to manipulate my fully manual camera to interpret each scene. The unaided eye will give you unlimited freedom to allow you to capture each scene as you like. Roll film will some day return to our main stream because the burden and lack of freedom of our digital cameras. The rules of taking photos the classic way still apply in the Art world. Technology has become a stumbling block for our Art world, but true artist don't need any computer aides.

  How is it possible to decide in advance what tone an important  area will have in the final Photograph. It is quite simple if you know that for any area of uniform brightness, a reflected-light meter will recommend an exposure that will render that brightness in the middle gray in the Black and White Photo.
  Two areas often metered when calculating exposures this way are skin tones and shadow areas. An exposure for a portrait is often based on the skin tone of the subject. The other area frequently metered as a basis for exposure is the darkest area in which the photographer wants to keep a full sense of texture and detail.
  One object that can be metered is the palm of your hand. Another useful substitution reading is from a gray test card, it reflects 18 % of the light falling on it and a white side that reflects 90 % of the light. A gray card is often used to balance the light in a studio setup or when copying an object such as a painting. It is also useful in color photography as a standard against which the color balance of a print can be matched.
 With our digital camera all of the above want apply. Most digital cameras are automated and advanced that you simply point and shoot. Choosing your f/stops or apertures are not important in obtaining a quality print or a rendition of any scene. The photographer hands are tied and creativity takes a back seat.
  I will never shoot a digital camera due to those restraints and a lack of negative, which I will need to create my Hand Tinted Black and White photo Art. I love to manipulate my fully manual camera to interpret each scene. The unaided eye will give you unlimited freedom to allow you to capture each scene as you like. Roll film will some day return to our main stream because the burden and lack of freedom of our digital cameras. The rules of taking photos the classic way still apply in the Art world. Technology has become a stumbling block for our Art world, but true artist don't need any computer aides.

  How is it possible to decide in advance what tone an important  area will have in the final Photograph. It is quite simple if you know that for any area of uniform brightness, a reflected-light meter will recommend an exposure that will render that brightness in the middle gray in the Black and White Photo.
  Two areas often metered when calculating exposures this way are skin tones and shadow areas. An exposure for a portrait is often based on the skin tone of the subject. The other area frequently metered as a basis for exposure is the darkest area in which the photographer wants to keep a full sense of texture and detail.
  One object that can be metered is the palm of your hand. Another useful substitution reading is from a gray test card, it reflects 18 % of the light falling on it and a white side that reflects 90 % of the light. A gray card is often used to balance the light in a studio setup or when copying an object such as a painting. It is also useful in color photography as a standard against which the color balance of a print can be matched.
 With our digital camera all of the above want apply. Most digital cameras are automated and advanced that you simply point and shoot. Choosing your f/stops or apertures are not important in obtaining a quality print or a rendition of any scene. The photographer hands are tied and creativity takes a back seat.
  I will never shoot a digital camera due to those restraints and a lack of negative, which I will need to create my Hand Tinted Black and White photo Art. I love to manipulate my fully manual camera to interpret each scene. The unaided eye will give you unlimited freedom to allow you to capture each scene as you like. Roll film will some day return to our main stream because the burden and lack of freedom of our digital cameras. The rules of taking photos the classic way still apply in the Art world. Technology has become a stumbling block for our Art world, but true artist don't need any computer aides.

**The easiest way to control and adjust contrast is to change the contrast grade of Black and White paper-print, a high contrast negative on a low-contrast paper and low contrast negative on a high-contrast paper.
**A film's response to change in development is strong in the areas of greatest exposure (high, bright values) and weak in the areas of little exposure (low, shadow values). This occurs because the developer rapidly reduces the Silver Bromide Crystals that were struck by light in the slightly exposed shadow areas.
**The longer a negative is developed (up to a limit), the greater the Silver density that develops in high values, while the shadow densities remain about the same. Contrast increases as the spread between high value and low value densities increases, and it decreases as the spread decreases. The lenght of time a negative is developed has an important effect on the contrast.
**Changing the development time is simple if you are using Black and White sheet film, since each exposure can be given individual development. With Black and White roll film, changing the contrast grade of the paper is often more practical.
** Understanding the characteristic of Black and White Photo film and Black and White print Paper you can obtain any type of print to suit your needs. I prefer printing in zone IV to zone VII my Black and White Photo Art the Classic way. When I Hand Tint my black and White  Photo Art the colors have a tendency to levitate. The colors place properly give the Photo a three dimension effect. This is where the magic begins, knowing what colors and where to tint. Toning brings out the mood of each scene.