What are my options? The only snag is that many labs print on colour paper, so the prints suffer from a colour cast — anything from sepia or blue to green. The benefit is you can print make enlargements from the negatives if you do set up a darkroom. A much simpler approach in normal lighting conditions is to expose for a mid-tone, then let everything else fall into place around it. This should produce a negative that contains a full range of detail and tone from white through to black, which you can print on a normal grade of paper — grade 2.
Most modern camera meters will naturally set a mid-tone exposure in average lighting, as that is what they are designed to do, so you could simply go along with what your camera sets. The other option is to take a spot reading from a specific part of the scene that represents a midtone. To visualise this, think of something that has the same density as a mid-grey colour — well-lit green grass, red brick and tarmac are common examples.
Alternatively, hold an 18 per cent grey card, which is a perfect mid-tone, in the same light as that falling on your subject, and meter from it. For example, if you photograph a tree against bright sky, you need to decide if the mid-tones and shadow areas are more important, or the highlights. If you expose for a mid-tone, the bright sky will be overexposed, and on a normal print this would produce a high-key backlit effect.
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However, if you expose for the sky, the mid-tones and shadows will be underexposed, and on a straight print the tree would come out as a silhouette or near-silhouette. If in doubt in situations like this, you can always make a series of exposures then decide later which interpretation you prefer and choose the best negative for printing. Instead, aim to compose each picture in-camera exactly as you want it to be printed.
Think carefully about the way the lines, shapes, patterns and textures are arranged, so they relate expressively to one another. When you take a colour photograph, the light can actually have a colour of its own — warm, as at sunrise and sunset, or cold as on a cloudy or foggy day. Similarly, colour film records artificial lighting in a literal way, so tungsten light produces an orange cast and fluorescent a green cast.
By removing the colour from an image, it becomes far easier to convey a message and allow the viewer to get straight to the point of what you are trying to say. How does it feel? When I look at a particular scene, I always imagine it as a final print in my hand, in the way I want it to look, which is usually completely different to what it actually looks like in reality.
Visualising the final image helps a lot at the printing stage, as I expose my negatives according to how I want the print to look. I mainly shoot on overcast days when the light is much softer and even. I like my landscapes very dark and moody. Dark sky, dark foliage, and I always try to include a patch of light peeking through the clouds or include reflective water somewhere in the composition. There are times I spend hours in the darkroom to get one decent print. Invert the tank, empty it, fill with fresh water again, invert and empty. Wash the film continuously with fresh water for ten minutes or so.
Once it is all in, press the lid of the tank back on, tap the base of the tank on a hard surface to remove air bubbles from the surface of the film, then invert the tank two or three times. Wetting agent is a mild detergent that helps water slide off the surface of the film so that it dries cleanly and evenly. You may need to agitate for ten seconds in every 30 or 60 seconds, for example. Three inversions should take around ten seconds. This acidic chemical halts the development process. You can now carry out the processing in daylight, as the development tank is lightproof.
Always use the same vessels for the same chemicals. Choose a clean, dust-free location for this — a shower cubicle is ideal. Once the lid of the tank is secure, tap its base to dislodge bubbles, then invert the tank two or three times. Repeat this inversion every minute. This is an incredibly rewarding experience, yet the procedure is relatively simple. Repeat this until you have a test strip that has been exposed in stages for two, four, six, eight, ten, and 12 seconds.
To begin with, use a variable contrast VC paper such as Ilford Multigrade. Resin-coated paper has a plastic base which means its washes and dries very quickly and also dries perfectly flat. This makes it easier to use for beginners, though serious printers tend to use fibre-based paper as it records a wider tonal range and gives better depth of tone.
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You will need a room that you can black out, such as a spare bedroom or the bathroom. Running water is handy but not essential. Buy sheets of blackout material from Jessop. This negative is placed in the enlarger and the head is adjusted until the image on the baseboard is the right size and sharply focused. A focus finder will help you achieve critical sharpness by magnifying a tiny part of the projected image, so you can focus the actual grain structure.
Once everything is set up, you need to determine how long the print must be exposed for by making an exposure test strip Some photographers prefer to expose an entire sheet of paper and produce a test sheet, rather than a test strip.
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This is fine for relatively small print sizes, but will prove costly in terms of wasted paper if you are making large prints such as 16x12in. Remove the glass and negatives from the printing paper, then develop and fix it. This test sheet clearly illustrates the series of different exposures times the paper has received, in order to establish the correct printing exposure. Make diagonal test strips as these are less likely to be made up completely of shadows or highlights. To do this, set the required exposure on your enlarger timer, switch off the room lights, then under safelight conditions remove a sheet of printing paper from its box, carefully place it in the masking frame and make the exposure.
Once exposed, quickly remove the print from the masking frame and begin processing it. Lift and drain the print again, then slide it into the fixer for a further two minutes or so. Once fully fixed you can turn on the room lights to check the print, before washing and drying. Resin-coated prints will be dry within an hour or two, but fibrebased paper should be left overnight.
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It will also curl at the corners so you will need to flatten it under books. How do I overcome this? You need to vary the amount of printing exposure different parts of the print receive. You need to selectively expose those areas that are too dark for less time if you wish to lighten them and expose the areas that are too light to a longer printing exposure time to make them darker. These techniques are known as dodging reducing the exposure time and burning-in increasing the printing exposure. After reading a few of these titles, your journey to becoming a successful photographer will almost certainly begin.
Now in its eighth edition, Complete Digital Photography offers a timeless guide through the creative and challenging world of digital photography. The book also includes step-by-step tutorials that will help you perfect the process of shooting, imaging edition, output, workflow, and more. Rhodes has published over two dozen books on digital photography and digital video.
