Dear Reader:

I am doing a research project about B&W photography, and one of the areas I am focusing on is different techniques or methods you can use to change the print you end up with. If there are any specific methods you know about, please let me know asap!

Thanks! Liz

-- Liz Serage (Acez_Up88@hotmail.com), October 30, 2001

Answers

You might take a look at my article on print solarization at http://unblinkingeye.com/Articles/Solarization/solarization.html. There are a number of other articles on the site that might qualify for distorting or enhancing prints, including one on dual toning, one on thiosulfate solarization, and another on blue toning.

-- Ed Buffaloe (edb@unblinkingeye.com), October 31, 2001.

Probably the most commonly used techniques are cropping, dodging (reducing the exposure in selected areas) and burning in (increasing the exposure in selected areas).

These would be closely followed by toning to change the image color.

-- Charlie Strack (charlie_strack@sti.com), October 31, 2001.

Different papers and developer combinations, including additives will can change the look of the print.

-- Ann Clancy (clancya@mediaone.net), October 31, 2001.

Liz:

Chemical toning of finished prints is a great way to change the sttraight B&W print. selenium toners give a lusterous metalic purple colour, which can very to a beautiful brick red, with teh added benefit of adding a bit to the maximum black AND greatly increasing the life expecatncy of the print.

You can get briliant green prints, blue ones and rich Sepia variations. Toning is a science/art unto itself and offers a lifetime of creativity and experimentation.

Cheers

-- RICHARD ILOMAKI (richard.ilomaki@hotmail.com), November 01, 2001.

I should add Lith Printing to all that. Hand - colouring might be mentioned also, although this is not really considered as part of the photographic cycle...

-- George Papantoniou (papanton@hol.gr), November 07, 2001.

If you want a totally unique look - try sandwiching 2 negatives together. I have taken two identical negatives and sandwiched them back to back (emulsion sides touching each other) for some very unique images. Alternatively, sandwich two negatives of different subjects - e.g. a portrait and a landscape, again touching the two emulsions sides together (the image is on the emusion side and this way both images are in the same plane for focussing). I use an anti-newton glass negative carrier but have use a regular carrier if the negatives dont have any curl. Both negatives should be of relatively similar density and contrast and it is best if both negatives are relatively thin (dense negatives can take minutes to print). It takes a good bit of experimenting to find combinations that work esthetically but the results can be startling.

Ron Gratz

-- Ron Gratz (rkgratz@mtu.edu), November 09, 2001.