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Tables of Contents for Post Exposure
Chapter/Section Title
Page #
Page Count
Preface
xi
2
Acknowledgments
xii
1
Introduction
xiii
CHAPTER 1 How We See
1
10
Sharpness
1
2
Our Vision of Tonality
3
3
How We See Color
6
2
Photometamerism
8
3
CHAPTER 2 How the Film Sees
11
16
Luminosity
11
4
Color
15
5
Saturation vs. Contrast
20
4
Choosing Between Slides and Negatives
24
1
Photographing for Reproduction in Color
25
2
CHAPTER 3 Calibrating Films and Exposure Meters for Light and for Color
27
6
How Errors Creep In
27
2
Metering and the Myth of 18% Gray
29
2
The Macbeth Chart
31
2
CHAPTER 4 How Print Materials See
33
14
Sharpness
33
1
The Exposure Range of Print Materials
34
13
Determining the Exposure Range and Tonal Qualities of Print Materials
35
1
Converting Print Exposure Range to Subject Exposure Range
35
3
Paper Differences as Seen in Pictures
38
3
How Important Is Print Density Range?
41
1
Paper Differences as Seen in Step Tablets
42
5
CHAPTER 5 Enlarging Issues
47
22
Effects of Enlarger Flare and Lens Flare
47
2
How Sharp Does a Lens Have to Be?
49
5
It's Not All Resolution Figures
52
2
The Best Enlarging Lenses in the World
54
10
The Tech-Free Version
55
1
The High-Tech Version
56
1
Sharpness
56
1
Illumination
57
1
Is It Flat?
57
1
Picking Out a Lens
57
2
What Focal Length Is Right?
57
1
Apo Is as Apo Does
58
1
An Unfortunate Omission
59
1
Misalignment Blues
59
1
How to Test Lenses
59
5
Light Falloff
59
2
Distortion
61
1
Flare
61
1
Advanced Tests
61
1
Resolution and Contrast
61
1
Lens Element Centering
62
1
Field Flatness
63
1
Ratings of the Best Enlarging Lenses
64
3
Grain-Focuser Gotchas
67
2
CHAPTER 6 Matching the Tonal Characteristics of the Film and the Print Material
69
4
CHAPTER 7 Prints from Slides vs. Prints from Negatives
73
6
Differences in Tonal Rendition
74
1
Differences in Color Rendition
75
1
Differences in Permanence
76
1
Issues with Ilfochrome
76
3
CHAPTER 8 Contrast Control in Color
79
14
Changing Color Films' Contrast
80
1
Color Paper Grades
81
1
Fogging to Reduce Contrast
82
1
Color Film Masking
83
8
Making Masks for Negatives
85
1
Using SoftShot Developer with TMAX 100 Film
86
1
Making the Masks
87
1
Masking with Polaroid
88
1
Masking Transparencies
88
1
Going Up!
89
1
Printing with a Mask
90
1
Controlling Ilfochrome Contrast with Processing
91
2
CHAPTER 9 Tricks of the Trade
93
14
Save a Tree: Learn to Print
93
2
Keep Those Negatives Popped
95
1
Making Black and White Prints from Color Negatives and Slides
96
4
How to Process Black and White Prints in Color Processors
100
1
Control Strips
101
3
RA-4 Strips
102
1
R-3 Strips
103
1
Room Temperature RA-4 and R-3000
104
1
Effect of Drying on Color and Contrast in Black and White Papers
105
1
What About Dye Transfer?
106
1
CHAPTER 10 Special Concerns of Variable-Contrast Paper Users
107
16
Split-Filter Printing vs. Graded Filter Printing
107
4
Above or Below the Lens?
111
1
Differences in Image Quality Between Variable-Contrast and Graded Papers
111
1
Focusing Problems Specific to Variable-Contrast Papers
112
11
Identifying the Culprit
115
6
What Can We Do?
121
2
CHAPTER 11 Fiber vs. Resin-Coated Black and White Papers
123
4
Veiling
123
1
Tonal Range
124
1
Permanence
124
3
CHAPTER 12 The Issue of Permanence
127
14
Are Black and White Resin-Coated Papers as Permanent as Fiber Papers?
129
10
Background on RC Permanence
131
1
Grass-Roots Experimentation
132
3
What We Don't Know
135
1
On the Other Hand
136
1
What Can We Conclude?
136
3
Presentation Factors That Affect Permanence
139
2
CHAPTER 13 My Darkroom
141
4
CHAPTER 14 Useful Tools
145
6
Denglas
145
1
digi-thermo
145
1
Edwal No Scratch
146
1
Four Designs' Resolution Targets
146
1
Jobo Processor Clean II
146
1
Microfibre Lens Cloth
147
1
PEC-12
147
1
Photofinish
148
1
Sistan
148
1
Tetenal Anti Newton Spray and Film Cleaner Spray
149
1
Zig-Align Alignment Systems
149
2
CHAPTER 15 Presentation
151
4
How to Remove Black Spots from Black and White and Color Prints
151
1
More About Spotting
152
1
Choosing the Right Lighting for Viewing Prints
152
3
Index
155