Creative Elements Landscape Photography - Darkroom Techniques

Eddie Ephraums

За особеностите на екземпляра

Creative Elements Landscape Photography - Darkroom Techniques

Creative Elements Landscape Photography - Darkroom Techniques - снимка 1

Creative Elements Landscape Photography - Darkroom Techniques - снимка 2

Creative Elements Landscape Photography - Darkroom Techniques - снимка 3

Състояние:: Много добро
Забележка:: Леко захабен външен вид.
Език:: Английски
Наличност:: 1 бр.

За изданието

Издателство:: 21st Century Publishing
Град на издаване:: London
Година:: 1993 г.
Език:: Английски
Страници:: 168
Корици:: Твърди
Категория:: Хоби
Тегло (гр.):: 1075
Ширина (мм):: 270
Височина (мм):: 275
Дебелина (мм):: 15
ISBN:: 9780951014790

This book is a complete guide to photographing, developing, and creatively printing images of the landscape. Eddie Ephraums, an acclaimed photographer and printer, describes in detail the techniques he uses to create fine-art prints. A full guide to equipment, darkroom set-up, film processing, printing, and toning is included together with many examples and step-by-step instructions from the negative to the finished print. Landscape photography is not a passive process. It is a creative process, an opportunity to express ourselves in the form of an individually crafted print-utilizing the creative elements of photography. Also Recommended: "Beyond Monochrome," "The Complete Photographer." * Creative Elements Sunlight may give shape and form to a landscape, but it is the light of the enlarger and, most importantly of all, our control of it and the other creative photographic processes, that adds content and meaning to our print of that scene. Landscape photography is not a passive process. It is not subject to the natural elements (are not the elements the subject of our images?). Neither is it an acquisitive process; photographs are not taken, but made. Above all, it is a creative process, an opportunity to express ourselves in the form of an individually crafted print — utilising the creative elements of photography. ** Introduction to the photographs The landscape photographs I have chosen for this book are not intended to represent a selection of my favourite images or my 'best' prints. Instead, they have been selected to illustrate the numerous technical points I wish to discuss, and also to demonstrate as many techniques and processes as possible. If the subject matter of these photographs occasionally appears similar, this is to show different ways of tackling the same type of scene. For example, compare — then contrast — Wistman's Wood and Fernworthy Forest with Rannoch Moor and Mis Tor: all very similar subject matter, photographed in a like manner, yet each is the subject of one of a diverse range of darkroom photography techniques, employed for deliberate and pre-visualised effect. Look also at the two Bradwell Barges photographs on pages 69 and 70: each is of the same scene, yet both have been photographed and printed in totally contrasting styles. In every case I have tried to explain my techniques, and give reasons for their use. In some cases the darkroom methods I have used to make these landscape images may — initially — appear complex. This isn't to elevate their technical status. It is intended to simplify the look of the print and therefore to clarify the meaning of the photograph. Such techniques show just how far beyond the point of camera exposure the black and white photographic process can go, if we want it to. In other cases, by demonstrating these techniques, I hope to show how to work with difficult negatives, or cope with scenes that lack the intrinsic ingredients necessary for success. As an example, a straight exposure print of River Authie yields an imperfect photograph, but manipulation of the print overcomes this problem. Similarly, straight prints of Route Napoleon and Black Mount yield images that speak of detail rather than communicate drama. In both these cases print manipulation produces a simpler image and a clearer — more effective — photograph. In fact, many of my landscapes are intentionally simple: they don't rely on fancy equipment (all but two have been made with very basic 35mm camera equipment) and, what's more, they don't depend on far-away exotic locations for purely alluring, visual effect. Instead they rely on the accessible, or the commonplace: Epping Forest in North London, for example, or the silhouetted trees of King's Tor car park on Dartmoor. And, of course, they rely on camera and (what may initially appear complicated) creative darkroom techniques, but — given time and practice — even these processes will appear simple and become second nature. The difficulty of landscape photography is deciding what to photograph and understanding what it is we want to say about our chosen subject. I hope this will always remain so — a challenge to be enjoyed. *** Contents Technical section Equipment.............................92 Darkroom set-up.......................98 Materials............................100 Camerawork...........................106 Film processing.................... 110 Image assessment.....................114 Enlarging............................118 Print processing.....................124 Print assessment.....................128 Toning...............................134 Washing and drying...................142 Archival processing..................146 Print finishing......................148 Formulary............................152 Tables and charts....................161 Index................................168

Ключови думи: книги на английски език, фотография, творческа фотография, пейзажна фотография, фотографски техники