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ANALOGUE PHOTOGR APHY | RAUL PIRES COELHO
ANALOGUE PHOTOGR APHY | RAUL PIRES COELHO
DODGE AND BURN
CROPPING Look at a simple crop where you cut around the edges of your image, modifying the proportions for a better composition and framing. With a negative on the enlarger, what you do is move the head up and down over the easel where the photo paper will be laying flat later and at the same adjust the rulers around the image light to place it exactly where you want it, all under red light of course. It’s a very thoughtful process. And it’s very creative and beautiful. The outside world stops it's motion, all that's left is that projected light image down there, ready to be carved on the paper emulsion. Once these decisions are made the paper comes out of the box, the exposure seconds calculated based on a test strip made previously and on to the chemicals that process it: developer, stop bath and fixer. Finally you can turn on the white light and see how it went. Are you happy with it? It may be good, even awesome. If not, back to the beginning. Now that the crop has been perfected: what about the other variables?
Some parts of the image may be too dark, others locally too light. Some dodge and burn here and there will surely help. What is it and how do you do it using an enlarger? It’s all so easy with your beloved software. You burn overexposed areas and dodge underexposed areas. To burn under the red light, holes are used to focus light where additional exposure is needed. To dodge in the darkroom cardboard masks of various shapes and sizes are used to shield areas where less exposure is necessary. This is a complex task, because while you are doing it, light continues to spread over unmasked areas. An accurate scheme has to be devised based on seconds or exposure units. It’s a trial and error process. You do it one time, develop and fix, then inspect the results. Is it good? No? Stick another sheet of paper on the enlarger and start from beginning for one more try. Several sheets and many hours later something good is coming out at last, if you are lucky! You have your final print with the exact burn and dodge in place, the exact exposure and contrast, a masterpiece perhaps, ready for the upcoming exhibition.
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