Switch to English Language Passer en langue française Omschakelen naar Nederlandse Taal Wechseln Sie zu deutschen Sprache Passa alla lingua italiana
Members: 70,205   Posts: 1,531,746   Online: 887
      
Results 1 to 5 of 5
  1. #1
    sharris's Avatar
    Join Date
    Jun 2009
    Location
    Ann Arbor, MI
    Shooter
    Medium Format
    Posts
    49
    Images
    19

    Tone separation / Shade

    Hello - I tried to do a search on same topic, but came up empty. Feel free to simply point me to previous post if applicable.

    I'm doing ok 'placing' my values for B&W film when sufficient range of contrast exists. Even starting to learn how to handle situations where range exceedw 5 stops etc.

    Now this may be the dumbest question of all, but what have you done to try and increase contrast / tone separation when subjects are in shade and you really can't do much to improve lighting conditions? What are my options?

    A specific example: Elderly father came to visit. Went to park and sat under pavilion out of sun/heat. Didn't really have time/ability to alter lighting, and he was wearing tan pants, 'matching' shirt about same as his skin tones. Exposed correctly for skin vs. background in sun, but obviously he is pretty monochromatic.

    Is there more that I could have done? Or just accept fact that we are in fact capturing light and if it isn't there; it ain't there. Thanks for reading and suggestions. Cheers. Steve

  2. #2
    markbarendt's Avatar
    Join Date
    May 2008
    Location
    Ignacio, CO, USA
    Shooter
    Multi Format
    Posts
    5,649
    Blog Entries
    3
    Images
    19
    Sharris,

    See if this helps http://www.apug.org/forums/forum221/...k-vs-gray.html

    Part of getting what you want is deciding what the "important range of exposure" is and knowing how your film reacts. In the shot you describe the highlight detail sounds like it might be unimportant, what's left is a very low contrast scene. You can sacrifice the "unimportant highlights" and use n+1 or n+2 development to match the film to the scene better.
    Mark Barendt, Ignacio, CO

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

  3. #3
    keithwms's Avatar
    Join Date
    Oct 2006
    Location
    Charlottesville, Virginia
    Shooter
    Multi Format
    Posts
    6,079
    Blog Entries
    20
    Images
    129
    Burn the pants or dodge the father?
    "Only dead fish follow the stream"

    [APUG Portfolio] [APUG Blog] [Website]

  4. #4
    sharris's Avatar
    Join Date
    Jun 2009
    Location
    Ann Arbor, MI
    Shooter
    Medium Format
    Posts
    49
    Images
    19
    Thanks for the link and suggestion. The thought about changing development to compensate for the curve makes sense. Good link. Cheers

  5. #5
    DanielStone's Avatar
    Join Date
    Dec 2008
    Location
    Los Angeles
    Shooter
    Multi Format
    Posts
    2,961
    Images
    1
    I remember reading how Ansel Adams enhanced the local tonal separations in his "Moonrise Hernandez" shot. He used a selenium toning solution (remember this was on a 8x10 neg), and used a 'dipping' method to increase local contrast in the bushes on the bottom of the frame.

    Try selenium toning the print. It has helped me a lot when I print. Right now since I'm printing in the school's darkroom, its a little harder, but when I can get access to it, I use it as much as I can. Just don't overdo it, some papers color shift if you tone them too much.

    -Dan

    also, do some reading on split-grade printing. I've been doing it for about a year now, and my prints have been looking quite a bit better.




 

APUG PARTNERS EQUALLY FUNDING OUR COMMUNITY:



Contact Us  |  Support Us!  |  Advertise  |  Site Terms  |  Archive  —   Search  |  Mobile Device Access  |  RSS  |  Facebook  |  Linkedin