Unsharp masking

[esearing]

There are a series of videos by Timi Hall that illustrate the finesse one can achieve with masking. I find him a bit long winded but he gives some important information on what and why he is doing something and all the steps he goes through. All kinds of tidbits in there including registration, tipping in a 2x2 negative into a 4x5 sheet, developers and times, contrasts, bleaching, multiple masks, etc....

https://www.youtube.com/watch?v=PMaWEcmy4MU

[Drew Wiley]

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?

[faberryman]

I see many photographers going to extraordinary lengths to produce mediocre images. This applies to film photographers, alternate process photographers, and digital photographers equally. Somehow the process has become all important. And the more complex the better. Look what I can do, whether or not it is necessary, or even advisable.

[Andrew O'Neill]

When I print gel silver in the darkroom, I usually make an unsharp mask. Been doing it that way since '96, after reading about an article in the old Darkroom & Camera Tech magazine, by Howard Bond. The first time I made one, I was blown away. I don't bother with a spacer between negative and mask. It's not necessary. So, if you can get your hands on that old article, you'll find it to be very helpful.

[Drew Wiley]

Indeed. But the primary field of application to masking technique is not to salvage something. Rather, being able to make a precise thoughtful neg should be the starting platform. Only then will you really know how to expose and develop with a mask in mind, should you desire that route. But a good illusionist never shows his hand. If the technique is in your face, like a lot of digital output these days, it looks either pretentious or amaturish.

[Mrportr8]

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 agree! What's important is that you get to the destination, not how you get there.

[SMBooth]

Andy Cross has a PDF : http://largeformatphotography.com.au...ng-andy-cross/

[Drew Wiley]

That should be interesting. Andy teaches digital technique, but personally works in a variety of color processes which require masking, including dye transfer, tricolor carbon, and formerly Ciba.

[Andrew O'Neill]

I've never used an unsharp mask to "fix" a negative. I've made them to enhance them, not only for the additional sharpness, but for the increase in local contrasts within the shadows.

[Andrew O'Neill]

Masking and unsharp masking are not to be confused with one another.