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  1. #11
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    All the replies have been interesting and informative but in what instances is it necessary or preferrable to use the masking process? I'm particularly interested in the masking for sharpness control. For example, the masking to improve sharpness is in what sense of the word? Can out of focus issues from loss of DoF be made more sharp or is to enhance the sense of accutance in the negative? When exactly would this type of masking be necessary to perform?

    Thanks

  2. #12

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    Quote Originally Posted by jbasierb View Post
    I believe the original intent of masking was for reducing contrast on Cibachrome prints.

    Jerry
    Masking has been around long before Cibachrome and was an important part of the Dye Transfer Process. Kodak has detailed information in a number of their guides from the 50 and 60s as well as their E80 publication. The Photo Lab Index by Morgan also has information on how to make masks for contrast reduction.

    Gord

  3. #13
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    Quote Originally Posted by Chuck1 View Post
    All the replies have been interesting and informative but in what instances is it necessary or preferrable to use the masking process? I'm particularly interested in the masking for sharpness control. For example, the masking to improve sharpness is in what sense of the word? Can out of focus issues from loss of DoF be made more sharp or is to enhance the sense of accutance in the negative? When exactly would this type of masking be necessary to perform?

    Thanks
    Chuck,

    The Sexton workshop is about the technique for contrast and sharpness. I imagine John has his own dealio worked out, and I would love to see it. The unsharp mask cant give back what you dont have (DOF), what is enhanced is the apparent sharpness of the print.

  4. #14

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    Have a search of APUG threads. A lot has been written on unsharp masking and I have seen at least one article showing what it can do compared to straight printing.

    An APUGer called Donald Miller has, if I recall, posted an article on how it's done. Additionally have a look at Lyn(n) Radeka's site. I can't be sure my spelling is completely correct but his site shows what's possible at a cost of time and money. It is amazing

    This will probably tell you more or show you more than ten thousand words from 50 APUGers. Lyn is an extremely accommodating guy who will reply to any query you make. Like a lot of others in the analogue game he is firstly an advocate of what can be done and only secondly a businessman trying to sell you something because he needs to eat.

    pentaxuser

  5. #15
    Jerry Basierbe's Avatar
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    I've taken John's "Fuine Tuning" workshop. His procedure is fairly simple and can be as inexpesive or as expensive as you want it to be depending on how much of the equipment you want.

    Jerry

  6. #16
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    Thanks all for your info and I look forward to learning more on my own about this process.

    Chuck

  7. #17
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    The Vestal Weber workshop at the Photographers Formulary covers this subject and much more. It is a treat to learn from these two old timers.

    PE

  8. #18
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    Quote Originally Posted by pentaxuser View Post
    Have a search of APUG threads. A lot has been written on unsharp masking and I have seen at least one article showing what it can do compared to straight printing.

    An APUGer called Donald Miller has, if I recall, posted an article on how it's done. Additionally have a look at Lyn(n) Radeka's site. I can't be sure my spelling is completely correct but his site shows what's possible at a cost of time and money. It is amazing

    This will probably tell you more or show you more than ten thousand words from 50 APUGers. Lyn is an extremely accommodating guy who will reply to any query you make. Like a lot of others in the analogue game he is firstly an advocate of what can be done and only secondly a businessman trying to sell you something because he needs to eat.

    pentaxuser

    I just finished checking out Lynn Radeka's site and, well, wow! Do most fine art B&W photographers like Sexton and others always use such various masking processes in their finished work? Seeing that site and seeing the results of how that process works just totally emphasizes how important proper exposure and development is to the fine print. I know well executed photography can result in awesome prints without the masking process, but what another tool to be able to have at your disposal. When I can afford it, I want to learn how to do that.

    Chuck

  9. #19
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    Quote Originally Posted by Chuck1 View Post
    Do most fine art B&W photographers like Sexton and others always use such various masking processes in their finished work?

    Chuck
    No. Only when they feel it to be necessary to get the print to look the way they envisioned when other methods such as dodging and burning won't help.

    Jerry

  10. #20
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    There's also a discussion of masking techniques in Ctein's book, _Post-Exposure_.

    One attraction of POP processes like Centennial (silver gelatin) POP, albumen, and Ziatype, is that they are self-masking. As you increase exposure time development slows down in the shadows and continues at the same rate in the highlights, so if you have a landscape negative of the proper scale for the process, with good detail from shadows to highlights, you can just continue exposing as the highlights come in, and you won't lose the shadows--no registration pins required.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
    Photography (not as up to date as the flickr site)--http://www.davidagoldfarb.com/photo
    Academic (Slavic and Comparative Literature)--http://www.davidagoldfarb.com

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