Silver Gelatin In the Digital Age: A Step-by-Step Manual for Digital/Analog Hybrid Photography (Contemporary Practices in Alternative Process Photography)

Cover
Half Title
Series
Title
Copyright
Contents
Preface
Part One The adventure begins
	Chapter 1 Printmaking with Intent
		Why the hybrid workflow?
	Chapter 2 Getting Started, Hardware and Software
		Cameras
		Analog to digital conversion hardware
		Computer and printer hardware
		Digital software
		Digital supplies
		Enlarging equipment
		Darkroom processing equipment
		Darkroom materials
	Chapter 3 Photoshop Basics for Black and White
		How this chapter is organized
		Adobe Bridge
		Bridge as an image browser and organizer
		Bridge for appending metadata
		Bridge for renaming files
		Bridge for contact sheets
		Camera RAW processing via Bridge
		Batch processing Camera RAW files
		Bridge for creating printing masters
		Adobe Camera RAW
		Clipping indicators
		Crop icon and panel
		Heal icon and panel
		Dropdown menu “dots"
		Basic tab
		Detail tab
		Color Mixer/B&W Mixer tab
		Setting Camera RAW Preferences
		Finishing up in Camera RAW
		Basic Photoshop setup
		Info panel
		Adjustments panel
		Properties panel
		Layers panel
		Layer and Adjustment Layer masking
		History tool kit
		Some common operations
		Set correct black and white points
		Color to B&W conversion
		Adjustment Layers for B&W conversion
		Setting the overall light/dark and contrast values
		Levels
		Curves
		Shadows/Highlights
		Photoshop basics conclusion
Part Two Recording the Image
	Chapter 4 Film Photography
		How this chapter is organized
		Film offers a multitude of formats
		Film records differently than digital
		What about film exposure?
		What about “improper” exposure?
		Strategies for selecting the right film
		Creative benefits of slow speed film
		Creative benefits of fast speed film
		Convenience of medium speed film
		Developers
		Acutance developers
		Solvent developers
		T-grain developers
		Choosing a film and developer combination
		Determining effective film speed
		Using “push” and “pull” development
		In-camera contrast filtration
		I’ve shot my film, now what?
		What’s next?
	Chapter 5 Analog to Digital Conversion
		How this chapter is organized
		How much data do we really need?
		What kind of data do we need?
		Comparing scanner types
		What format(s) do you need to scan?
		Lab scans
		Desktop film scanners
		Desktop flatbed scanners
		The basic scan workflow
		A post-scan workflow preview
		Post-scanning adjustments
		Digital camera scanning
		Digital cameras
		Macro-capable lens
		Copy stand or tripod
		Light source
		Film holder
		Tethering to a computer
		Determining exposure
		Framing the image
		Optimal f/stop, ISO and shutter speed
		Post scanning adjustments
		Conversion of black and white negative film
		Conversion of color negative film
		Conversion of color transparency film
		Batch processing camera scans
		Analog to digital conclusion
	Chapter 6 Digital Photography and RAW Conversion
		How this chapter is organized
		Preview in black and white
		Why RAW instead of JPEG?
		What is clipping?
		What is the “best” exposure?
		Digital ISO vs. film ISO
		Set ISO for creative intent
		Post-processing is part of exposure
		Image adjustments in the Basic panel
		Strategies for cropping
		Combining multiple RAW conversions
		B&W mixer tab
		Reusing your develop settings
		Conclusion
Part Three Shaping the Image, Making the Negative
	Chapter 7 Shaping the Image
		How this chapter is organized
		A note before getting started
		Step 1: Black and White conversion
		Using Image>Adjust>Black and White
		Using Adjustment Layers>Black and White
		History workflow vs. adjustment layers
		Step 2: Setting basic values
		Setting initial Black and White points
		Troubleshooting clipping
		Setting custom Black and White points
		Step 3: Setting overall image tone
		Setting overall values with Levels
		Setting overall values with Curves
		Shadows/Highlights
		Combining multiple tools
		Ready for the darkroom? Why not?
