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How do I calibrate my photographic process



 
 
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  #51  
Old August 30th 04, 01:19 AM
Leigh Marrin/KM6JE
external usenet poster
 
Posts: n/a
Default

Michael Scarpitti wrote:
Frank Pittel wrote in message ...
Even Kodaks position on controlling negative contrast through development time
has changed.

No, it has NOT.


Kodak's 1970 printing of the Master Darkroom Dataguide (printed 16 years
AFTER Scarpitti's Kodak quote) certainly encourages variable film
development. As an example, using the wheel-shaped "developing computer",
it is suggested that Tri-X be developed in D-76 for:
LOWER contrast: 5.5 minutes
AVERAGE contrast: 8 minutes
HIGHER contrast: 11.5 minutes

The Kodak Darkroom Guide also states that its "developing computer" will
provide "a means for determining corrections in development time in
situations where the TYPE OF WORK, EQUIPMENT, or TECHNIQUES make it
desirable to give the negative EITHER MORE OR LESS THAN NORMAL
DEVELOPMENT". (1970 edition, page 7)

(Note: the CAPS are mine.)
  #52  
Old August 30th 04, 01:19 AM
Leigh Marrin/KM6JE
external usenet poster
 
Posts: n/a
Default

Michael Scarpitti wrote:
Frank Pittel wrote in message ...
Even Kodaks position on controlling negative contrast through development time
has changed.

No, it has NOT.


Kodak's 1970 printing of the Master Darkroom Dataguide (printed 16 years
AFTER Scarpitti's Kodak quote) certainly encourages variable film
development. As an example, using the wheel-shaped "developing computer",
it is suggested that Tri-X be developed in D-76 for:
LOWER contrast: 5.5 minutes
AVERAGE contrast: 8 minutes
HIGHER contrast: 11.5 minutes

The Kodak Darkroom Guide also states that its "developing computer" will
provide "a means for determining corrections in development time in
situations where the TYPE OF WORK, EQUIPMENT, or TECHNIQUES make it
desirable to give the negative EITHER MORE OR LESS THAN NORMAL
DEVELOPMENT". (1970 edition, page 7)

(Note: the CAPS are mine.)
  #53  
Old August 30th 04, 01:19 AM
Leigh Marrin/KM6JE
external usenet poster
 
Posts: n/a
Default

Michael Scarpitti wrote:
Frank Pittel wrote in message ...
Even Kodaks position on controlling negative contrast through development time
has changed.

No, it has NOT.


Kodak's 1970 printing of the Master Darkroom Dataguide (printed 16 years
AFTER Scarpitti's Kodak quote) certainly encourages variable film
development. As an example, using the wheel-shaped "developing computer",
it is suggested that Tri-X be developed in D-76 for:
LOWER contrast: 5.5 minutes
AVERAGE contrast: 8 minutes
HIGHER contrast: 11.5 minutes

The Kodak Darkroom Guide also states that its "developing computer" will
provide "a means for determining corrections in development time in
situations where the TYPE OF WORK, EQUIPMENT, or TECHNIQUES make it
desirable to give the negative EITHER MORE OR LESS THAN NORMAL
DEVELOPMENT". (1970 edition, page 7)

(Note: the CAPS are mine.)
  #56  
Old August 30th 04, 02:14 AM
Frank Pittel
external usenet poster
 
Posts: n/a
Default

Michael Scarpitti wrote:
: Frank Pittel wrote in message ...
: Alexis Neel wrote:
: : Notice the post below is NOT coming from Scarpitti but from Kodak.
: : Just because he posted it doesn't make it his.
:
: : Second, its from 1956. A lot has changed since then.
:
: Even Kodaks position on controlling negative contrast through development time
: has changed.

: No, it has NOT.

It sure has. I've posted the relevent sections of their book on professional
black and white films at least twice and both times you've ingored them. I'm not
going to waste my time typing it up again. In short you're lying.

: That's why scarpitti has to cling to a book written in the 50's and
: then contradicted by Kodak in later times.

