Quote Originally Posted by perkeleellinen View Post
I've been thinking about this dodging and burning of multiple areas and I think it's like a performance. You have the choreography stage where you plan it all out, then there's the dress rehearsal when you give it a dry run before finally the performance itself in front of light sensitive paper.
Excerpted from my article (AA's concept):

Fine art printing really begins with a negative correctly exposed for the subject/scene. To paraphrase Ansel Adams' famous musical analogy - the negative is the score, the print is the performance. It will be difficult or impossible to ever work a fine print from a poorly exposed negative (in darkroom vernacular, to make it sing). If the notes are there, it will be possible to achieve your unique artistic interpretation (i.e., visualization)...

Quote Originally Posted by CPorter View Post
Along that line, John Sexton said in an interview once that one of the most important items in his darkroom is the trash can.
Adams' (who Sexton worked with) quote, I believe, regarding the most important tool in his darkroom.


It all seems to go back to AA, which is why I cannot recommend highly enough The Negative & The Print for learning basic B/W darkroom technique.