begin by saying what this dark printing technique. This is to divide the exposure of the paper in two stages. The first contrast filter 00 (or yellow) and, later, contrast filter 05 (or magenta). The reverse is also willing, I found myself well with this procedure. During the first exposure will be to fix the highlights during the second shadow. This, very briefly, the procedure I followed:
- to climb on the first strip of area highlights the negative filter 00
- select the time when I see a minimum in the highlights density (time A)
- placed second strip in the shadow
- expose for the time
- without moving the strip change the contrast filter insert 05 and expose the filter to climb
- select the time when the shadows have the right consistency (time B)
- once you find the two times I expose the entire sheet with a filter 00 for the first time then to filter 05 for the B
time - on this "test" to decide whether to burn or masking and which of the two filters.
To mask the highlights -> filter 00 (the local contrast increases)
To mask the shadows -> filter 05 (the local contrast decreases)
To burn the highlights -> Filter 05 (Useful to darken the details)
Ok, fine .. but why? The cards have a variable contrast layer sensitive to blue light, which is more impressed with the increase of the contrast filter (ie> 02), and one for green lights, which is more impressed by decreasing the contrast filter (so of course <02). Stampando con filtro 2 si dovrebbe quindi ottenere una stampa bilanciata entro la gamma che il determinato tipo di carta consente. Questo in linea teorica perchè in realtà si effettuano sempre degli interventi sia localmente (bruciature/mascherature) , sia su tutto il fotogramma (cambiando filtro di contrasto). La stampa split può essere utile nel caso in cui si volesse modificare il contrasto locale ma può anche facilitare bruciature e mascherature a seconda del filtro che si utilizza.
this is not my bag of flour, and then here's a link assembles discussion
fotoavventure where there are also other links to various pdf explaining processes, motivations and contromotivazioni much better than me.
I said that last night I made the first tests with this technique rescued a negative that had given me some problems (because affected by a bending of the film during development) and the result was excellent .. certainly better than what I managed to do with my home-scans and photoshop.
keeping the overall contrast high enough to make the right shade of wet asphalt and glass on the right, I lowered the contrast of the dark area on the left (with masking filter 05) to make it read them. To correct the bending of the film that created a halo and clear to the man's feet on the asphalt (and maybe there's still even on this scan despite the correction with photoshop) I used a filter with 00 burning on the asphalt (normally but not recommended in questo caso impastare leggermente i toni m'è sembrato utile per nascondere il difetto) e con filtro 05 sull'uomo (per raggiungere il nero del resto della sagoma). Quest'ultima correzione non m'è uscita proprio egregiamente ma non mi lamento.. in fondo per me non era affatto semplice.
Soprattutto ho notato che, pur essendo molto efficaci le operazioni eseguite con filtro 05 rispetto al filtro 00, le bruciature/mascherature in generale appaiono molto meno evidenti.
Poi visto che, si sa, ho un debole per le cantantesse ho stampato anche questa sempre con lo stesso metodo (anche se forse non ne aveva neanche troppo bisogno) e con risultati soddisfacenti.
ps. che bello noxious odors breathe again after the entire summer of fasting.
Click 
Rolleiflex 3,5F, delta 3200@6400 Microphen 1+0 12' 20° 
Pinhole camera zero2000, Fp4@64 rodinal 1+100 semistand 60' 20° 
Rolleiflex 3,5F, Hp5@200, rodinal 1+50 10' 20° 
Rollei 35s, HP5 +, D76, click 
Rollei 35s, Delta 3200@12500 Microphen 1+0 16.5' 20°, click 
Rolleiflex 3.5 F, Delta 400 @ 200, Rodinal semi-stand 
Rollei 35s, HP5, D76 Photography 
Rolleiflex 3.5 F, Delta400 @ 200 D76 1 +1 10 '20 ° 
Today, while his mother went to stretch a bit '... the legs. 
