Subject: Re: Film development
> Eduardo wrote:
>
> > Something on your explanations is puzzling me: Most minilabs
have a machine
> > that has a built in software that sets automatic
compensation figures for
> > each kind of print film, right? the minute you start working
with the
> > negatives, it will select those default values indicated by
the software,
> > regardless of how precise or not the photographer was when
pressing the
> > shutter?
>
> > If that's the case, what's the point of all that discussion
about
> > learning to precise "read" light with the zone system or
even a spotmeter?
> > You won't get what you read, anyway... ;-) Or am I just
getting more
> > confused?
The printer channel is corrected to a reference standard
negative set, usually called a "Shirley", so named because that
was the name of the Kodak employee who was pulled off the floor
to pose for the photo.
A Shirley is composed of 3 to 5 negatives, representing correct
exposure (according to ISO standard measuring protocols), -2
stops, and +3 stops for a 3 negative set, or adding in -4 stops
and/or +5 stops in some negtive sets.
A basic integrating printer measures the diffuse colour and
density of the negative and sets the filtration and exposure
needed to get it to give the same colour and density of a
standard negative (Shirley).
In a scanning printer, the colour is still set up to give
correct colour from the Shirley. However, there are more
measurements being taken by the machine for determining exposure
and filtration. Now a video camera is looking at the negative
and sending a bitmap image to the computer, which tries to
figure out what it is a picture of, based on a pre programmed
algorithm,
Some machines just take density into account, some take both
colour and density into account. The ones that are just looking
at density are still using basic tri-colour integration for the
colour settings.
To set the printer up correctly, you must have a Shirley for
each film type you will be printing.
The knowedgable printer learns what his machine is going to do
to certain negatives and scene types and compensates
accordingly. He or she will also play the averages, by second
guessing the photographer, in some instances.
An example: I see a negative that will give lovely colour if I
subtract some cyan filtration to make the print more red, and
add some density to make the colours pop. I decide that this
will make a lovely sunset photo and print it accordingly.
Unfortunately, I miss seeing the 3 stop under exposed bride and
groom in front of the palm tree on the beach that was the actual
subject of the photo.
Hmmm, I just printed that negative at +3, when the I should have
printed it -3, as far as the customer is concerned.
<!--rant mode on-->
Why is it that photographers expect perfect prints when they
have given absolutely no instruction to the printer about what
they want from the print? Why is the lab suddenly butchering the
job when it doesn't get the picture exactly right the first
time?
Sometimes we are really busy. Somtimes we just don't have time
to look. Sometimes we have the time, and still don't know what
the hell you were taking a picture of.
Base your judgement of the lab on how it treats your film and
how it handles POLITE requests for redos if the colour or
density isn't what you want.
If you are going to be a jerk at the counter, expect to get your
work treated accordingly.
A secondary consideration is how much they are charging. You
have a right to expect more from someone who is charging more.
This doesn't mean they will necessarily get the print right the
first time every time, but they should be willing to go the
extra mile to make the print right for you. If you go with the
cheapest job available you may get just that.
It is a crap shoot. You may get a good lab, or you may get one
that is not as good in any case.
<!--rant mode off-->
Regarding careful metering: If you give the lab a properly
exposed negative, I can give you a good print. It may take a
couple of tries sometimes, but it can happen. If you give me a
poorly exposed negative, it doesn't matter what I do, your final
print will reflect your sloppy photography.
William Robb
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