Way Beyond Monochrome. Advanced Techniques for Traditional Black & White Photography including digital negatives and hybrid printing

Content: 
Front matter, Pages i,iii
Copyright, Page iv
Preface, Pages v-vii
Foreword to the First Edition, Pages xi-xii
Foreword to the Second Edition, Page xiii
Preface and Acknowledgments, Pages xiv-xv
Introduction, Pages xvi-xvii
Eye and Brain: Now you see it, now you don\'t, Pages 5-10
Pictorial Maturity: Combining craft and creativity, Pages 11-15
Photographic Quality: The synergy of image, negative and print quality, Pages 16-19
Timing Print Exposures: Expose for the highlights, Pages 23-27
Paper and Print Contrast: Control the shadows with contrast, Pages 28-30
Basics of Photographic Printing: A fundamental but thorough approach, Pages 31-34
Archival Print Processing: Challenging the test of time, Pages 35-53
Mounting and Matting Prints: Solid steps to successful print presentations, Pages 57-75
Print Spotting: Closing in on perfection with a bit of cleanliness, Pages 76-80
Framing and Displaying Prints: Fully protected and ready for the exhibition, Pages 81-91
What Size Is the Edition?: Should I only make a limited number of prints from each negative?, Pages 92-99
Introduction, Page 103
Introduction to the Zone System: An overview to get you started, Pages 105-109
Introduction to Sensitometry: A graph is worth a thousand pictures, Pages 110-112
Tone Reproduction: Zone System and sensitometry combined, Pages 113-119
Image Gradation: The influence of material characteristics, Pages 120-125
Imaging Paths: Different ways from image capture to final print, Pages 129-130
Sharpness and Depth of Field: About the limits of human vision and image clarity, Pages 131-144
Critical Focusing: What you see is what you get?, Pages 145-148
Pinhole Photography: The fascinating world of lensless imaging, Pages 149-156
Basics of Digital Capture: The essential elements of digital imaging, quality and archiving, Pages 157-168
Digital Capture Alternatives: Comparing and choosing solutions for digital monochrome, Pages 169-181
Introduction to Exposure: Measuring, controlling and correcting film exposure, Pages 185-192
Development and Film Processing: Controlling negative contrast and other film processing steps, Pages 193-206
Advanced Development: Are one film and one developer enough?, Pages 207-210
Creating a Standard: Tone reproduction defines the boundaries and target values of the Zone System, Pages 211-213
Customizing Film Speed and Development: Take control and make the Zone System work for you, Pages 214-224
Influence of Exposure and Development: Expose for the shadows and develop for the highlights, Pages 225-228
Exposure Latitude: What can we get away with?, Pages 229-232
Pre-Exposure: A double take on film exposure, Pages 233-238
Applied Zone System: Contrast Control with development or paper grades?, Pages 239-245
C41 Zone System: Contrast control with chromogenic monochrome films, Pages 246-250
Quality Control: Continuous exposure and development control, Pages 251-255
Unsharp Masking: Contrast control and increased sharpness in B&W, Pages 256-261
Masking for Complete Control: More masks, more opportunities for control, Pages 262-274
Digital Negatives for Contact Printing: Analog and digital combined to hybrid halftone printing, Pages 275-281
The Copy-Print Process: How to get silver-gelatin prints from inkjet positives, Pages 282-291
Fine-Tuning Print Exposure and Contrast: Optimizing the print for the discriminating human eye, Pages 295-301
Measuring Paper Contrast: Contrast calibration to standard paper grades, Pages 302-308
Contrast Control with Color Enlargers: Calibration of dichroic heads to ISO paper grades, Pages 309-314
Exposure Compensation for Contrast Change: How to chase the moving target of exposure, Pages 315-317
Basic Split-Grade Printing: Alternative contrast control with VC papers, Pages 318-323
Advanced Split-Grade Printing: Selective contrast control with VC papers, Pages 324-328
Print Flashing: Dim light in the gloom, Pages 329-335
Paper Reciprocity Failure: Or, why are some prints lighter than expected?, Pages 336-337
Miscellaneous Material Characteristics: Stabilizing, removing or understanding noise factors, Pages 338-339
Factorial Development: Compensating for print development variables, Pages 340-342
Print Bleaching: From a mediocre rescue attempt to eye-catching improvements, Pages 343-346
Print Dry-Down: The immeasurable myth?, Pages 347-349
Above Malham Cove: Depth-of-field markings, Pages 353-355
Cedar Falls: With the help of a custom burning mask, Pages 356-358
Clapham Bridge: An example in split-grade printing, Pages 359-361
Corkscrews: Considerations for reflective objects, Pages 362-364
Portrait Studio Lighting: Fundamental lighting setup to illuminate beautiful faces, Pages 365-368
Ingatestone Hall: Lime walk, a study in infrared, Pages 369-371
Heybridge: A low-contrast subject on a high-contrast day, Pages 372-373
Karen: An example in print manipulation, Pages 374-375
Light-Painted Flowers: Creative lighting and lots of patience, Pages 376-377
Metalica: Printing from a less than ideal negative, Pages 378-379
Alternative Processes: Historic photographic processes and digital negatives combined, Pages 380-381
MonoLog: Right place, right time, wrong camera, Pages 382-383
Parnham Doorway: Toning with mood, Pages 384-385
Large-Format Nudes: Using a view camera in the studio, Pages 386-388
Rape Field: A little ‘liquid light’ can go a long way, Pages 389-392
St. Mary\'s of Buttsbury: An English mystery church in Essex, Pages 393-395
Stonehenge: Accepting a printing challenge, Pages 396-399
Summer Storm: The way I want to remember it, Pages 400-401
Toothpaste Factory: Small detail helps to create a dramatic image, Pages 402-403
Image-Taking Equipment: The photographer\'s tools of the trade, Pages 409-420
Darkroom Design: Creating a practical and creative environment, Pages 421-427
How Safe Is Your Safelight?: Two simple, reliable tests with surprising results, Pages 428-432
Enlarger Light Sources: The difference between condenser and diffusion enlargers, Pages 433-437
Sharpness in the Darkroom: Maximum resolution from corner to corner, Pages 438-448
Other Darkroom Equipment: A few useful tools, making darkroom work a lot easier and more consistent, Pages 449-459
Identification System for Film Holders: A binary numbering pattern for large format sheet film, Pages 463-465
How to Build and Use the Zone Ruler: Visualization can be learned, but it takes practice, Pages 466-467
How to Build and Use a Zone Dial: Additional functionality for popular spotmeters, Pages 468-469
Make Your Own Shutter Tester: Use your personal computer and this simple circuit to test your shutter, Pages 470-471
Make Your Own Test Strip Printer: A useful tool for localized and continuous test strips, Pages 472-476
Make Your Own Burning Card: A useful tool for fine print control, Pages 477-479
Exposure, Development and Printing Records: A small investment in time with high returns, Pages 480-482
Making Prints from Paper Negatives: An old technique revisited with new materials, Pages 483-487
Technical Fundamentals, Pages 491-493
Make Your Own Transfer Function, Pages 494-497
Photographic Chemistry, Pages 498-501
Basic Chemical Formulae, Pages 502-505
Tables and Templates, Pages 506-527
Glossary, Pages 528-529
Bibliography, Pages 530-536
Index, Pages 537-542