: The book 'The Negative' by Ansel Adams was written in 1949. That means
: it's completely wrong, doesn't it? Many Zonazis cling to this old
: book, which obviously is outdated, as is Minor White's book 'The Zone
: System Manual', written in 1953 or so.

The zone system was tested by the director of the Kodak Labs. during the 40's
and it's accuracy was confirmed.

: Even a book from Kodak that scarpitti
: used to trumpet cites the advantage of altering development time to control
: negative contrast. He also ignores the clear statements from that same book that
: film should be developed with a level of contrast that gives the best print and
: grade 2 paper.

: For sheet film, that's correct. This book is primarily for sheet film
: users, as is obvious from the cover photo and the descriptions of
: technique in it. For 35mm, grade 3 is better, and many sources, old
: and new, state this.

Your evidence that the book "Kodak Professional Black-and-White films" is
primary for sheet film is .... ? What we have here is another blatent lie by
scarpitti.
--




Keep working millions on welfare depend on you
-------------------

  #57  
Old August 30th 04, 02:14 AM
Frank Pittel
external usenet poster
 
Posts: n/a
Default

Michael Scarpitti wrote:
: Frank Pittel wrote in message ...
: Alexis Neel wrote:
: : Notice the post below is NOT coming from Scarpitti but from Kodak.
: : Just because he posted it doesn't make it his.
:
: : Second, its from 1956. A lot has changed since then.
:
: Even Kodaks position on controlling negative contrast through development time
: has changed.

: No, it has NOT.

It sure has. I've posted the relevent sections of their book on professional
black and white films at least twice and both times you've ingored them. I'm not
going to waste my time typing it up again. In short you're lying.

: That's why scarpitti has to cling to a book written in the 50's and
: then contradicted by Kodak in later times.

: The book 'The Negative' by Ansel Adams was written in 1949. That means
: it's completely wrong, doesn't it? Many Zonazis cling to this old
: book, which obviously is outdated, as is Minor White's book 'The Zone
: System Manual', written in 1953 or so.

The zone system was tested by the director of the Kodak Labs. during the 40's
and it's accuracy was confirmed.

: Even a book from Kodak that scarpitti
: used to trumpet cites the advantage of altering development time to control
: negative contrast. He also ignores the clear statements from that same book that
: film should be developed with a level of contrast that gives the best print and
: grade 2 paper.

: For sheet film, that's correct. This book is primarily for sheet film
: users, as is obvious from the cover photo and the descriptions of
: technique in it. For 35mm, grade 3 is better, and many sources, old
: and new, state this.

Your evidence that the book "Kodak Professional Black-and-White films" is
primary for sheet film is .... ? What we have here is another blatent lie by
scarpitti.
--




Keep working millions on welfare depend on you
-------------------

  #58  
Old August 30th 04, 02:13 PM
Michael Scarpitti
external usenet poster
 
Posts: n/a
Default

Frank Pittel wrote in message ...
Michael Scarpitti wrote:
: Frank Pittel wrote in message ...
: Alexis Neel wrote:
: : Notice the post below is NOT coming from Scarpitti but from Kodak.
: : Just because he posted it doesn't make it his.

: : Second, its from 1956. A lot has changed since then.
:
: Even Kodaks position on controlling negative contrast through development time
: has changed.

: No, it has NOT.

It sure has. I've posted the relevent sections of their book on professional
black and white films at least twice and both times you've ingored them. I'm not
going to waste my time typing it up again. In short you're lying.

: That's why scarpitti has to cling to a book written in the 50's and
: then contradicted by Kodak in later times.

: The book 'The Negative' by Ansel Adams was written in 1949. That means
: it's completely wrong, doesn't it? Many Zonazis cling to this old
: book, which obviously is outdated, as is Minor White's book 'The Zone
: System Manual', written in 1953 or so.

The zone system was tested by the director of the Kodak Labs. during the 40's
and it's accuracy was confirmed.


