Digital BW, The Print

While I don't have the scientific data to back it up (and you might -- if 
so, please share) I'd tend to think that one could extract significantly 
more effective latitude by the bracketing and stacking technique discussed 
in this thread using a digital camera than one could ever get with 
film.  By taking multiple frames, each exposed to ensure that certain tonal 
ranges are well represented in the histogram, and then combining these in 
software, one is effectively doing what Ansel Adams could only dream of 
doing in his time.

Even with the best-exposed negative, no scanner currently made (short of a 
drum scanner -- maybe) is going to extract the full dynamic range.  One 
could use manual exposure settings on the scanner and resort to a similar 
bracketing technique, I suppose.  But then we're talking about bracketing 
and stacking again, only we've already limited ourselves to what was 
captured on film in one shot which we HOPE we got right.

When making a wet print, or the digital equivalent, dodging and burning is 
considered perfectly acceptable to keep the tones within the latitude of 
the output medium.  The bracketing and stacking technique to digital 
exposures is effectively doing the same thing at the time of capture and 
processing, and the great thing about it is that you have as much time as 
you can stand to spend in Photoshop to tweak the result to your liking.

But for me, the fact that I don't have to carry a bunch of variations on 
split ND filters around is enough of an improvement in quality of life 
right there.  I had a 1 degree spot meter before I had a digital SLR, but 
it's not like I threw the spot meter away when I went digital.  I think I 
use it a lot more effectively now than I did before.

--Greg

At 10:54 AM 9/10/2003 -0700, D. Hill wrote:
>Darrell,
>
>The one suggestion I have is to circumvent the digital
>camera.  An excellent film scanner will cost the same
>as a good digital body (Canon 10d or Nikon d100) - so
>if you are accustomed to film cameras, there is no
>reason to stop using them.  This will allow greater
>controls than is possible with the digital body alone
>- and you don't have to buy any additional lenses,
>equipment, etc.
>
>Don
>
>
>--- darrelleifert <darrelleifert@...> wrote:
> > Hi Don --
> >
> > Thanks for the CMOS/CCD information.  That's what I
> > suspected, and
> > that's what gives me pause about moving to digital.
> > By using n-1, n-
> > 2 development times and a good exposure, we can with
> > film capture
> > more tonal detail from high-contrast scenes and thus
> > create a
> > greater dramatic impact. Or so it seems at first
> > glance.  Perhaps I
> > just haven't read enough on how to handle
> > high-contrast scenes with
> > a digital camera.  Any suggestions??
> >
> >
> > --- In DigitalBlackandWhiteThePrint@yahoogroups.com,
> > "D. Hill"
> > <hill14701@y...> wrote:
> > > Darrell,
> > >
> > > CMOS and CCD chips are more similar to slide film
> > than
> > > of black and white film, being as they have much
> > less
> > > latitude.  From basic camera controls in initial
> > > capture, there is not a method to stretch the
> > latitude
> > > of the CCD.
> > >
> > > You can mimic the effects of n-1, n-2. etc., from
> > > various controls in photoshop - but that defeats
> > the
> > > purpose of placing specific values or zones on
> > site.
> > >
> > > As the digital camera is just an imaging device,
> > you
> > > can apply zone system techniques for far less work
> > in
> > > photoshop.
> > >
> > > My capture process:
> > >
> > > 1. Read scene with handheld lightmeter, placing my
> > > important value.  I have determined the optimal
> > ISO of
> > > my 10d is 80 with my materials.
> > > 2. Capture in RAW mode.
> > > 3. Transfer images to photoshop as 16 bit tiff.
> > > 4. Convert image to greyscale.
> > >
> > > At this point the specific zone placed will fall
> > > exactly where I want it - without levels or curves
> > > manipulation.  The process is quite simple, and
> > saves
> > > hours in photoshop.  I save this as my master
> > file,
> > > making any corrections then printing.
> > >
> > > Write me directly if you would like to know my
> > process
> > > for determining the proper ISO for digital, as
> > well as
> > > constructing a zone ruler to see the latitude of
> > your
> > > imaging chip.
> > >
> > > Don
> > >
> > >
> > > --- darrelleifert <darrelleifert@y...> wrote:
> > > > Hi Folks --
> > > >
> > > > Forgive me if this is a *very* basic question
> > that
> > > > has been answered
> > > > before, but a web search hasn't turned up much
> > > > useful information.
> > > >
> > > > The well-known advantage of using B&W film is
> > the
> > > > ability to expand
> > > > or contract developing times in order to obtain
> > both
> > > > shadow and
> > > > highlight detail in the finished print.  When
> > using
> > > > a digital camera
> > > > to make what will eventually become a "fine art"
> > B&W
> > > > print, is there
> > > > any known technique that mimics the N-1 or N-2
> > film
> > > > development
> > > > process?  Thanks!
> > > >
> > > > -- Darrell
> > > >
> > > >
> > > >
> > >
> > >
> > > __________________________________
> > > Do you Yahoo!?
> > > Yahoo! SiteBuilder - Free, easy-to-use web site
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> >
> >
>
>
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