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	<title>Photo Technique &#187; Vestal At Large</title>
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	<description>photo technique has been inspiring photographers for more than 30 years. It is a professional photographic resource that includes all photographic techniques available in the 21st Century. We showcase dynamic creative portfolios, technical articles, commentary by today&#039;s leaders in the world of photography.</description>
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	<copyright>Copyright &#xA9; Photo Technique 2012 </copyright>
	<managingEditor>derek@wahilacreative.com (Photo Technique)</managingEditor>
	<webMaster>derek@wahilacreative.com (Photo Technique)</webMaster>
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	<itunes:summary>photo technique has been inspiring photographers for more than 30 years. It is a professional photographic resource that includes all photographic techniques available in the 21st Century. We showcase dynamic creative portfolios, technical articles, commentary by today&#039;s leaders in the world of photography.</itunes:summary>
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		<title>Two-Filter Printing on Variable-Contrast Papers</title>
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		<pubDate>Tue, 05 Mar 2013 20:13:11 +0000</pubDate>
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		<description><![CDATA[In the January/February 2009 issue of PHOTO Techniques, Dick Dickerson and Silvia Zawadzky correctly said and showed that printing with two contrast filters— a low-contrast one such as Ilford’s #00 and a high-contrast one such as Ilford’s #5—will not give us “richer” black-and-white prints than printing with any one of the contrast f ilters provided by Ilford, Kodak, and other manufacturers, or with no filter. They then concluded, not altogether correctly, that split-filter printing “does not afford access to a print appearance (contrast, curve shape) unattainable with single filters; it just takes longer to get there.” Intermediate grades In saying this,  <a href="http://phototechmag.com/two-filter-printing-on-variable-contrast-papers/">Read more &#187;</a>]]></description>
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		<title>When In Doubt</title>
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		<pubDate>Fri, 15 Feb 2013 22:01:54 +0000</pubDate>
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		<description><![CDATA[After 60 years of photographing, one of the few things I’m sure of is that I don’t know how to make a photograph good. I have a fair chance of doing that whenever I photograph something I’d want to show you—something that gets my attention and pleases or stimulates me visually. I make black-and-white still photographs, so that sound, smell, hot, cold, and color don’t register in them. I enjoy the whole sensory experience, but everything that works in my pictures has to do it visually in motionless black, gray, and white tones. Paths of motion are recorded, but their  <a href="http://phototechmag.com/when-in-doubt/">Read more &#187;</a>]]></description>
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