'Accuracy confirmed'? What the **** does that mean? I repeat the
specific passage in 'Negative Making for Professional Photographers'
that refutes the approach of variable film development:


"As the portrait photographers have their adage, so also do the
commercial photographers who say, "Expose for the shadows and develop
for the highlights." Is this sound advice? First, let us examine this
statement more closely. Admittedly, adequate exposure is desirable to
record the important shadow tones. But to "develop for the highlights"
implies that the time of development, or in other words, the gamma,
should be varied in accordance with the brightness range of the scene.
The idea is, of course, to prevent overdevelopment of highlights, so
the scale of tones can be kept within that which photographic paper
can render. Thus, should a negative of a short scale subject, such as
an average building exterior taken on an overcast day, be developed to
a higher gamma than a negative of the same scene taken in brilliant
sunlight? The answer is generally no; both negatives should be
developed alike. This is probably contrary to the practice which some
professional photographers advocate. The reasoning for this answer
follows: Although photographers speak of "important highlights" and
"important shadows," for the most part it is actually the middle tones
which are most important of all. Middle tones are, of course, the
range of grays between highlights and shadows. Stated differently,
middle tones of a negative or print are those densities which are not
associated with toe or shoulder areas of the characteristic curve.

It has been found through a series of comprehensive tests that for the
great majority of scenes the middle tones should be reproduced at a
gradient of 1.0 on a tone reproduction curve. This curve is a plot of
densities in the print versus the logarithms of the luminances or
"brightnesses" of corresponding areas in the scene. A gradient of 1.0
means that if there is a 10 percent difference between two tones in
the scene, then these same tones should be reproduced with a 10
percent difference in the print. Generally speaking, the middle tones
should be reproduced with a gradient of 1.0, even if this can be done
only at a sacrifice of gradient in the highlights and shadows."

HOW MUCH CLEARER CAN IT GET?

: Even a book from Kodak that scarpitti
: used to trumpet cites the advantage of altering development time to control
: negative contrast. He also ignores the clear statements from that same book that
: film should be developed with a level of contrast that gives the best print and
: grade 2 paper.

: For sheet film, that's correct. This book is primarily for sheet film
: users, as is obvious from the cover photo and the descriptions of
: technique in it. For 35mm, grade 3 is better, and many sources, old
: and new, state this.

Your evidence that the book "Kodak Professional Black-and-White films" is
primary for sheet film is .... ? What we have here is another blatent lie by
scarpitti.



No, the book I was referring to was the one I quoted from:

'Negative Making for Professional Photographers'.
  #59  
Old August 30th 04, 02:13 PM
Michael Scarpitti
external usenet poster
 
Posts: n/a
Default

Frank Pittel wrote in message ...
Michael Scarpitti wrote:
: Frank Pittel wrote in message ...
: Alexis Neel wrote:
: : Notice the post below is NOT coming from Scarpitti but from Kodak.
: : Just because he posted it doesn't make it his.

: : Second, its from 1956. A lot has changed since then.
:
: Even Kodaks position on controlling negative contrast through development time
: has changed.

: No, it has NOT.

It sure has. I've posted the relevent sections of their book on professional
black and white films at least twice and both times you've ingored them. I'm not
going to waste my time typing it up again. In short you're lying.

: That's why scarpitti has to cling to a book written in the 50's and
: then contradicted by Kodak in later times.

: The book 'The Negative' by Ansel Adams was written in 1949. That means
: it's completely wrong, doesn't it? Many Zonazis cling to this old
: book, which obviously is outdated, as is Minor White's book 'The Zone
: System Manual', written in 1953 or so.

The zone system was tested by the director of the Kodak Labs. during the 40's
and it's accuracy was confirmed.


'Accuracy confirmed'? What the **** does that mean? I repeat the
specific passage in 'Negative Making for Professional Photographers'
that refutes the approach of variable film development:


"As the portrait photographers have their adage, so also do the
commercial photographers who say, "Expose for the shadows and develop
for the highlights." Is this sound advice? First, let us examine this
statement more closely. Admittedly, adequate exposure is desirable to
record the important shadow tones. But to "develop for the highlights"
implies that the time of development, or in other words, the gamma,
should be varied in accordance with the brightness range of the scene.
The idea is, of course, to prevent overdevelopment of highlights, so
the scale of tones can be kept within that which photographic paper
can render. Thus, should a negative of a short scale subject, such as
an average building exterior taken on an overcast day, be developed to
a higher gamma than a negative of the same scene taken in brilliant
sunlight? The answer is generally no; both negatives should be
developed alike. This is probably contrary to the practice which some
professional photographers advocate. The reasoning for this answer
follows: Although photographers speak of "important highlights" and
"important shadows," for the most part it is actually the middle tones
which are most important of all. Middle tones are, of course, the
range of grays between highlights and shadows. Stated differently,
middle tones of a negative or print are those densities which are not
associated with toe or shoulder areas of the characteristic curve.

