Originally Posted by
marschp
Is there any point to specifying contrast controls (i.e. N+1, N-1 development) at the development stage when the negative is going to be scanned, post-processed and inkjet printed?
With the ability to significantly alter overall contrast and local contrast within Photoshop, is there any point in locking in a specific contrast 'profile' at the stage of negative development?
Or to put it another way, if the negative is going to be scanned, then shouldn't I really be aiming for a negative that encompasses the broadest range of tones possible, while retaining a safety margin for scanning, knowing that I can achieve my contrast visualization in post processing?
If there are any b&w shooters out there who are using a hybrid darkroom/digital workflow - what do you do, and why?
Bookmarks