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Thread: Unsharp masking

  1. #51

    Re: Unsharp masking

    Quote Originally Posted by Drew Wiley View Post
    There never has been and never will be such a thing as a perfect negative. Yes, everyone needs to learn accurate exp and dev technique. But all it takes is a single important variable being changed, like a favorite paper being discontinued, and what does or does not constitute an ideal neg itself changes. Besides, why does something have to be printed the same way every time? That sounds boring. Have some fun. Then there's that suitable AA adage about the score vs the performance. Mozart might have composed the score, but in the hands of the Junior High marching band what does it sound like?
    I will admit that perfection is an adjective that is challenged in the world of analog photography. Shutters are inherently off a bit between lenses, developing temperature can change slightly and light can experience subtle changes during the exposure process. But here are just a few of the issues that I feel continue to dominate the inducement of operator error and troublesome negatives. Not only have I seen these consistently demonstrated among many photographers, I have been down this road myself early in my process. Fortunately I worked through these issues and learned from them.

    Developing multiple negatives in a single developing drum or single use tank expecting to use multi contrast filters as the "fix" may be an assumed step forward in sheet film processing efficiency but realistically IMHO it is easily two steps backwards in the results category. I contend each negative needs to be processed individually and with the highest precision possible. I use an infrared monocle to deal with optimizing this subset of challenges. Secondly, adoration of the spot meter as the holy grail of determining a correct exposure unfortunately falls victim to the error of the spot meter to flare and the necessity of reading an area at least three times the size of the "spot" means the meter can also be a contributing factor to challenged results. Using the eyes to "see" the scene tonally as well as an incident meter in valuing the range of tonality of a photographic scene is highly advisable.

    At the end of the day while absolute perfection may not be unattainable, I can assure you the proximity to this lofty goal of producing marvelous trouble fee negatives is not only possible but with a sufficient level of attention to details can easily be attained 95% of the time. I contend that if we are going to drag big cameras around, purchase expensive sheet film and make the commitment to put ourselves in the field to make photographs, we should not accept anything less than as close to perfection as humanly possible. But at the end of the day the choice is yours.

  2. #52

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    Re: Unsharp masking

    Quote Originally Posted by Andrew O'Neill View Post
    Masking and unsharp masking are not to be confused with one another.
    This is true, unsharp masking is a kind of masking.

    Anyway unsharp masking has a side effect like a contrast control masking, I guess, isn't it ? Or at least both efects can be used at the same time...

  3. #53
    Drew Wiley
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    Re: Unsharp masking

    Gosh, Michael. Precise control is the STARTING POINT for learning masking, it's prerequisite if you expect anything even resembling consistency. Some kinds of masks are a way more fussy in terms of dev, exp, and filtration than general shooting. And per your question, Pere, yes, sometimes masks can combine functions, or as we say, kill two birds with a single stone. And there are many potential kind of masks.

  4. #54

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    Re: Unsharp masking

    Re-read OP's post. The proof of the pudding is in the eating. Let's see some before and after images to establish visual benchmarks. Otherwise, it is just endless internet braggadocio about whose mask is bigger. And complexity as virtue.
    Last edited by faberryman; 21-Jan-2018 at 13:29.

  5. #55
    Drew Wiley
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    Re: Unsharp masking

    And Andrew, sharpness or"unsharpness" in a mask is relative. It's not one versus the other, but related to conscious choices per step. I've applied up to eight masks to a single color image, and each had a different function. But it was worth it. I've heard of dye transfer printers using fourteen. Normally, a single combination mask is sufficient, esp in b&w work. But there is always room to invent new ways of doing it, esp among the hybrid crowd.

  6. #56
    bob carnie's Avatar
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    Re: Unsharp masking

    I too would love to see some current samples before and after of the variety of masks being proposed here.

    I did masking in the 80's to colour correct and as well to control highlight contrast in Cibachromes.. I never saw the need for sharpening an image. I remember the pain in making them.

  7. #57

    Re: Unsharp masking

    Quote Originally Posted by bob carnie View Post
    I too would love to see some current samples before and after of the variety of masks being proposed here.

    I did masking in the 80's to colour correct and as well to control highlight contrast in Cibachromes.. I never saw the need for sharpening an image. I remember the pain in making them.
    I would second Bob's request. The B&W masking that I have read about (and I will admit my reading may not be all encompassing) have been contrast control driven i.e. improving a problem negative to improve its visual palatability to the photographer relative to his pre visualized vision. Given the modern era of advanced multi contrast papers and the ability to split grade print I do not see the need to use a mask solely for contrast control. Holding back a section of a print to hold detail or for that matter to add detail I can understand. The sharpening effect in the final print (whether it was a desired initial objective or came along with the contrast control process) tends at least to me eye to emulate a photoshop effect can look somewhat surreal at least to me. I have not delved into the technical aspects of what causes this effect in the print but I do know that when a crisp contrast "edge" is present in a print and sharpness emulates a normal range of visual esthetic the print works. Beyond that range I feel i t can be a bit distracting.

  8. #58

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    Re: Unsharp masking

    Quote Originally Posted by Michael Kadillak View Post
    Given the modern era of advanced multi contrast papers and the ability to split grade print I do not see the need to use a mask solely for contrast control.
    CRM+SCIM (contrast reduction mask + shadow contrast increase mask) may be needed to cook some prints if wanting rich shadows and a controled tonal scale. Split grade printing is a powerful tool, but the split burning/dodging can be too complex for some prints to obtain a sound result, also a Pro may want some consistence from print to print, masking allows for that.

    CRM+SCIM delivers (IMHO) a way to re-shape the toe in the negative, this is the shoulder of the print...

    A benefit is that this process can work as an unsharp masking at the same time, and this can solve some slight softness in the shot or add some acutance that it can improve the look if the thing well dosed.

    I prefer the selective contrast masking described by Alan Ross... it is less a purist way, as the mask is printed by a (common) inkjet, but I find it a serious way.

  9. #59
    bob carnie's Avatar
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    Re: Unsharp masking

    Quote Originally Posted by Pere Casals View Post
    CRM+SCIM (contrast reduction mask + shadow contrast increase mask) may be needed to cook some prints if wanting rich shadows and a controled tonal scale. Split grade printing is a powerful tool, but the split burning/dodging can be too complex for some prints to obtain a sound result, also a Pro may want some consistence from print to print, masking allows for that.

    CRM+SCIM delivers (IMHO) a way to re-shape the toe in the negative, this is the shoulder of the print...

    A benefit is that this process can work as an unsharp masking at the same time, and this can solve some slight softness in the shot or add some acutance that it can improve the look if the thing well dosed.

    I prefer the selective contrast masking described by Alan Ross... it is less a purist way, as the mask is printed by a (common) inkjet, but I find it a serious way.
    Contour Masking has been done for over 50 years... just different tools

  10. #60

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    Re: Unsharp masking

    Quote Originally Posted by bob carnie View Post
    Contour Masking has been done for over 50 years... just different tools
    Yes... today Photoshop is a very powerful tool, to print masks, digital negatives, or the image itself... but still that requires sound artist to get a sound result. Without those powerful tools sound results were also obtained, I guess that tools have improved more than artists

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