It has been found through a series of comprehensive tests that for the
great majority of scenes the middle tones should be reproduced at a
gradient of 1.0 on a tone reproduction curve. This curve is a plot of
densities in the print versus the logarithms of the luminances or
"brightnesses" of corresponding areas in the scene. A gradient of 1.0
means that if there is a 10 percent difference between two tones in
the scene, then these same tones should be reproduced with a 10
percent difference in the print. Generally speaking, the middle tones
should be reproduced with a gradient of 1.0, even if this can be done
only at a sacrifice of gradient in the highlights and shadows."

HOW MUCH CLEARER CAN IT GET?

: Even a book from Kodak that scarpitti
: used to trumpet cites the advantage of altering development time to control
: negative contrast. He also ignores the clear statements from that same book that
: film should be developed with a level of contrast that gives the best print and
: grade 2 paper.

: For sheet film, that's correct. This book is primarily for sheet film
: users, as is obvious from the cover photo and the descriptions of
: technique in it. For 35mm, grade 3 is better, and many sources, old
: and new, state this.

Your evidence that the book "Kodak Professional Black-and-White films" is
primary for sheet film is .... ? What we have here is another blatent lie by
scarpitti.



No, the book I was referring to was the one I quoted from:

'Negative Making for Professional Photographers'.
  #60  
Old August 30th 04, 04:10 PM
Frank Pittel
external usenet poster
 
Posts: n/a
Default

Michael Scarpitti wrote:
: Frank Pittel wrote in message ...
: Michael Scarpitti wrote:
: : Frank Pittel wrote in message ...
: : Alexis Neel wrote:
: : : Notice the post below is NOT coming from Scarpitti but from Kodak.
: : : Just because he posted it doesn't make it his.
:
: : : Second, its from 1956. A lot has changed since then.
: :
: : Even Kodaks position on controlling negative contrast through development time
: : has changed.
:
: : No, it has NOT.
:
: It sure has. I've posted the relevent sections of their book on professional
: black and white films at least twice and both times you've ingored them. I'm not
: going to waste my time typing it up again. In short you're lying.
:
: : That's why scarpitti has to cling to a book written in the 50's and
: : then contradicted by Kodak in later times.
:
: : The book 'The Negative' by Ansel Adams was written in 1949. That means
: : it's completely wrong, doesn't it? Many Zonazis cling to this old
: : book, which obviously is outdated, as is Minor White's book 'The Zone
: : System Manual', written in 1953 or so.
:
: The zone system was tested by the director of the Kodak Labs. during the 40's
: and it's accuracy was confirmed.

: 'Accuracy confirmed'? What the **** does that mean?

I see that in typical scarpitti fashion the longer a thread goes the more
ignorant you posts to it. I would give further explanationSP? but you don't
have the mental capacity to understand and the rest can understand it.



: : Even a book from Kodak that scarpitti
: : used to trumpet cites the advantage of altering development time to control
: : negative contrast. He also ignores the clear statements from that same book that
: : film should be developed with a level of contrast that gives the best print and
: : grade 2 paper.
:
: : For sheet film, that's correct. This book is primarily for sheet film
: : users, as is obvious from the cover photo and the descriptions of
: : technique in it. For 35mm, grade 3 is better, and many sources, old
: : and new, state this.
:
: Your evidence that the book "Kodak Professional Black-and-White films" is
: primary for sheet film is .... ? What we have here is another blatent lie by
: scarpitti.


: No, the book I was referring to was the one I quoted from:

Once again I see that you're getting dumber with every post.
--




Keep working millions on welfare depend on you
-------------------

 




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