تويت
التصوير الفوتوغرافي الحديث
صنع الطباعة ..
المزيد حول توسيع الورق ..
سطح ..
SURFACE
Surface finish is the next consideration in choosing a paper . Here we get away from photographic technique and enter the infinitely wider realm of personal taste . Because the choice of paper surface is largely a matter of personal preference , it isn't possible to lay down definite rules for selecting the proper surface . However , here are some rough guides .
The first and most important thing to bear in mind is that the picture comes first - it must never be subordinated to the printing medium . Your paper surface should not attract attention to itself and detract from the subject . Until you have developed a fine sense of discrimination and can fully rely on your own sense of taste , avoid all papers with tricky and unusual surfaces . Stick to one or two standard surfaces from among the following :
GLOSSY PAPER . Glossy paper has the widest density range of all surfaces . For the same contrast grade , glossy paper gives slightly more visual contrast or brilliance . If you have a low - key picture in which you want to build up the greatest possible depth and richness in the blacks , use glossy paper . Glossy paper should also be used for prints in which extremely fine detail is important . Occasionally , when a negative is a trifle too soft for No. 2 paper and a trifle too hard for No. 3 , try printing it on a No. 2 glossy paper . The slight increase in brilliance resulting from printing on glossy paper may give just the right contrast . Figure 33 illustrates the type of picture enhanced by glossy paper .
SMOOTH PAPER . Smooth papers may be used when the very high sheen of glossy paper is too extreme , but where it is still necessary to reproduce fine detail . It may also be used to advantage for prints which will require spotting or retouching . Both glossy and rough papers are more difficult to work on .
Figure 31 Brilliant print . Tones range from maximum black in shadows to pure white in highlights with accurate representation of all halftones .
FINE - TEXTURED PAPER . Fine - textured surfaces generally have a slight sheen broken up by a barely perceptible pebbling or graining of the paper surface . The very fine texture prevents the surface sheen from being objectionable - as it sometimes is with glossy paper . At the same time , the texture does not seriously lower brilliance . This type of surface has the widest general appeal for pictorial photography , and is a safe choice for practically any subject other than straight commercial .
Figure 32 Harsh or contrasty print . As in Figure 31 , shadow areas are a deep black and highlight areas almost as white as the paper stock . Halftones are poorly reproduced - light halftones are white and darker halftones almost completely black .
Figure 33 Glossy paper is best suited to this modern , boldly treated composition .
Fine - textured surfaces are available with different degrees of surface sheen or luster . For general use , a fairly high sheen is usually more effective . For portraits , the more popular paper of this type is the one with less surface sheen . Figure 34 illustrates the type of subject which is particularly suited to a finely - textured surface .
ROUGH PAPER . Rough papers have a very pronounced surface pattern or texture which tends to hide fine detail . The emulsion is generally a dead matte with no gloss whatsoever , and as a final touch , the paper stock is often slightly tinted so it has a slight old ivory or cream color . As a result , a print on rough paper is considerably softer than on any other paper of the same contrast grade . Rough papers are suited to pictures in which fine detail and brilliant lighting is not wanted , but where the mood is created through emphasis of the larger masses and planes . Landscapes which have no fine detail and large portrait prints of old people are often improved when printed on rough paper . Figure 35 illustrates this type of picture .
Most paper manufacturers offer sample booklets showing their complete line of paper surfaces . The next time you visit your camera dealer , ask to see the sample book for your favorite brand of paper . It will give you a much better idea of the surface selections available .
WEIGHT . Most papers come in two thicknesses - single and double weight . Both have their advantages and special fields of usefulness .
Single weight papers cost less , require less washing time , are somewhat easier to process in the small sizes , and are much easier to ferrotype to a high gloss . Double weight papers are much easier to process in the larger sizes ( above 8 x 10 ) , do not curl as badly , withstand ordinary handling better , and are available in a larger variety of surfaces .
Use single weight paper for all your glossy prints ( except in the large sizes ) , for your trial prints under 11 x 14 , and for all 8 x 10 and smaller prints that are to be mounted . Use double weight paper for permanent prints which you don't intend to mount , and for all prints 11 x 14 or larger .
IMAGE TONE . The image tone of a paper is the color of the silver deposit in the finished print . This color may be bluish , brownish , or a neutral black . These differences in color are caused by the variations in size and condition of the silver grains which make up the image . Image tone is determined largely by the basic composition of the emulsion itself , but it may be noticeably modified in development .
If the tone is blue - black , it is called cold ; if brownish it is called warm . The use of the terms cold and warm is general practice in all discussions of color , so it is important to understand which is which . You can remember this quite easily if you think of fire as reddish in color . Fire and warmth go together . Therefore , colors which contain red or orange are thought of as warm colors . The type subject which is best printed on warm - toned paper is shown in Figure 36. It is a sunset , and the light of the setting sun is quite warm in tone . The picture of the ice boats on the frozen lake in Figure 37 illustrates the type best suited to a cold - toned paper .
