That doesn't affect the underlying difference: softness at the enlarging stage doesn't diffuse the highlights into a glowing halo, it diffuses the shadows into a gloomy area of darkness.Originally Posted by Pere Casals
That doesn't affect the underlying difference: softness at the enlarging stage doesn't diffuse the highlights into a glowing halo, it diffuses the shadows into a gloomy area of darkness.
"I love my Verito lens, but I always have to sharpen everything in Photoshop..."
I need to be educated in how that occurs. Can you help?
Well, if it's a general middle gray image then the diffusion in the projection has to be correct.
Problem comes when we have a very black background that's in the paper shoulder, in that case there is a non linearity that has to produce the effect you say, but if we apply the diffusion with the 00 filter in place at least the shadows won't penetrate as much in the subject, another strategy (when a black background) would be burning the diffusion in the right places.
It's interesting what you have pointed, the diffusions that I have been doing in the enlarger had greys in the background so I didn't notice what you say, I wasn't aware.
Jac, this is straight, imagine you make an split grade print, say that you expose 20s with filter 5 and then 10 seconds with filter 00. Say that in the last 4 seconds of the exposure with filter 00 you defocus a bit the enlarger, or you move the head up and down. (Note that the filter 5 exposure was longer (for an effective grade 2) because filters 4 to 5 requires twice the exposure.)
This can also be done if you print with say with straight filter 2, a the the end of the exposure you may defocus the enlarger... but as Mark noted if there are very dark areas then the diffusion may have "creative effects".
Who the hell uses a totally black background and expects to evaluate it in the portrait? It has nothing to do with portrait subject gradients. Black is by definition off the curve. Ignore it, let it fall to black.
Jac, problem is not with the background itself, but with the diffusion of the black into the subject rather than making the subject glow, as mark explains https://www.largeformatphotography.i...=1#post1496034 if making the diffusion in the printing...
Ah, that was the part I missed.
Wow, guys! Thanks a lot for all the feedback! Lots of questions, answers and ideas, thank you very much!
Let me try to answer all your questions:
Where am I located?
I live in Portugal. Guimarăes to be exact (anyone from Guimarăes around?) I thought I mentioned it in the opening post, but I didn't -- my bad. I did a little research locally but didn't really find a lot of options regarding Large Format. Buying online isn't an issue, but that's why I mentioned Europe: buying from anywhere else can mean a significant increase in cost because of customs/shipping.
What's my goal with Large Format Photography?
Mostly to build a portfolio for myself and have fun. I work as a photographer and my workflow is 100% digital. I have, however, worked with film and historical processes (wet plate, liquid silver emulsion, gum, cyanotype, carbon, platinotype, etc.) before and honestly I miss it. I think you develop a closer relationship with the image when you build your own negative, coat the paper yourself and so on. So, in essence, my goal is to run away from digital, have fun, do some portraits of my friends and maybe hang them on the walls.
There's something about creating that one unique image that can't really be replicated...that's why I like historical processes.
Why 8x10?
It has more to do with the fact that I want to shoot glass plates -- both wet plate collodion and liquid silver emulsion coated glass. I think 4x5 is too small and wanted to go a bit bigger. Ideally I'd go even bigger, but for now I think 8x10 will do just fine. (I actually have a reputation for turning rooms into cameras and shooting portraits with them so I'm a bit crazy, bear with me). Have you heard of Ian Ruther? I really like his thing and would like to do something similar soon.
I don't have a darkroom right now, so I wouldn't be enlarging any negatives. I'd be developing them in my bathroom for the time being and doing contact printing -- which is another reason to go 8x10. Another option would be, of course, scanning...but I feel that kinda defeats the purpose of what I'm going for. I'll scan them eventually but would absolutely like to have physical images in paper and/or glass.
I do like the idea of a studio camera on a studio stand.
And yes, soft focus lenses are definitely a desired option. In fact I've shot with a magnifying glass before (I'm Diego, btw) and quite liked the results, so the quirkier the better
So basically I realized I have to bring my budget up if I want to go 8x10. It's fine, it will just take me a bit longer.
And having the option to focus with the film holder in place isn't really an option on 8x10 -- I'd have to go 4x5 for that. Right?
This thread is being super helpful, guys. Really appreciate the help from everyone!
Did I miss anyone's question? Please let me know!
I'm glad you're still here. I was afraid we'd scared you off. I'll be looking forward to seeing some pictures from 8x10.
Nothing is impossible, but an 8x10 reflex camera would likely be impractical. I don't find the holder routine to be a problems and actually find it to be a useful part of my process, requiring some focus from the subject. Graflex did make a 5x7 Home Portrait camera, but they are hard to find and have gotten more expensive than an 8x10.
If you do get a studio camera, there are very cheap lens options that open up since those cameras can handle a very large heavy lens.
I'll be anxious to hear you photo adventures.
Mark
Still here! Takes way more than that to scare me haha
At some point I even considered building my own camera -- made some plans and everything -- so that's not totally out of the equation either. I'm 100% sure it will be a nightmare and I'll have way more problems than I can imagine, but it will be fun. Probably
I'll be sure to show my adventures in LF as soon as they start
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