Quote Originally Posted by markbarendt View Post
Attachment 67316

The graphic above is a very rough illustration of an idea.

SBR is scene brightness range, PBR is the paper.

The problem I see is that many people expect what is caught on the negative to translate directly to paper.

Part of what I wanted to illustrate was how the subject matter can carry through and how the paper rather than the negative defines the photo.

Another was to show why/how film under or overexposure loses info. In a related way why there is latitude when negatives are in use.
IMO, getting what is on the negative directly onto paper is not expecting too much at all. The limitation of the paper dictates the density range of the negative. The range of brightnesses that one can encounter in the field and put on the negative, on the order of------"1:several thousand" or so-----has an available range of paper reflection densities of about "1:100 or so" to successfully print it. If that doesn't throw the weight of the process squarely on control of the negative, I don't know what does. Of course it's opinion, but the photo is defined by the quality of the negative. It's the well controlled negative that permits the translation of----and forgive me----the "visualization" onto the paper. How many of us have had printing sessions that frustrate to no end? How many can truthfully say the paper was the problem?

As far as latitude goes, narrow SBR, increased film latitude----high SBR, reduced film latitude, regardless of the film being used.