closeup1

Exposure Corrections for Close-ups

PHOTO Techniques, Jan/Feb 2003
written by: Howard Bond

Have you ever thought of the similarity between moving a camera lens farther from the film to focus for a close-up and raising the enlarger for a larger print? The camera and enlarger lenses then project larger image circles at the film or paper plane, requiring longer exposures. Users of in-camera meters never have to give this a thought, since these meters sample the same dimmer image the film receives. However, users of separate meters ignore this at their peril. The f-stops marked on a lens become progressively less accurate as you focus closer to the subject. This is because Read more »

john custodio, piezography

Exploring the World of Piezography

PHOTO Techniques, Sept/Oct 2003
written by: John Custodio

 I started doing digital imaging in 1994. I bought a computer equipped with Photoshop and worked on negatives that I scanned. It was a fairly steep learning curve, but I soon became proficient. Having done conventional darkroom work in black-and-white and color for many years, I knew what I was looking for in the images I worked on. I began to appreciate that the amount of control I was able to exercise over the images I created on screen was far greater than what I was able to do in a conventional darkroom. Epson Stylus color printer A few months Read more »

timothyedberg

Evaluate Prints Under the Right Lights

PHOTO Techniques, Sept/Oct 2007
written by: Timothy Edberg

Creating a color print involves making trial prints and adjusting color and density for your next attempt. This is as true for digital printing as for darkroom printing—digital profiles and color management only take you so far, and then it’s adjustment by visual inspection. But are you examining your trial prints under the right illumination? The nature of the illumination can alter the appearance of colors, so using a poor viewing light can lead to poor choices. The illumination affects the look of the print because we view color by the light it reflects. A lemon looks yellow because it Read more »

el-nikkor lenses, bob mitchell, photo technique

El-Nikkor Enlarging Lenses

Darkroom Techniques, Jan/Feb 1986
written by: Bob Mitchell

I have certainly been having fun lately. If you have read my stories in the previous issues, you’re well aware that I have been working with some of the best enlarging optics in the world. And there is plenty more fun on the horizon. I have been making resolution tests using a test negative made on high-resolving Adox Docupan of an Edmund Scientific Company Resolving power Chart. If you want a complete description of the procedure, please read my story, “Schneider Enlarging Lenses” (July/August 1985). I will get to the El-Nikkor lenses a little later in this story, just now Read more »

dyepigment

Dye Ink vs. Pigment Ink: How to Choose What’s Best for You

PHOTO Techniques: Mastering Digital Technique, 2003
written by: John Paul Caponigro

When it comes to selecting ink for your Epson inkjet printer, you have two choices: dye or pigment. A closer look at the qualities of each will help you distill the choice down to the essentials. If you seek more saturation (gamut), density of black (Dmax), lower metamerism (color shifts when viewed under different light temperatures), and durability (pigmented ink is prone to scuffing and burnishing), choose a dye-based ink (Epson Photographic Dye Ink). If it’s longevity you seek, choose a pigment-based ink. Archival ratings increase and fading is reduced—for example, Epson Photographic Dye Ink (32 years), Epson UltraChrome (80 Read more »

palladium printing, digital printing, hugh o smith

Create Palladium-Looking Inkjet Prints

PHOTO Techniques: Mastering Digital Technique, 2003
written by: Hugh O. Smith

I’ve always been a sucker for vintage photography. Thirty years ago, I bought every Ansel Adams “how-to” book he wrote. I shot with view cameras, experimented with the Zone System,mixed my own developers like D-23 and Amidol, and spent chunks of time in the darkroom. But how things change. We’re in the “new age” of photography, witnessed by technological leaps with digital cameras, scanners and inkjet printers. En route, we’ve managed to lose some of the mystique and wonder of the good old days when we mixed our own concoctions and “struggled” for the good of our art. I’ve recently Read more »

Bobbilane1

The Business of Photography, Part I: So, You Want to Be A Professional Photographer?

PHOTO Techniques, May/June 2007
written by: Bobbi Lane

Going pro offers great reward, but requires great paperwork, too. This is the first of two parts covering the nuts and bolts, rules and regs, suggestions and good common sense distilled from my 30 years in the commercial photography business. Part one will deal with the practical: location and types of work, overhead and self-worth, financials, and business practices. The second part will cover marketing and self-promotion, identity and Web sites, copyright and licensing, estimating and invoicing. This series is derived from the Successful Emerging Photographer program that I created, along with Richard Radstone, as a member of Advertising Photographers of Read more »

recipro

Black and White Reciprocity Departure Revisited

PHOTO Techniques, July/August 2003
written by: Howard Bond

Most photographers know that when the light reaching photographic film is dim enough for the meter to suggest times of a second or longer, the reciprocal relationship between light intensity and exposure time breaks down. As a result, times must be increased to obtain the desired density in shadow areas. Those who think in Zone System terms want to know increases in exposure times that will keep the density of Zone III constant. Making a correction by opening the aperture—as sometimes suggested— doesn’t seem useful, since it changes the amount of reciprocity departure that needs correcting. Even if it were Read more »

Danderson1

A Transition from Darkroom to Digital

PHOTO Techniques, May/June 2007
written by: Dan Anderson

I think my darkroom credentials are pretty solid: I have been making traditional black-and-white prints to the highest standards that I am capable of producing from my large-format negatives for more than 25 years. I taught darkroom workshops for many years, demonstrating the numerous techniques and processes I have learned over the years that enable me to get the look and feel I desire in my work. Yet some years ago, when a friend showed me some early digital prints, they impressed me greatly with their crisp detail and resolution, qualities that I have always valued highly in my work. Read more »