Basic Photography Course

good negative has normal density and contrast. It must
be sharp and free from such defects as scratches,
abrasions, dust, lint, and fingerprints.

ENLARGER AND EASEL ADJUSTMENTS

Insert the negative in the negative carrier so the

emulsion side is down when placed in the enlarger. In
other words, the base of the negative (the shiny side)
should be up or facing the lamp when inserted into the
enlarger. Clean the negative and be sure there is no dust
on it. You can use the light from the enlarger to check
for dust. Blow off any dust with a bulb syringe or
low-pressure air. Then, use a camel-hair brush to brush
or lift off any remaining dust. Replace the negative
carrier containing the negative into the enlarger; ensure
it is seated properly.

Set the paper guide or masking device on the easel

to form the border width needed or use a preset easel.
As an aid for composing and focusing the image
accurately, place a sheet of white paper in the easel-the
base side of the paper is used for a focusing sheet-then
turn out all white lights.

Turn the enlarger lamp on, open the lens to its

maximum aperture, and move the easel around until the
desired portion of the image is in the picture area Raise
or lower the enlarger head on the upright standard or
column and focus the image. Shift the easel as needed,
and continue these adjustments until the image is
enlarged (or reduced) to the desired size, focused
sharply, and composed on the easel correctly.

The size of projection prints is limited by the optical

system used and the working space available. A scene
may be printed in sections on several sheets of paper and
spliced together. Likewise, the enlarger can be turned

180 degrees and projected on the floor. If you use this

baseboard method, be sure to counterweight the enlarger
by placing a heavy weight on the baseboard to prevent
the enlarger from tipping over.

The picture is easier to compose with the scene

right-side up. When it is upside down from your point
of view, the negative carrier should be rotated or
removed and the negative repositioned. The image

appears right-side up on the easel when it is positioned

upside down in the negative carrier.

You should adjust the easel until the best

composition is obtained. When composing the image,
try to correct errors of image composition in the

negative. The way the scene is composed on the negative
may be a controlling factor in the final composition.

Straighten the horizon, and when possible, prevent it
from cutting the print image in half. When the horizon
is not to be included in the print, make sure vertical
objects are parallel to the sides of the print. When the
space around the point of interest of the picture is
distracting, you can change the composition of the
picture through cropping. You can do this by increasing
or decreasing the magnification of the image and by
readjusting the easel.

After the image is correctly composed and focused,

the lens aperture should be stopped down so your basic
exposure time is about 10 seconds. An exposure time of

10 seconds allows you to accomplish a normal amount

of dodging and is fast enough to be practical for quantity
production. The exact amount the lens should be stopped
down depends on the density of the negative and the
magnification of the image. This can be difficult to
determine without experience. If you are new to
printing, you should start by stopping down the lens to

about f/5.6 or f/8 for a normal negative.

MAKING A TEST PRINT

There are many factors that affect exposure times in

the enlarging process. Some of these factors are as

follows:

The light source and illumination system of the

enlarger

The f/stop of the lens

The density of the negative

The degree of enlargement

The speed of the paper

The density and color of the contrast printing

filter

The best way for you to determine the correct

enlarging exposure is by making a test strip. Although
the test strip is the most reliable way to determine
exposure, you do not need a test strip for every
enlargement. It is, however, a wise practice whenever
you are in doubt as to the exact exposure required.

A test strip for enlarging is made the same way as

for contact printing. When making the enlargement test
strip, you must try to select the proper printing filter
based on negative contrast.

Once the printing filter has been determined, set the

enlarger for producing the desired size prints. Set the
lens f/stop at f/5.6 or f/8, for example. Next, examine

11-12

contents

Basic Photography Course

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DOFMaster for Windows On-line Depth of Field Calculator DOFMaster for Mobile Devices On-line Depth of Field Table Hyperfocal Distance Chart Articles FAQ Recommended Books Support Contact Links Home As an Amazon Associate I earn from qualifying purchases.	contents <- previous page next page -> good negative has normal density and contrast. It must be sharp and free from such defects as scratches, abrasions, dust, lint, and fingerprints. ENLARGER AND EASEL ADJUSTMENTS Insert the negative in the negative carrier so the emulsion side is down when placed in the enlarger. In other words, the base of the negative (the shiny side) should be up or facing the lamp when inserted into the enlarger. Clean the negative and be sure there is no dust on it. You can use the light from the enlarger to check for dust. Blow off any dust with a bulb syringe or low-pressure air. Then, use a camel-hair brush to brush or lift off any remaining dust. Replace the negative carrier containing the negative into the enlarger; ensure it is seated properly. Set the paper guide or masking device on the easel to form the border width needed or use a preset easel. As an aid for composing and focusing the image accurately, place a sheet of white paper in the easel-the base side of the paper is used for a focusing sheet-then turn out all white lights. Turn the enlarger lamp on, open the lens to its maximum aperture, and move the easel around until the desired portion of the image is in the picture area Raise or lower the enlarger head on the upright standard or column and focus the image. Shift the easel as needed, and continue these adjustments until the image is enlarged (or reduced) to the desired size, focused sharply, and composed on the easel correctly. The size of projection prints is limited by the optical system used and the working space available. A scene may be printed in sections on several sheets of paper and spliced together. Likewise, the enlarger can be turned 180 degrees and projected on the floor. If you use this baseboard method, be sure to counterweight the enlarger by placing a heavy weight on the baseboard to prevent the enlarger from tipping over. The picture is easier to compose with the scene right-side up. When it is upside down from your point of view, the negative carrier should be rotated or removed and the negative repositioned. The image appears right-side up on the easel when it is positioned upside down in the negative carrier. You should adjust the easel until the best composition is obtained. When composing the image, try to correct errors of image composition in the negative. The way the scene is composed on the negative may be a controlling factor in the final composition. Straighten the horizon, and when possible, prevent it from cutting the print image in half. When the horizon is not to be included in the print, make sure vertical objects are parallel to the sides of the print. When the space around the point of interest of the picture is distracting, you can change the composition of the picture through cropping. You can do this by increasing or decreasing the magnification of the image and by readjusting the easel. After the image is correctly composed and focused, the lens aperture should be stopped down so your basic exposure time is about 10 seconds. An exposure time of 10 seconds allows you to accomplish a normal amount of dodging and is fast enough to be practical for quantity production. The exact amount the lens should be stopped down depends on the density of the negative and the magnification of the image. This can be difficult to determine without experience. If you are new to printing, you should start by stopping down the lens to about f/5.6 or f/8 for a normal negative. MAKING A TEST PRINT There are many factors that affect exposure times in the enlarging process. Some of these factors are as follows: The light source and illumination system of the enlarger The f/stop of the lens The density of the negative The degree of enlargement The speed of the paper The density and color of the contrast printing filter The best way for you to determine the correct enlarging exposure is by making a test strip. Although the test strip is the most reliable way to determine exposure, you do not need a test strip for every enlargement. It is, however, a wise practice whenever you are in doubt as to the exact exposure required. A test strip for enlarging is made the same way as for contact printing. When making the enlargement test strip, you must try to select the proper printing filter based on negative contrast. Once the printing filter has been determined, set the enlarger for producing the desired size prints. Set the lens f/stop at f/5.6 or f/8, for example. Next, examine 11-12 contents Basic Photography Course <- previous page next page ->	As an Amazon Associate I earn from qualifying purchases.
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