He has also worked as a senior editor at Macworld magazine and as a contributing editor at CreativePro. You can find his photography courses at Lynda. This must-read book is now celebrating its 50th anniversary. The all-new 10th edition has been revamped, reorganized, and modernized for a 21st-century audience. For the latest edition, the author has added new sections on digital cameras and digital printing.
Plus, long-running analog parts have been overhauled to give a more modern tone. This iconic book has taught generations of photographers how to shoot images they want by demystifying the entire concepts of exposure. In the pages, the ventral photographer explains the importance of light, aperture, and shutter speed, and how they interact with and influence one another. In doing so, he has the brilliant ability to show you how to get or lose sharpness and contrast in images, freeze action, and take the best meter readings, while also exploring filters, flash, and light.
This version offers an expanded section on flash, tips for using colored gels, and advice on shooting star trails. If your post-processing revolves around using Adobe Photoshop, your best bet is to have a handy guide such as this sitting around ready to assist.
This edition offers all-new features like search capabilities, Content-Aware Crop, Select and Mask, Face-Aware Liquify, designing with multiple art boards, creating and organizing enhanced brush presets, and more. The online companion files include all the assets readers need to complete the projects featured in each chapter as well as ebook updates when Adobe releases relevant new features for Creative Cloud customers.
The original photography book by Michael Freeman is a time-honored manuscript that explains the importance of creativity in the digital age. It explains the traditional approach to digital photography and also explores new techniques that can help you to understand composition and editing better. It provides a wealth of knowledge you can use throughout your journey as a photographer. This guide, for novices and professionals, includes real-word-based insight into the creative and technical skills required to produce amazing images.
Additionally, the book offers advice on kit, techniques, and editing and sharing, to help you capture awesome moments wherever you are in the world. The final title in this segment concentrates on a topic that never goes out of style, photographic lighting. This book offers a comprehensive theory of the nature and principles of light, with examples and instructions for practical application.
To tell its stories, it features photographs, diagrams, and step-by-step instructions. This edition features newly added photographs and sidebars and updated information about the advances in flash equipment, LED panels and fluorescent lights.
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This is the book you need if you want to get to learn about flash photography. The author explains to you the importance of light and color and how flash can enhance and improve your photographs. This is an excellent how-to book clarifying all elements of flash photography. The book flows through the process of photo-editing in Lightroom comprehensively and in a language that is easy to understand. In this latest version, Kelby takes the reader step-by-step into Lightroom tutorials with easy to follow and understand exercises.
The reader will basically be set to use Lightroom from the start and get more comfortable with the software as they dive deeper into the book. This is a time-honored classic book on the theory of color by Johannes Itten. This book is used by many creative people in a variety of fields that work with color. Photographers can benefit from this revised and simplified version that also includes practical exercises to help the reader understand the concepts better. This is an excellent book to purchase if you want to make your photographs aesthetically perfect.
You will learn the basic rules of composition and how to use them in your own photography projects. From lines to curves and from light to shadows; learn how to use a variety of elements to compose your perfect shots every time. As the title implies, this book is all about light and exposure. The book contains clear explanations of how light affects your photographs and how to demystify it so that you can work with it like a pro.
Learn how to create silhouettes, high contrast scenes, and much more. Professional photographer Jim Zuckerman is known for his vivid and unique photographs. Here he shares some of his tricks so that you too can achieve those high wow-factor images. He explains how to edit your photographs to reveal their best features, how to control the aspect of movement in photographs, and much more.
As the title suggests, this books explains film photography and offers reasons why it is still relevant today. Both casual and inspiring, the book teaches you the basics of film, cameras, and shooting in this medium. Discussions include a look at the different tone and color characteristics of different films, how to load a medium-format camera back, how to create proper exposures, and how and where to get film processed.
Film Is Not Dead is ideally suited for anyone who wants to learn more about old-school film photography. Bryan Peterson is a well-known photographer who uses his own photographs in this book to illustrate that creativity is a skill and that it can be acquired by all photographers. Learn how to use color as a design element, learn how to avoid some common photographer mistakes, and much more.
This is the perfect book that will help you think differently and that will certainly inspire you to create more stunning photographs. If you are a true beginner, this course book will have you taking photos in no time. The book is packed with tutorials, step-by-step guides, and exercises. Read the modules and take the lessons at your own pace and learn how to use your camera to its full potential. Like several other photographers, Freeman believes that creativity can be taught and learned through practical exercises in photography. In this book, Barnbaum dives into the technicalities of photography but also the artistic, creative, and philosophical personal approaches that photographers take.
This is a great book if you are a beginner, an intermediate shooter, or even a professional photographer. It takes a look at the broader elements that make photography what it is. This is the book you want to get if you want to take your nature photography to the next level. The Gerlachs have been giving workshops on nature photography for many years and have now put all the wealth of information that they have acquired throughout the years into a book. From what equipment to use in the field to pro editing tips, this book is full of useful information for all nature photographers.
The top wildlife photographers in the world are highlighted in this annual publication. Each volume teaches you a little bit more about composition, contrast, lighting, color theory, and more. McNally goes into detail about each photograph from start to finish.
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Every aspect of the photos is explained, from concept to the more technical details that went into creating each one of them. George Lepp is a renowned wildlife photographer and, with his wife, has put together a book that recounts his stories from the field. Sometimes cute, sometimes scary, he goes into detail about how wildlife photography is captivating and always changing. Along with every beautiful photo included in the book, he divulges to you how the photo was taken and how you too can achieve that type of photo.
If you enjoy wildlife photography, this book is definitely for you.
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