Figure 34 Pictorial photographs such as this are generally most effective when . printed on a paper with a textured surface .
The cold - toned papers generally give you a blue - black tone , no matter what paper developer you use . Any modification in tone will be slight . If you manage . to succeed in getting an appreciable warmth with one of these papers through the use of special warm - toned developers ( not the regular warm - toned developers for warm - toned papers ) or by overexposing and underdeveloping the print , the tone will not be pleasant . However , the warm - toned papers can be developed in cold - toned developers if their standard image tone is too warm to suit you . This results in an appreciable shift in tone away from the warm . The final print , however , will still have a warm tone .
Warm - toned developers almost invariably are the slower acting ones . Rapid , concentrated , paper developers generally produce colder tones . The image tone of any paper can be modified slightly with any developer by changing exposure and development time . A slightly shorter exposure and correspondingly longer development will shift the tone toward the cold side ; a slightly longer exposure and correspondingly shorter development will shift the tone slightly toward the brown or warm side . Such tone manipulation must be kept within the normal development range for the paper and developer you are using , or the print quality suffers . The paper manufacturer's instructions , with specific recommendations concerning development time , should be followed .
As an example , in the case of a certain warm - toned paper , the instructions recommend a normal development time of two minutes with a permissible range of one and one - half to three minutes . You can get a warmer tone with this paper developer combination by increasing the exposure until the print is developed fully in one and one - half minutes . Any additional increase in exposure and decrease in development time beyond this will result in the loss of print quality .
Figure 35 Sculpture detail , such as shown to the left , lends itself to the use of rough textured paper .
Figure 36 Sunsets often appear at their best when printed on warm - toned papers .
Figure 37 Winter scenes , ice and snow , convey the feeling of cold much better when printed on a cold - toned ( blue - black ) paper .
PORTRAIT PAPERS . The general run of printing papers is designed primarily for commercial , industrial and photo - finishing purposes . These papers are generally either neutral or blue - black in tone . Even those commercial papers designated as warm toned are only slightly so . Portraits do not appear at their best when printed on such papers . For this reason , all paper manufacturers supply one paper
designed primarily for the portrait photographer who deals in black and white . This paper is noticeably warmer toned than the regular commercial papers . It comes in only one grade of contrast , but it is unusually good in reproducing delicate tone gradations so that it is capable of reproducing beautiful modeling . The paper base itself usually has a slightly warm , off - white tint which is more appropriate to the warm - toned image . Portrait papers are usually supplied in double weight and in a variety of textured surfaces .
صنع الطباعة ..
المزيد حول توسيع الورق ..
سطح ..
SURFACE
Surface finish is the next consideration in choosing a paper . Here we get away from photographic technique and enter the infinitely wider realm of personal taste . Because the choice of paper surface is largely a matter of personal preference , it isn't possible to lay down definite rules for selecting the proper surface . However , here are some rough guides .
The first and most important thing to bear in mind is that the picture comes first - it must never be subordinated to the printing medium . Your paper surface should not attract attention to itself and detract from the subject . Until you have developed a fine sense of discrimination and can fully rely on your own sense of taste , avoid all papers with tricky and unusual surfaces . Stick to one or two standard surfaces from among the following :
GLOSSY PAPER . Glossy paper has the widest density range of all surfaces . For the same contrast grade , glossy paper gives slightly more visual contrast or brilliance . If you have a low - key picture in which you want to build up the greatest possible depth and richness in the blacks , use glossy paper . Glossy paper should also be used for prints in which extremely fine detail is important . Occasionally , when a negative is a trifle too soft for No. 2 paper and a trifle too hard for No. 3 , try printing it on a No. 2 glossy paper . The slight increase in brilliance resulting from printing on glossy paper may give just the right contrast . Figure 33 illustrates the type of picture enhanced by glossy paper .
SMOOTH PAPER . Smooth papers may be used when the very high sheen of glossy paper is too extreme , but where it is still necessary to reproduce fine detail . It may also be used to advantage for prints which will require spotting or retouching . Both glossy and rough papers are more difficult to work on .
Figure 31 Brilliant print . Tones range from maximum black in shadows to pure white in highlights with accurate representation of all halftones .
FINE - TEXTURED PAPER . Fine - textured surfaces generally have a slight sheen broken up by a barely perceptible pebbling or graining of the paper surface . The very fine texture prevents the surface sheen from being objectionable - as it sometimes is with glossy paper . At the same time , the texture does not seriously lower brilliance . This type of surface has the widest general appeal for pictorial photography , and is a safe choice for practically any subject other than straight commercial .
Figure 32 Harsh or contrasty print . As in Figure 31 , shadow areas are a deep black and highlight areas almost as white as the paper stock . Halftones are poorly reproduced - light halftones are white and darker halftones almost completely black .
Figure 33 Glossy paper is best suited to this modern , boldly treated composition .
