Digital BW, The Print

ps: For specific 1/3 stop fine-tuning you can interpolate the graphs  
as long as they show up as curves and not mountain ranges. If they  
are jotty, then you've done something wrong and need to start over.

On Jun 15, 2005, at 09:15 AM, Walker Blackwell wrote:

> Sometimes when it gets like this, I can say only one thing. Go take
> more photographs. That's the one thing that Ansel did that we all
> need to do more often, eh? ;-)
>
> Better yet, do this.  Combine Ansel Adams' zone system techniques
> with raw (3f, negative, whatever) drum-scanning.  Note this is
> truncated and written on-the-fly.
>
> Part One: (best with TMAX 100 because it's a thin film)
> 1.Start with your normal ASA and Development time.
> 2. Photograph gray card in direct sun Shoot five rolls of 120.
>      #1: Expose all you stops from under to over. Your middle
> exposure should be around f8 or 11.
>      #2: Develop #1 roll normal, #2 roll -2 or -3, #3 roll +2 or +3.
> Use roll #4 as you normal control (ie: develop it normally and view
> it against #1 roll for inconsistencies) and keep #5 roll for backup.
> 3.Run your densities for ASA/development time combo to find optimal
> ASA and dev time for +-0 (for traditional paper and darkroom that is.)
> 4. Re-do using found ASA and development time. Run densities to
> validate + should normal scene for visual validation. (normal scene
> is 4 stops between textured shadow and textured highlight)
> 6. Use your paper and developer combo to find exact exposure/
> development time for a good print of normal scene. Do NOT dodge and
> burn.
> 7. Use a drum-scanner and scan your film in raw (visual validation
> shot from normal scene) (ie: as a negative with your histogram
> completely out.) Keep image Untagged 16bit or 12bit RGB
> 8. Open file and tag with GG 1.8 or 2.2 or whatever is working for
> you. Keep Grayscale 16bit
> 9. Invert in photoshop and use your controls for general histogram
> correction (ie: curves etc). Do not mask.
> 10. Also scan in each negative from your validated roll of gray-card
> photos. Line these up along the bottom of you image in Photoshop.
> 11. Print.
> 12. Look at print and visualize until it "matches" the tonalities of
> the silver prints from the validated roll.
> 13. Run reflective densities using Eye1, etc.
> 14. Graph along-side transparency densities.
> 15. If the graph does not match curve-wise, re-do your curves in
> photoshop or re-profile you scanner.
> 16. If the curves do match you have completed Part One.
>
> Part Two: (for those who don't want to print silver anymore but still
> should film.)
> 1. Re-do validation experiment but expose 0 -1 -2 -3 -4 -5. Expose a
> gray-card and normal scene for each. That's 12 shots.
> 2. Develop +2 +1 0 -1 -2 (5 rolls.).
> 3. Scan in film and find the negative that takes the least amount of
> tweaking with curves when scanned raw and inverted in photoshop.
> 4. Find the corresponding development times for the exposure and scan
> the gray-card shots in. Line up under image and print.
> 5. Run reflective densities and graph.
> 6. Look at your graph against the other ones.
> 7. Now you have an ASA and Development time for your specific digital
> work-flow. Yes indeed.
>
>
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