How do you increase contrast when photographing trees, trunks, logs etc

[Camerashy]

Film, filters developer for increasing short sbr and extending development time, what combinations do you use?

 

[Ian Grant]

I use a Green filter, helps lighten the leaves.

Ian

 

[thronobulax]

Film, filters developer for increasing short sbr and extending development time, what combinations do you use?

I use semistand or EMA development techniques to expand midtone contrast. For example, this was shot on a dull, flat day with a very short SBR to speak of:



Efke PL100M, Pyrocat-HD 1.5:1:200, EMA, scan of silver print

 

[Camerashy]

I use semistand or EMA development techniques to expand mid tone contrast. For example, this was shot on a dull, flat day with a very short SBR to speak of:

View attachment 6535

Efke PL100M, Pyrocat-HD 1.5:1:200, EMA, scan of silver print

What difference does increasing part A to 1.5 make?

 

[Camerashy]

What difference does increasing part A to 1.5 make?

I

 

[thronobulax]

What difference does increasing part A to 1.5 make?

This ratio was suggested by Sandy King (the father of Pyrocat) when exploring extended development schemes.

The more important thing is the higher dilution is needed when you're going to leave film in developer for a really long time. These days, I am more likely to use 1.5:1 to 250, 300, or even 500.

It's a tricky process to get right and I've made my notes available to anyone interested. This explains the risks, benefits, pitfalls, and noisy flailing on the internet that surrounds the whole subject:

tundra/Stand-Development

gitbucket.tundraware.com

 

[MartyNL]

I often feel it's better to lean into low contrast scenes, embrace the greyscale and lower dynamic range rather than fight it.

Alternatively, I'd save the scene for a day with better/more appropriate light, if possible.

 

[thronobulax]

I often feel it's better to lean into low contrast scenes, embrace the greyscale and lower dynamic range rather than fight it.

Alternatively, I'd save the scene for a day with better/more appropriate light, if possible.

Well, it does take some thought and effort to handle a short SBR, but the rewards can be great. Using darkroom magic to expand the midtones in such settings can bring forth really nice images.

An example, if I may. This was shot in an absolutely flat grey day after a rainstorm. The scene as presented was completely uninteresting at first glance. But developing Acros II via EMA and split-VC printing gave me a print I very much like. Scan of silver print:

 

[MartyNL]

This is an example of what I mean, and while not woodland, it was taken on an 'uninspiring' dull and overcast day. The sky and clouds acted like a huge diffuser (and reflector) lifting the shadows and softening the highlights. The result is an abundance of detail throughout the scene. And personally, I find it's very much about the compression, I doubt anything in the way of maximum black or paper white, and a celebration of grey tones that make this print work, for me.
Print on Fomatone 131 mg wt fb glossy sloshed in Bromophen.

 

[MartyNL]

As a matter of fact, I think it's fair to say, that my woodland scenes often suffer from too much contrast, so the opposite problem to what the OP is experiencing.
Here are some Photo's from an exhibition shown shortly after covid.
These were all taken on 4x5" with a 75mm lens on a fixed bodied camera and darkroom printed on 16x20" paper.

Please, excuse the poor snaps.

 

[Ian Grant]

There seems to be some confusion, decreasing a developers concentration lowers contrast., and conversely increasing concentration increases contrast.

And the high dilutions of developers like Pyrocat HD, Rodinal, etc, also have a compensating effect as the developer exhausts. ULF shooters began using semi-stand, and extra dilution to increase Mackie effects, which helps increase apparent sharpness when ULF negatives are contact printed.

As a matter of fact, I think it's fair to say, that my woodland scenes often suffer from too much contrast, so the opposite problem to what the OP is experiencing.
Here are some Photo's from an exhibition shown shortly after covid.
These were all taken on 4x5" with a 75mm lens on a fixed bodied camera and darkroom printed on 16x20" paper.

Please, excuse the poor snaps.

I agree with your earlier post, I've never needed to adjust development to increase contrast when shooting with trees dominant in images, I might have to use N-2 development where the contrast is high,

I use very similar frames Marty

Ian

 

[Camerashy]

There seems to be some confusion, decreasing a developers concentration lowers contrast., and conversely increasing concentration increases contrast.

And the high dilutions of developers like Pyrocat HD, Rodinal, etc, also have a compensating effect as the developer exhausts. ULF shooters began using semi-stand, and extra dilution to increase Mackie effects, which helps increase apparent sharpness when ULF negatives are contact printed.



I agree with your earlier post, I've never needed to adjust development to increase contrast when shooting with trees dominant in images, I might have to use N-2 development where the contrast is high,

I use very similar frames Marty

Ian

 

[Camerashy]

Can anyone confirm this:

 

[Ian Grant]

Doremus is right in theory, however in practice it's not really an issue, it has never caused me any issues.



This was a 6 to 8 minute exposure @ f22

Ian

 

[thronobulax]

This is an example of what I mean, and while not woodland, it was taken on an 'uninspiring' dull and overcast day. The sky and clouds acted like a huge diffuser (and reflector) lifting the shadows and softening the highlights. The result is an abundance of detail throughout the scene. And personally, I find it's very much about the compression, I doubt anything in the way of maximum black or paper white, and a celebration of grey tones that make this print work, for me.
Print on Fomatone 131 mg wt fb glossy sloshed in Bromophen.
View attachment 6539

I love those days as well. The challenge I always find is making the sky interesting, or minimizing an uninteresting sky's intrusion into the scene.