Fine - textured surfaces are available with different degrees of surface sheen or luster . For general use , a fairly high sheen is usually more effective . For portraits , the more popular paper of this type is the one with less surface sheen . Figure 34 illustrates the type of subject which is particularly suited to a finely - textured surface .
ROUGH PAPER . Rough papers have a very pronounced surface pattern or texture which tends to hide fine detail . The emulsion is generally a dead matte with no gloss whatsoever , and as a final touch , the paper stock is often slightly tinted so it has a slight old ivory or cream color . As a result , a print on rough paper is considerably softer than on any other paper of the same contrast grade . Rough papers are suited to pictures in which fine detail and brilliant lighting is not wanted , but where the mood is created through emphasis of the larger masses and planes . Landscapes which have no fine detail and large portrait prints of old people are often improved when printed on rough paper . Figure 35 illustrates this type of picture .
Most paper manufacturers offer sample booklets showing their complete line of paper surfaces . The next time you visit your camera dealer , ask to see the sample book for your favorite brand of paper . It will give you a much better idea of the surface selections available .
WEIGHT . Most papers come in two thicknesses - single and double weight . Both have their advantages and special fields of usefulness .
Single weight papers cost less , require less washing time , are somewhat easier to process in the small sizes , and are much easier to ferrotype to a high gloss . Double weight papers are much easier to process in the larger sizes ( above 8 x 10 ) , do not curl as badly , withstand ordinary handling better , and are available in a larger variety of surfaces .
Use single weight paper for all your glossy prints ( except in the large sizes ) , for your trial prints under 11 x 14 , and for all 8 x 10 and smaller prints that are to be mounted . Use double weight paper for permanent prints which you don't intend to mount , and for all prints 11 x 14 or larger .
IMAGE TONE . The image tone of a paper is the color of the silver deposit in the finished print . This color may be bluish , brownish , or a neutral black . These differences in color are caused by the variations in size and condition of the silver grains which make up the image . Image tone is determined largely by the basic composition of the emulsion itself , but it may be noticeably modified in development .
If the tone is blue - black , it is called cold ; if brownish it is called warm . The use of the terms cold and warm is general practice in all discussions of color , so it is important to understand which is which . You can remember this quite easily if you think of fire as reddish in color . Fire and warmth go together . Therefore , colors which contain red or orange are thought of as warm colors . The type subject which is best printed on warm - toned paper is shown in Figure 36. It is a sunset , and the light of the setting sun is quite warm in tone . The picture of the ice boats on the frozen lake in Figure 37 illustrates the type best suited to a cold - toned paper .
Figure 34 Pictorial photographs such as this are generally most effective when . printed on a paper with a textured surface .
The cold - toned papers generally give you a blue - black tone , no matter what paper developer you use . Any modification in tone will be slight . If you manage . to succeed in getting an appreciable warmth with one of these papers through the use of special warm - toned developers ( not the regular warm - toned developers for warm - toned papers ) or by overexposing and underdeveloping the print , the tone will not be pleasant . However , the warm - toned papers can be developed in cold - toned developers if their standard image tone is too warm to suit you . This results in an appreciable shift in tone away from the warm . The final print , however , will still have a warm tone .
Warm - toned developers almost invariably are the slower acting ones . Rapid , concentrated , paper developers generally produce colder tones . The image tone of any paper can be modified slightly with any developer by changing exposure and development time . A slightly shorter exposure and correspondingly longer development will shift the tone toward the cold side ; a slightly longer exposure and correspondingly shorter development will shift the tone slightly toward the brown or warm side . Such tone manipulation must be kept within the normal development range for the paper and developer you are using , or the print quality suffers . The paper manufacturer's instructions , with specific recommendations concerning development time , should be followed .
As an example , in the case of a certain warm - toned paper , the instructions recommend a normal development time of two minutes with a permissible range of one and one - half to three minutes . You can get a warmer tone with this paper developer combination by increasing the exposure until the print is developed fully in one and one - half minutes . Any additional increase in exposure and decrease in development time beyond this will result in the loss of print quality .
Figure 35 Sculpture detail , such as shown to the left , lends itself to the use of rough textured paper .
Figure 36 Sunsets often appear at their best when printed on warm - toned papers .
Figure 37 Winter scenes , ice and snow , convey the feeling of cold much better when printed on a cold - toned ( blue - black ) paper .
PORTRAIT PAPERS . The general run of printing papers is designed primarily for commercial , industrial and photo - finishing purposes . These papers are generally either neutral or blue - black in tone . Even those commercial papers designated as warm toned are only slightly so . Portraits do not appear at their best when printed on such papers . For this reason , all paper manufacturers supply one paper
designed primarily for the portrait photographer who deals in black and white . This paper is noticeably warmer toned than the regular commercial papers . It comes in only one grade of contrast , but it is unusually good in reproducing delicate tone gradations so that it is capable of reproducing beautiful modeling . The paper base itself usually has a slightly warm , off - white tint which is more appropriate to the warm - toned image . Portrait papers are usually supplied in double weight and in a variety of textured surfaces .
تعليق