Digital BW, The Print

Yes, I did! My bad.
 
 BK 
    
 -----Original Message-----
 From: bellis60@...
 To: DigitalBlackandWhiteThePrint@yahoogroups.com
 Sent: Wed, 22 Nov 2006 1:39 PM
 Subject: Re: [Digital BW] Re: How to get this "3 dimensional quality"?
 
     "Another example: when students begin to learn the Zone System they gain 
 control over the overall contrast of an image by exposing for the highlights 
 and developing for the shadows."
 
 You've got that backwards. In the zone system you expose for the shadows and 
 control the highlights through development.
 
 ----- Original Message ----- 
 From: <BKPhoto@...>
 To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
 Sent: Wednesday, November 22, 2006 5:02 PM
 Subject: Re: [Digital BW] Re: How to get this "3 dimensional quality"?
 
 Joost-
 
 Let's say an image has a wall in it. The overall impression is that the 
 wall is one continuous tone. If you looked closely, though, this continous 
 tone is actually a set or range of similar values. By seperating those local 
 tonalities--increasing their relative differences--you increase the local 
 contrast, and the dimensionality of that area of the image. You don't have 
 to change the overall contrast of the print to affect that area, but it 
 takes skill.
 
 Often, when students begin their apprenticeship to fine printing in the wet 
 darkroom, it's all about seperating tonal values in the shadows. They learn 
 that by properly exposing and developing the film, they can get detail and 
 texture in dark areas that they couldn't get before. Eventually--and this 
 usually takes a long time--they begin to realize that the real challenge 
 isn't the shadows; that's pretty easy. It's controlling the subtle variation 
 of tone in the highlights that often make a beautiful print.
 
 Another example: when students begin to learn the Zone System they gain 
 control over the overall contrast of an image by exposing for the highlights 
 and developing for the shadows. With high contrast scenes you quickly 
 realize that the real challenge isn't controlling overall contrast. That's 
 relatively easy to do. The problem is that reducing the overall contrast of 
 a high contrast scene also reduces local contrast. Areas within the image 
 are reduced in contrast and the image just looks flat and two dimensional. 
 The "secret" is to control both the overall contrast of an image, and it's 
 internal contrast.
 
 In Photoshop it's possible to have localized areas of low contrast, and 
 areas of high contrast. Used well, this is a powerful technique. Combine 
 this with localized sharpening and you can have an enormous effect on the 
 way a print feels, and the way it's viewed.
 
 Hope that helps.
 
 Bill K.
 
 -----Original Message-----
 From: j.h.j.h@...
 To: DigitalBlackandWhiteThePrint@yahoogroups.com
 Sent: Wed, 22 Nov 2006 3:13 PM
 Subject: [Digital BW] Re: How to get this "3 dimensional quality"?
 
 --- In DigitalBlackandWhiteThePrint@yahoogroups.com, BKPhoto@...
 wrote:
 Hi Bill,
 
 Thanks for your comment as well. Soem questions though:
 
 > I'd add to Tyler's comments that the illusive "three dimensional
 quality" idea is closely related to the internal tonal structure of
 an image. This has always been true, from the earliest photographic
 printing processes to inkjet printing. Wet darkroom printers often
 refer to this as the "internal contrast" of a print; the local
 contrast rather than the overall contrast. Internal contrast helps
 separate close values and, in my experience, this is a major
 contributor to that dimensional quality.
 
 I'm not sure I completely get what you mean. I'm having trouble to
 visualize the length scale of "local". Are you meaning the
 microstructure/texture, or over a more larger scale, let's say 5% of
 the image, typically parts of key objects. or both? Could you
 elaborate it bit furhter on this?
 
 > When you add hue, or subtle shifts in color, in a monochrome image
 you get an accumulative effect. The color is perceived as part of the
 internal contrast of the image.
 
 I think I understand that one.
 
 > Lastly, this sense of internal contrast is affected by any number
 of issues: the grain structure of the image, sharpness (optical and
 printing), and the size of the print.
 
 Not sure I understand this one, but as said before: I have some
 trouble understanding the concept.
 
 Joost
 
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