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  1. #1
    hoffy's Avatar
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    Long burn in - technique to avoid halos/burns

    Howdy,

    I was trying my best today to make the most out of a seaside photo taken at dusk, which required quite a long burn compared to the rest of the picture. The base print exposure was 26 secs. The sky required an additional 26 secs to give it just a touch of density.

    For me, this is quite a big jump in difference between the base and the burn. The first one had really serious halo's, which I suspect was from not moving the mask enough (I had also burnt in the sky for 40 secs, which was a tad too much). The second one was substantially better, but there was a touch of darkening along one edge.

    Can anyone give me a run through on the best technique to avoid such issues?

    Cheers

    (PS. I'll scan them in and post once they are dry)

  2. #2
    Newt_on_Swings's Avatar
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    If you make your own burning cards, make sure they are nice and thick and have shaped holes that you like to use for that area of the print.

    I like my cards with a white surface on top so I can see the projected negative and use that to aim the burning opening to that area precisely.

    To get a over all even burn you have to work the burn in a pattern and use the same speed when going over that pattern. Right to left, then back left to right, then up and down, down then up. Until you have cross hatched the area you need to burn. Obviously smaller burns don't require this much diligence, but going over a larger swath of space like sky does.

    You can also try split grade printing to bring out details you have been trying to bring out with burning. It may help with decreasing the amount you need to burn in.

  3. #3
    hoffy's Avatar
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    I think I have just had a light globe moment. I think I have been doing this wrong!

    OK, the mask that I made, followed the contours of the land and sea based items, blocking them out, which then left me trying to burn in the sky in one motion. This is too much to get right in one shot!

  4. #4
    John Austin's Avatar
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    Also, regarding NoS's comment - I prefer to cut my cards from old Agfa orange coloured packets as I have a dread of highlight degradation due to light reflected from a big card up to the ceiling and back - I plan to paint my darkroom dry bench area orange, but I have been planning that since 1994

  5. #5

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    Flashing the paper can be a good option for prints such as the one you describe. A bit complicated for me to explain here, but search the site & you will find some good tutorials.

  6. #6
    Newt_on_Swings's Avatar
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    Yea white probably isnt the best choice, but its easy to get a hold of matboard. There is also black, but thats a tricky one. The ones with black on one side and white on the other are nice too.

    Flat yellow like they have on some easels, and speed easels would work nicely as well. But honestly when burning with a stopped down lens to try and get maximum working time, the amount of reflected light is so low.

  7. #7
    John Austin's Avatar
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    Quote Originally Posted by Newt_on_Swings View Post
    Yea white probably isnt the best choice, but its easy to get a hold of matboard. There is also black, but thats a tricky one. The ones with black on one side and white on the other are nice too.

    Flat yellow like they have on some easels, and speed easels would work nicely as well. But honestly when burning with a stopped down lens to try and get maximum working time, the amount of reflected light is so low.
    You are probably right and I might have paranoia about highlight fog - I use Agfa orange and while it is easy to do the tests I will continue to use the old Agfa packets - Which I back with black paper on the underside, the orange is on the top to make the image visible on the board - After that I crook my neck to see where it is doing the deed on the paper

  8. #8
    hoffy's Avatar
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    Does plan old grey card board suffice? OK, thats what I use and there is enough for me to see the image

  9. #9

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    Does plan old grey card board suffice? OK, thats what I use and there is enough for me to see the image
    That should work fine. I often use a a sheet of paper I've fully exposed and developed so that no extra light is transmited though the burning mask. These are generated from accidents like forgetting to stop the lens down, or exposing with the head in white mode...

    I've never noticed a problem with other reflections, though I've never tried to test for this rigorously, maybe ignorance is bliss.

    If you're using a largish sheet for the mask, then it's shadow is protecting the paper from most stray light.

  10. #10

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    Are you doing your burn with OO grade filter?
    "There are a great many things I am in doubt about at the moment, and I should consider myself favoured if you would kindly enlighten me. Signed, Doubtful, off to Canada." (BJP 1914).

    Regards
    Bill

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