		Step 4: Burning and dodging
		Burn and dodge with History workflow
		Burn and dodge using layers
		Adjustment layers and masking
		Burn and dodge strategy summary
		Utilizing blend modes
		Output sharpening
		Building an output master
		Build your knowledge base
	Chapter 8 Making the Digital Negative
		How this chapter is organized
		A perfect negative is not required
		Why again do we need a translation?
		How does QTR work?
		Get organized (Mac users)
		PC user?
		Getting started
		Naming the test profiles
		Create the test profiles
		What are Quad files?
		Create and print the test negative
		Set the black point with exposure
		Print the test negative in the darkroom
		Troubleshooting
		Shadows blocked up?
		Highlights blocked up?
		The radical correction curve method
		Make test prints of images as well as step wedges
		Scanning your step wedges
		Make a correction curve with Build QTR Curve
		Make another image test print
		Correct the correction curve
		Numeric string vs. Photoshop curve
		Print needs contrast adjustment?
		Shadows too light or dark?
		Highlights too light or dark?
		How many profiles do we need?
		QTR, line by line
		QTR installer errors
		Using inkjet prints to improve your work
		Contact sheets
		Proof of concept prints
		Final prints
		Using Print-Tool for paper prints
		The simple Photoshop correction curve
		Create the curves
		Apply the curve to an image
		Adjusting the curve
		Print the negative
		Making the darkroom print
		Fine tuning the curve
Part Four Making the Print
	Chapter 9 Silver Gelatin Printing
		How this chapter is organized
		Safety note
		A typical process line
		Developers
		Stop bath
		Fixer 1 & fixer 2
		Dilute selenium toner
		Rinse or holding tray
		Hypo clearing agent
		Wash
		Evaluating the print
		Paper selection
		Variable contrast papers
		Split grade printing
		Printing camera negatives vs. digital negatives
		Camera negative printing strategies
		The unsung hero: contact sheets
		Make full prints, not test strips
		Purposefully setting contrast
		Burning and dodging
		Printing from digital negatives
		Post-production: bleaching and toning
		Bleaching
		Why tone a print?
		Complete toning
		Split toning
		Direct vs. indirect toners
		Direct toners in use
		Indirect toners in use
		Split toning
		Toner tests
		Create a test negative
		Make a set of test prints
		Selenium toner test
		Evaluating the selenium toner test
		Sepia bleach test
		Evaluating the sepia toning test
		Conclusion
	Chapter 10 Silver Gelatin Lith Printing
		Rethinking lith
		How this chapter is organized
		Lith printing has different rules
		Infectious development
		Establish a base exposure time
		Develop to resolve the black
		Expose to place the highlights
		Learning how to control the results
		Control using “birth order"
		Control using exposure
		Control with developer
		Developers
		Developer recipes
		Replenishment
		Control with development time
		Temperature as a modifier
		A word about developer volume
		Control of midtones with two-bath lith
		Control with pre-flashing
		Developer modifiers
		Benzotriazole to add contrast and reduce color
		Hydroquinone to speed things up
		Sodium Sulfite (Moersch C)
		Potassium Bromide (Moersch D)
		Old Brown
		Two basic printing strategies
		Make a set of reference prints
		What’s next?
		Introduction to second pass lith
		Exposure for second pass lith
		Create reference prints
		Making the base print
		Washing
		Preserving highlights and midtones
		Altering the digital negative
		Pre-flashing
		Bleach for second pass lith
		Standard bleach
		Copper bleach
		Redevelopment observations
		Bleach, paper and developer combinations
		Arista with standard bleach
		Arista with copper bleach
		Moersch with standard bleach
		Moersch with copper bleach
		Second pass summary
		Basic Lith
		Sodium hydroxide hack
		Pseudo lith
		Toning
		Toning for Dmax
		Toning for color changes
		Digital negs and lith printing
		A word about vintage papers
		Lith formulas
Part Five Contemporary Artists
	Chapter 11 Contemporary Artists
		Bruce Barnbaum
		Debbie Fleming Caffery
		Paula Chamlee
		Susan de Witt
		Neil Folberg
		Carol Golemboski
		Stu Levy
		Michael Massaia
		Wolfgang Moersch
		Ann Pallesen
		Jennifer Schlesinger
		Rashod Taylor
		Hiroshi Watanabe
		Guillaume Zuili
Index
Acknowledgements