First, I would try to flash the paper. I really like the very bright mountain back there, and you only want to get a hint of texture.
Selective masking would be my second method to try. If you wish to just burn in the area you could make a mask and cut out the area that needs more exposure. You get about 1/3 to 1/2 stop reduction of speed with frosted mylar, so what you would really be doing is dodging the rest of the print by that amount. You could also also do some additional dodging, burning or local contrast adjustment with the mask on the rest of image. For example if you want to increase the contrast of the large mountain on the left you could add a bit of magenta to that area of the mask with a highlighter or colored pencil. That would lighten it a bit and increase the contrast locally by blocking some of the green light. You can also fake it with a bit of pencil shading.
There is really no way your development could have really helped you. If you had given the negative less development time, then you would have had to increase the contrast for the printing to get the rest of the print the way you like it and you would be right back to where you are now. So don't beat yourself up over that.
Flash the paper will bring this in. Non Destructive also.
Combine with or use split filter printing alone. Start with low contrast, then when the peak is correct, add density with high contrast filter.
You might try masking, single mask to hold everything back except the white.
Also try a small cut out slightly smaller than the size of the peak and lay it right on the print. Move slightly during exposure.
Definately go with a diffusion enlarger if you are not using one.
Re flashing, I'd still try to do localized burning first. Keep in mind flashing reduces highlight contrast. And if it is not localized, it will have some degree of flattening effect on other highlights in your image, such as bright clouds. It can also have subtle effects on upper mid-tones, so some additional adjustments may be required - ie if you decide to flash the paper, make sure you do new test strips etc.
I personally dislike flashing because there's more risk of compromising the gradation of the low values. Split printing on a high-quality VC would make this a fairly easy task provided the high values
of Mt Conness aren't blown clear onto the shoulder of the film and still retain some gradation. I'd simply make a relatively precise cutout on a burn-in card and give that specific area some green or
yellow light exp. (Actually, I'd personally use a registration punch and special mask to do the burn
exactly, but most people don't own that kind of gear). Good timing with that shot, however!
Agree with you, Drew. Flashing is not typically the best "first line tool" in the bag.
Wouldn't it be possible to use retouching ink? The area looks quite small to me.
Thanks for the help all... I did a lot of paper flashing back in my days as a newspaper photographer making screen prints. was never really a fan of that technique, but were doing it in a pretty low tech way.
Been chatting with Alan Ross and he's given me some great suggestions... He thinks selective masking is the way to go on it.
just got his CD's on VC Printing and Masking, can't wait to get into them to start working on the next series.
Agree. As I mentioned earlier Alan Ross's selective masking techniques are relatively simple for this type of application and you don't really need much extra gear to get it going. He'll also sell you a simple, inexpensive carrier to use (hinged glass and diffusing plexi) to fit your enlarger, although it is quite easy to make this yourself.
By the way, if you need any of the diffusing plexi he recommends, or some extra matt dura-lar sheets, I have a lot of extra (ordered way too much of it when I first started reading about selective masking).
a contrst-controlling msk will do the rick
Originally Posted by Robert Oliver