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  1. #11
    lee
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    Donald,
    I don't know what A**H*** is but I have heard that he is an ass hole. Oh, I just figgered it out! =[8^))). It is Howard Bond. I did not know that Howard is an explosive type also. Have you seen all the new prints from Mr. Bond that some have said are over unsharp masked? I have not done much of that but intend to after I move into the new dr.


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  2. #12
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  3. #13
    lee
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    If he teaches it, great. The only real exercise I get is jumping to conclusions.


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  4. #14
    lee
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    I have been thinking about this for awhile. Go to school and reprint this photo on vc paper like you have so far. Do you have a green filter in for any of your cameras? IF so, use it to re-expose the hot area and see if you can tone it down some. The dark area should not be too affected by the green filter. If it is try lightening it some and let the rest compensate.

    If it were me and it is not, I would start over. Sometimes you just have to admit that it was a good idea and poor execution. It is no crime or indication of your level of expertise. Sometimes it is just the way it is. Sorta that Zen thing happenin'. "Sometimes the magic works and sometimes it doesn't" Quote from "Little Big Man".

    lee\c

  5. #15
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  6. #16
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    Aggie,

    My advice to help solve the contrast problem would be to print it on VC paper and burn in the highlight using grade 5, (yes grade 5) and then post flash it. If you have my book look at the image First Communion in Chapter 5 page 118 to see the effect and how to do it.

    When you burn in so called blocked up highlights with grade 5 only the darker tones are affected by the increased exposure and an increase in detail is the result. The object of the post flash is to introduce a very delicate tone in an otherwise paper base white area of the image. I use this technique when I have a negative such as the one you describe.
    "Digital circuits are made from analogue parts"
    Fourtune Cookie-Brooklyn May 2006

    Website: www.lesmcleanphotography.com

  7. #17
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    </span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (OleTj @ Apr 2 2003, 09:47 AM)</td></tr><tr><td id='QUOTE'> N- development, but this tends to compress midtones a bit much for my taste.

    Compensating developer - something like Maxim Muir&#39;s.

    Split developing - with split D23, Ilford FP4+ can hold details over a 16 stop range&#33; </td></tr></table><span class='postcolor'>
    There are 2 issues at stake . Local contrast - to keep the door. And general contrast. N- processing will decrease general contrast and may yield a flat print that can be pumped up with a partial selenuim toning and a bleach back of the highlights. I think I might try DiXactol for this one. Even the monobath version controls local contrast very well by tanning the neagative in the highlights and retaining overall contrast elsewhere. PMK tans also - but nothing like the Catechol in DiXactol. I photographed a light bulb and you can read the 50w printing on the glass and see the filament coils perfectly - with no halation - I did it in Medium format in monobath DiXactol. Split D23 is also a winner - I have not used it in a situation like this though. It is sure cheap and easy to make.
    My photos are always without all that distracting color ...

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