I think that you miss the point I was repeating Barry ;-).
I did not say that it was infra dig, or not "pure", to fiddle with
exposures of various parts of the print, merely that my tutor would
not do it and did not teach me to do so. But of course I have done
it and will do so again :>). My tutor uses the studio almost
exclusively, whereas I take all sorts of photos (some might say that
it is an eclectic mix, whereas others might see that I merely can't
make up my mind ;-)).
But I would argue that a well-composed, well-exposed shot should not
need burning or dodging except for special effects. The occasion
that springs to mind is in a high contrast shot with not enough
interest in the sky when you might wish to expose in the enlarger for
the shadows, but to bring out the texture of the sky better. But I
would be interested in other examples.
The most important lesson that I came away with (apart from the need
for simplicity and consistency) was that you *must* give each print
its full time in the developer. I had been getting muddy dark tones
and off-whites, probably through taking the print out when it
*looked* right.
Chris
At 14:28 -0500 2/10/01, Barry B. Bean wrote:
On Sat, 29 Sep 2001 17:52:13 +0100, Chris Barker wrote:
My tutor refuses
to countenance fiddling with parts of a print (dodging and burning)
because he insists on having the correct exposure the first time -
Bah humbug. The picture isn;t finished until I say it is, and if I
control the process from start to finish, there's no reason that one
part of the process has to be any more "pure" than any other part of
the process. Ultimately, the piece of art will stand on how the print
looks, and not whether the highlights and shadows came from the
camera or the darkroom.
-
B.B. Bean - Have horn, will travel
bbbean@xxxxxxxxxxxxxx
--
<|_:-)_|>
C M I Barker
Cambridgeshire, England.
+44 (0)7092 251126
mailto:imagopus@xxxxxxxxxxxxxxxx
... a nascent photo library.
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