5 of 5 people found the following review helpful:
5.0 out of 5 stars
Excellent, May 1, 2001
By A Customer
This review is from: Creative Elements: Landscape Photography-Darkroom Techniques (Paperback)
Step by step technical data for each image in the book is included. There are notes on each image from its original creation, film used, developing, lighting all the way to printing and toning data. The first straight print is included alongside the final print, so yo uare able to see how the results of careful and creative darkroom work. Charts on the areas dodged and burned, bleached and toned are included to walk you through to the creation of the final image. The appendix includes several toner recipes all of which are very good.
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
Getting the most out of smaller negatives., September 1, 2001
This review is from: Creative Elements: Landscape Photography-Darkroom Techniques (Paperback)
Getting the most out of smaller negatives.
One of the problems that the small format (35mm) photographer faces when using faster film (ASA 400) is that the subsequent loss of detail makes truly representative imagery difficult to accomplish. Used to the techniques of large format specialists such as Ansel Adams or John Sexton, we have come to expect big prints with breathtaking depth and detail. In addition, large format negatives permit fine manipulations of contrast and perspective. This often convinces the 35mm SLR owner that good black and white landscape work is beyond his or her reach.
Fortunately, this is not true. Eddie Ephraums fine volume on landscape printmaking is a study in using the characteristics of the smaller camera as stepping off points instead of limitations. Ephraums' moody stylings, full of burning in, contrast manipulation, and toning are exciting images that actually benefit from the presence of grain and softness. He takes twenty images and presents complete details on both the thought process and the darkroom work needed to produce the final result. These alone are a gold mine of creative information.
The remainder of the book is a technical section that covers everything from darkroom setup to print finishing. Each subject is lucidly presented, with excellent photographs. Although an experience darkroom worker I still found much food for thought. I especially liked the sections on image and print assessment, as well as his coverage of toning. The last part of the book a formulary and a good section of tables and charts.
While the book is well enough written for the beginner to use, I think someone with a modicum of experience taking and making pictures will benefit the most. This is not a read it once and forget it kind of book. You will find yourself returning to it often when you are faced with the puzzle of how to get down on paper what you saw in your mind.
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5 of 7 people found the following review helpful:
4.0 out of 5 stars
Superb, if a little daunting, an aspiring volume, March 14, 2002
This review is from: Creative Elements: Landscape Photography-Darkroom Techniques (Paperback)
I come at this book as someone who wishes to improve their darkroom technique beyond the obvious burn-in-the-sky and dodge-the-face level. I also come at this from someone wishing to exploit at least some, if not most of the advantages of the Zone System, where in most guides the idea is to minimise print manipulation.
There is no doubting that the work in this book is outstanding, if not a little stylised. It takes you from a basic proof print, to an image representing more artwork than photograph, and if that is the school that you wish to follow, then this is simple the best book for you. A decent knowledge of darkroom techniques is required to get the best out of this book, I would disagree if someone said it was for the beginner, it is simply not. Also when trying out the processes in the darkroom for yourself, it requires skill already gained and an experienced eye that a beginner simply would not have, the art of working out what the Author is trying to accomplish, and then applying that to your own work takes time and effort and skill, you aren't given a copy of the Authors negatives to practise his technique! It also requires some hefty equipment, most noticably a highly accurate and programmable Enlarger timer, a switch and a stopwatch are not sufficient, and so it should be, as beginner printers need to move beyond that on their way to becoming master printers.
Useful as well is the breakdown by image is the technical section. A very valuable resource but can be found in several other books.
The way I find this book to be most useful is when judging my own work. Having a proof print, and then referring to the book for similar aspects in the Authors work, and imagining, and trying, to implement the techniques.
This is not a book to read and admire, but to take time, be that months or even years, and learn from, but beware not to copy, but to find a level of manipulation that suits your style.
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