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  1. #11
    JBrunner's Avatar
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    Quote Originally Posted by 2F/2F View Post
    Yes. You can do it if you invent (or find) a device that pre exposes the entire roll without leaving frame lines.

    It is a method for lowering contrast, but not the fix for this situation, IMO. It does narrow the gap between low end and high end, simply by forcing you to print through more fog density to achieve maximum black, which darkens the high end in the print as well, but there are more effective (and much easier) ways to handle the problem.
    Additionally, pre-flashing can help bring detail in the shadow areas by giving the film enough of a start to reduce or eliminate the effects of contrast reciprocity failure. Basically, in some low light situations even with proper exposure for the highlights there simply isn't enough energy in the shadow areas to provide exposure. Those shadow areas experience reciprocity failure while the mid-tones and highlights expose normally. The result is similar to expanding a film in development. It is an interesting effect.

    However, as 2F/2F stated, pre-flashing isn't very convenient or practical for roll film because of the logistics of flashing it and varied conditions a roll of film will be exposed to combined with the inability to develop for individual exposures.

  2. #12
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    Quote Originally Posted by 2F/2F View Post
    Yes. You can do it if you invent (or find) a device that pre exposes the entire roll without leaving frame lines.
    The Pentax LX is one such device. The frame registration always spot on whether winding forward or backward. I would think other cameras of the era did the same. I have used this to shoot background scenes then apply the subject later.

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    D-76 is a standard developer, although not one I use.
    Ansel Adams - The Negative

  3. #13
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    Quote Originally Posted by ymc226 View Post
    I want to cut my development time down to 5.5 minutes, just under 20% less development. How do I know when I've gone too far? Would the prints just be more muddy or would there be some more catastrophic change?
    20% is about right, you should loose a stop or so of contrast. If you cut the development more than 20% you may need to increase the exposure as shadow detail won't be as fully developed.

    The problem with indoor shooting in existing illumination isn't contrast range but illumination range. If you cut the contrast to accommodate the wide variation in illumination you will indeed end up with rather muddy looking subject matter.

    Burning in the overexposed parts of the image when printing may be a better solution.

    The best solution is to even out the lighting. A small amount of bounce and fill-in flash can work wonders - you don't need much. There are flashes available that have two flash tubes just for this purpose. Bounce flash is much easier on the subject's eyes than normal straight-ahead-damn-the-red-eye-blind'em flash, you will find people have much less objection to it. If flash is a no-no then see if you can add a floor or table lamp here and there. A floodlight aimed straight up at the ceiling can add enough shadow fill to keep the illumination range under control. If you have a real offender in a lamp that overpowers part of the scene then try putting a lower wattage bulb in the lamp to even things out.
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