The World's Largest Collection of Windows Software/The World's Largest Collection of Windows Software - Disc 1.iso/win/pro103/maxbla.txt

Text File | 1993-08-03 | 6KB | 106 lines

               MINIMUM EXPOSURE FOR MAXIMUM BLACK

The following is a procedure I use for determining the exposure
required, both for the film and the paper, to achieve the maximum
potential possible for black and white photography.  It will give
you the greatest tonal range possible in your final prints.  I
wish I could take credit for inventing this procedure, but the
original idea I read in one of the photography publications many
years ago.  However, since then, I have expanded upon the original
and I believe I can get the most out of any film/film developer +
paper/paper developer combination possible.  It helps if you bulk
load your own film, however, if you don't you can still follow
the procedure, you will just waste a little film.

First, load fourteen film cassettes with approximately 15 frames
worth of film.  Then, find a fresh grey card, preferably 8 X 10 or
11 X 14, and a good grey scale.  Also, bring along your favorite
subject.  Lastly, gather up fourteen pieces of cardboard, a
marker, some tape you can write on, and a pen.  Next, set up in
your favorite location with the lighting you most often use.  If
most of your photography is in the studio, go there and set up
your favorite lighting configuration.  If you shoot mostly in
bright sunlight, go there.  Whatever your preference!

Now starts the fun.  Shoot the first seven rolls of film of the
grey card and the grey scale.  Meter the grey card very carefully
using the method you normally use.  I personally prefer to manually
set the exposure using the match needle procedure.  However, if you
normally use auto-exposure go ahead and do it that way.  Start by
writing "-15%" on one of the cards with the marker and taking a
photograph of it.  Then start photographing the grey cards and
grey scale by underexposing the first frame by 2 stops.  Increase
each successive exposure by 1/3 stop until you have exposed a total
of 13 frames ending up with a 2 stop overexposure.  After removing
the film cassette from the camera, mark it with the tape "-15%".
Shoot the next six rolls in an identical manner only changing the
number you write on the card, and place on the tape to each of the
following; "-10%", "-5%", "NORMAL", "+5%", "+10%", & "+15%".  These
numbers, by the way, relate to the film developing times you will
be using.

Shoot the last seven rolls of film in the same manner only this
time shoot them of your favorite subject.  You should now have
seven identically exposed rolls of film of the grey card and grey
scale, and seven identically exposed rolls of film of your favorite
subject.  Each of the rolls should also now be marked with a piece
of tape indicating one of the exposure times listed in the last
paragraph.  Now, go straight to the dark room, do not pass GO, do
not collect $200.

Once in the darkroom, develop the film according to the manufac-
turer's printed instructions only changing the recommended
developing times by the amount written on the tape on the
cassette.  For example, if the recommended developing time is eight
minutes at 68 degrees F, develop the roll marked "-15%" for 6 mins.
and 32 secs., the roll marked "NORMAL" for 8 mins., and develop
the roll marked "+10%" for 8 mins. and 40 secs (get the idea).  By
the way, temperature control is critical.  An error of only a
degree or two can radically alter the accuracy of the entire
procedure.

DO NOT CUT THE FILM INTO SMALLER STRIPS.  When the film has dried
(maybe on another night), find the frames near the end of each
roll that were never exposed (remember we loaded 15 frames into
each cassette and only exposed fourteen!), and place it in the
enlarger.  Focus as you would normally, and, using your regular
procedures, expose a test strip and find the MINIMUM EXPOSURE
WHICH PRODUCED MAXIMUM BLACK.  Do this by finding that spot on
the test strip where additional exposure produced no darker tones.
This exposure is the key.  By exposing through only the density
of the film base, we determine the optimum exposure for the
film/paper/paper developer combination.  Any more exposure will
not make the deepest shadows any darker, it will only succeed in
muddying up the print.  Conversely, any less exposure will not
allow the "black" to be recorded in the print and the the highlight
areas will lack detail.  The print will be washed out.  In both
cases the tonal range will be compressed well below that long,
sensuous, tonal range we all seek to achieve.

Finally, using this minimum exposure which achieved the maximum
black, expose all frames of all rolls.  Yes, I mean all 182 frames!
Make sure you code each print with a grease pencil on the back,
with the roll and frame number.  You don't have to expose the
frames containing the development times, but save it for future
reference.  Dry all prints as you would normally.

Now for the hard part.  Gather all the prints together in the
light you normally use to view prints.  Get the grey card and the
grey scale and start making comparisons.  First see which prints
most closely resemble the real thing.  Then start looking at the
prints of your favorite subject.  Again, which exhibit the greatest
tonal range, the most detail in the shadows and highlights, have
the most snap.  Chances are, one particular combination of
film exposure/developing time, will consistently give the best
results.

The process described above can be very tedious, but it is well
worth the effort.  Your prints will never have looked better.  It
is fairly obvious that you can perform the procedure whenever
changing film or developer.  As an aside, during the summer
months, it is almost impossible for me to maintain a 68 degree F
water bath for my chemicals.  I ran a modified series of tests to
find the best combination for a higher temperature.  Not always
perfect but verrrry close.  Any questions or problems, please
don't hesitate to contact me, either in the Forum message area or
by E-Mail.