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Ralph W. Lambrecht - Way Beyond Monochrome 2e: Advanced Techniques for Traditional Black & White Photography including digital negatives and hybrid printing

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Ralph W. Lambrecht Way Beyond Monochrome 2e: Advanced Techniques for Traditional Black & White Photography including digital negatives and hybrid printing
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Way Beyond Monochrome 2e: Advanced Techniques for Traditional Black & White Photography including digital negatives and hybrid printing: summary, description and annotation

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Photo Techniques Magazine stated: All our readers need to know about this very useful book. Indeed, there is no other compendium that is as in-depth as this for the beauty and magic of fine-art black-and-white photography. With 560 pages and over 1,000 illustrations, Way Beyond Monochrome starts with conceptual lessons of composition and takes you through image capture, exposure, controlling tonality, variable-contrast paper, archival printing, mounting, framing and presentation with simple concepts to an advanced level. This new edition has been completely revised and heavily expanded, adding over 250 pages to the original edition with new chapters on print mounting, spotting, framing, digital negatives, utilizing digital technologies for alternative processes, and fabulous do-it-yourself projects. Overall, the authors have created a thoroughly researched, technologically sound yet aesthetically pleasing, inspirational bible for monochrome photography.

New to this edition:

  • almost double the content
  • a new section discussing the path from visualization to print, illustrating the interaction between eye and brain, explaining the rules of composition and when to break them to produce photographs with impact
  • a new section on presentation including hands-on mounting, matting, spotting, and framing
  • image capture has a more in-depth focus, now covering pinhole photography and digital capture
  • now includes making and printing with digital negatives
  • a new section discussing the pros and cons of typical image-taking and image-making equipment
  • plus new do-it-yourself projects, including many darkroom tools and an electronic shutter tester
  • a useful collection of templates, to copy, cut-out and take with you in your camera bag or use in the darkroom
  • an appendix with all the recipes to make your own darkroom chemicals from scratch
  • all illustrations improved and updated
  • improved index with 1,400 references

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Way Beyond Monochrome

Advanced Techniques for Traditional Black & White Photography

Second Edition

Ralph W. Lambrecht

Chris Woodhouse

Focal Press

Front matter

Way Beyond Monochrome

Way Beyond Monochrome

Advanced Techniques for Traditional Black & White Photography

second edition

by Ralph W. Lambrecht & Chris Woodhouse

Copyright Cover design by Ralph W Lambrecht Focal Press is an imprint of - photo 1

Copyright

Cover design by Ralph W. Lambrecht

Focal Press is an imprint of Elsevier

30 Corporate Drive, Suite 400, Burlington, MA 01803, USA

The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK

2011 Ralph W. Lambrecht and Chris Woodhouse. Published by Elsevier Inc. All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher's permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions.

This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein).

Notices

Knowledge and best practice in this field are constantly changing. As new research and experience broaden, our understanding, changes in research methods, professional practices or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds or experiments described herein. In using such information or methods, they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein.

Library of Congress Cataloging-in-Publication Data

Application submitted.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN: 978-0-240-81625-8

For information on all Focal Press publications visit our website at www.elsevierdirect.com.

10 11 12 13 5 4 3 2 1

Printed in China

Preface Ralph W Lambrecht Art is about being consciously creative - photo 2

Preface

Ralph W. Lambrecht

Art is about being consciously creative Understanding materials and processes - photo 3

Art is about being consciously creative. Understanding materials and processes is about taking control. This makes our work consistent and predictable. When materials, techniques and processes are not understood, artistic success depends on serendipity and is no longer intentionally conceived.

How charming it would be if it were possible to cause these natural images to - photo 4

How charming it would be if it were possible to cause these natural images to imprint themselves durably and remain fixed upon the paper.

William Henry Fox Talbot

The discovery I announce to the public today is one of the small number which, by their principles, their results and the beneficial influence which they exert upon the arts, are counted among the most useful and extraordinary inventions.

Louis Jacques Mand Daguerre

The production of a perfect picture by means of photography is an art. The production of a technically perfect negative is a science.

Ferdinand Hurter

In 1876, I induced Dr. Ferdinand Hurter to take up photography as a recreation, but to a mind accustomed like his to methods of scientific precision, it became intolerable to practice an art which, at the time, was so entirely governed by rule of thumb, and of which the fundamental principles were so little understood. It was agreed that we should jointly undertake an investigation with the object of rendering photography a more quantitative science.

Vero Charles Driffield

One photo out of focus is a mistake, ten photos out of focus are an experimentation, one hundred photos out of focus are a style.

author unknown

To consult the rules of composition before making a picture is a little like consulting the law of gravity before going for a walk.

Edward Weston

Your first 10,000 photographs are your worst.

Henri Cartier-Bresson

Photography is 90% sheer, brutal drudgery. The other 10% is inspiration.

Brett Weston

Compensating for lack of skill with technology is progress toward mediocrity. As technology advances, craftsmanship recedes. As technology increases our possibilities, we use them less resourcefully. The one thing we've gained is spontaneity, which is useless without perception.

David Vestal

Foreword to the First Edition

Mike Gristwood

ILFORD Imaging UK Limited

As I write this in the spring of 2002, many people are starting to believe that traditional, film-based, analog photography will soon be replaced by digital photography. However, as most people who take a close interest in these matters understand very well, the reality is likely to be rather different. We read about ever-increasing numbers of pictures being taken with digital cameras and how this is evidence of the replacement of film by the newer technology. Digital photography has clearly started to replace film in some areas, but only those where it offers overwhelming advantages. Two good examples are news photography because of the short deadlines, and catalogue photography because of the small image size and significant savings on film and processing costs. The arrival of the digital camera has meant that more pictures are being taken, and that's a good thing. While many of these are very different kinds of pictures, they are often simply visual notes. Film, however, remains a highly portable and very high quality storage medium, which is also, at least from the point of view of someone involved in film manufacturing, excellent value for money. It provides human readable images with good storage stability, which are free from the risk of software and equipment obsolescence that tends to threaten the long-term survival of digitally stored images. For these reasons alone, film will no doubt be with us for many years to come.

Digital photography is currently more a threat to color film, which has replaced B&W film in those fields where digital capture is becoming popular. However, the options for producing high-quality monochrome prints from digital files still need to be explored further. In my view, there are some interesting parallels here with the earlier replacement of B&W by color photography. Color initially replaced B&W in popular applications such as weddings and portrait photography where desirability of color images outweighed their considerable extra cost. In other areas, like snapshot photography, it happened later where color photography became more affordable, and the price advantage of B&W began to disappear. However, it never came close to eliminating B&W photography altogether. This is because the photographers who choose to work in B&W are using it as a medium for personal expression and not as an inferior substitute for color. These photographers actively prefer it, and they value the very high degree of creative control that is potentially available at all stages of the process, from camera filtration to print toning. To exploit this fully requires a great deal of skill and experience in the art of photography. This can be, and often is, acquired by a process of trial and error, but a more reliable route is through a thorough understanding of the underlying principles involved. Without this understanding, it is very difficult to get predictable results and to make the leap from occasionally good results to consistently excellent ones.

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