point the camera up to get a composition I was pleased with. I used a B+W red-orange
Figure 69. Printed with the split-
(#041) filter on the lens because the arch contained mostly shadow areas and the
filter method, using a #11⁄2 filter
sky was quite bright behind it. The filter would help by lightening the reddish orange
(exposure of 30 seconds at f/11),
sandstone of the arch slightly, while darkening the sky. Although I didn’t record the expo-
and a #41⁄2 filter (exposure of 6
sure, I recall it was about f/5.6 at 1⁄125 of a second. The film I used was Ilford 100 Delta
seconds at f/11).
rated at EI 50. When we returned from the trip, I processed the film in my usual homemade developer. The resulting negatives looked good. There was a fair amount of shadow detail, but a test print (fig. 68) showed the highlights to be a little dense on the negative (the highlights were light on the test print). I made several different prints with varying results. Trying to dodge and burn effectively was especially difficult because of the shape of the arch. Then I decided to make a print using the split-filter technique. Although not always a useful trick, this negative seemed particularly well suited to the method. The first exposure of the final print was made with a #11⁄2 filter at an exposure of 30 seconds at f/11. Then I used a #41⁄2 filter with a much lower exposure—6 seconds at f/11 (fig. 69). The difference can be subtle, especially when printed in a book. Comparing the prints side by side in person, the differences are more noticeable, especially in the highlight areas.
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T I P S
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T R I C K S
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