pull detail from shadows

[Jim Noel]

Check out http://www.maskingkits.com/ for some ideas on how to pull out shadow details. I have used these ideas, and the kit, and they really work!

You have partly answered your own question here. It is at the least difficult to get good shadow detail on matte paper as opposed to glossy paper dried matte.
A shorter exposure will reveal more detail in the shadows, then you take care of the highlights with paper contrast.
Another approach is to expose for the shadow detail and extend the development time. This will often pull in the highlights.
A final suggestion is to pre-flash the paper which will bring down the highlights while having little effect on the shadows. Then expose for the shadows.

[IanG]

Another approach is to expose for the shadow detail and extend the development time. This will often pull in the highlights

Other way around.

If you use a warm tone paper (that's all I ever use) then just as at the negative stage you use increased exposure & reduced development.

It's harder to do that with a bromide paper though, here you need to use developer controls Selectol Soft - ID-3/D165 or Agfa Adaptol. The alst thing you want is to build up contrast with extended development.

Ian

[Filmnut]

Just to add here, are you doing any "Dodging" on the print during the exposure? This will lighten the shadow areas, testing will determine the right amount. It depends upon the subject, large areas are easily dealt with this way, but a lot of small areas would need a mask to get at properly. This will allow you to keep the contrast a bit higher, but get into the shadows.
About the surface, for many years I used to print commercially, and you cannot get as deep black on a matte paper as you can a glossier one. When the paper is wet it is a bit shinier, so it may help you see into the shadows a bit more.
Hope this helps you!
Keith

[Andrew O'Neill]

I am also originally from B.C. I remember those little churches from the times I stayed with native people when hitchhiking through the interior in the early seventies. I was just a kid, and those people would invite me in for supper, rather than let me stay out on the road after dark. Sometimes the wolves would scare me a bit, especially up at Ashcroft when I worked in the Lornex copper mine. I worked at Moresby camp,as a chokerman too. Still remember the baseball diamond. And remember where old cars and donkey engines rot in the bush to this day. I lived with the Haida off and on, and still have friends in Skidegate. Must get back up there. Thanks.

I'm actually originally from Saskatchewan. Did you ever stay in Skookumchuck? The locals there are very very friendly. Also have done quite a bit of photography in the Ashcroft/Kamloops area. Great stuff to photograph there.

[Robert Vigurs]

Hey Andrew. I have never been right there. I have been though the Kimberly/Cranbrook area. British Columbia,and Alberta have so much to offer the photographer! I once put all my gear and two weeks supply into a cargo canoe with a 5 horse motor, and shoved off into the Gulf of Alaska, off the Charlottes. An adventure to be sure. I may move back there. California is getting really crazy. I am grateful to all of you who have given me tips, and pointers here. A lot of great information. I was able to keep the detail in the dried print finally. With the matte paper however, there is a fine line of contrast/shade of gray, where I have to be to achieve it. I am still researching suggestions such as using the unsharp mask, and others.