Processing a negative

Barney

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Wayne
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I have been reading a little about Gamma values and it is not at all clear, to me, the purpose of having a gamma value as an objective for a negative. Why would some subjects require a gamma value of 0.8 and yet others 1.2.

How is this value achieved, do film manufacturers produce times for a given film/developer combination to achieve gamma value targets?
 
Gamma is a measure of the contrast of the negative. You should find that most developers will give the gamma values for different development times - gamma builds up with development time (well, time and temperature, as development time for the same gamma reduces as temperature rises).

Why have different values? Because the assumption is that negatives will be printed, either via contact printing or an enlarger onto photographic paper. And different enlargers give inherently different contrast from the same negative. An enlarger using diffusers (in simple terms, colour enlarger or multicontrast Black and white enlarger head) is lower contrast than one that uses condensors. The older information sheets used to cite diffuser or condensor in the text.

The other part of the answer is that photographic papers have an extremely limited tonal range - it's a real bottleneck in the whole process. To exploit the whole of the limited range, you need to tailor the negative to the paper, ideally so that you can use the "normal" grade of paper. With a low contrast subject, that means extra development to increase the contrast; with a high contrast subject, the reverse.

Ideally, you should read up on development, subject brightness range, and the capabilities of film and paper...

Edit to add. I will give a book this time - find an old edition of Michael Langford's Basic Photography but make sure it's one before the digital revolution did its revolting thing of expunging film-useful information from books. I think the book is now in edition 7 or 8; I know that edition 4 is safe. (I have various editions, from the first onwards.) I had more to say on this and related matters in my book, which I know you downloaded. I imagine I gave a reading list there.
 
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That's really helpful Stephen. Like Barney I've struggled with the concept of gamma, though I've never worried much about it! But it's useful to know more...
 
Think of gamma as the Greek letter "g". Then think of the gradient of a road as indicating how steep it is. "G" for gradient of the characteristic curve, hence gamma.
 
Thanks Stephen,

That probably explains why it was going over my head as I did not relate it to developing for paper and printing. I will re read the chapter now that I can put it into some kind of context and fit it into the overall process.

Is there any benefit to understanding gamma, related to the modern concept of scanning and then printing on an inkjet?

I will get back to reading your book, which I assume is the filtered and relevant version of your vast read and comprehended knowledge. I got sidetracked as there were so many other interesting looking Titles.

(y)
 
Is there any benefit to understanding gamma, related to the modern concept of scanning and then printing on an inkjet?

Yes.

We always say that developing controls contrast, but that's almost a by product of what actually is happening. Development really controls density - if you look at a film's characteristic curve, you'll see that density increases with exposure, yes; but look at the development time curves and you'll see that as development extends, so does the absolute value of the maximum. You'll also notice that with modern films, the curves are not extended beyond a certain density, even though the curves don't seem to be reaching a limit. With the older films, if you increased exposure enough, density would actually decrease - see Ansel Adams' Black Sun. With modern films, that doesn't seem to be the case. So why stop at a low value? Our old friend, the printing paper. It can't handle the range implied by greater density, so the curves stop at the point at which they are no longer useful to darkroom printers.

What about scanning then? Note that scanners have rated maximum DMax values - densities higher than which you cannot go if you want anything extracted. It might be that scanners have optimistic quoted DMax values (DMax - shorthand for maximum density), but that doesn't really matter. What does is that if the DMax goes too high, your scans quality decreases. You are better to have a lower contrast negative if you're planning to scan than if you're planning to make a darkroom print.

In case you don't realise, density is expressed in a logarithmic scale, like the DIN speed index for films. Every 0.3 added to the density means that the value has doubled.

Whether you see this as a need to understand gamma or not, I don't know. What matters isn't gamma per se but the inability of scanners and darkroom papers to handle negatives where the maximum density is beyond what they can handle. And maximum density depends on both exposure and development, although except in the case of grossly overexposed negatives, development will contribute more (as you should have seen with how density for the same exposure increases with development).

Edit to add. Johann Bengel (1672-1752) wrote an extensive commentary on the Bible titled Gnomen of the New Testament. A gnomen is the pointer on a sundial, indicating where to look (for the time in this case). Bengel saw his commentary as a pointer to the meaning of the text. I see my book as a pointer to where to look and what to look for. Hence the suggestions for further reading, and a lack of a claim to being comprehensive. Qualities that you may be amused to hear were the reason for one publisher's rejection of the manuscript, and why I never bothered again.
 
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Thanks for elucidating Stephen. I will cut my development times a bit more.

Is there an optimal Gamma for scanning?

Sorry for reading about your unpleasant experience with the publisher. You have my sympathy.
 
To accurately measure gamma, you need inter alia, a densitometer. I don't have one. I just empirically go with the value for a diffuser enlarger, if one is given. Or the times given in the Massive Development chart. I have my standard times for FP4 (virtually the only film I use) in Rodinal (the only developer I use, although I have some HC110 to try) for 1:25 and 1:50 (the only dilutions I ever use, after the 1:100 Tech Pan was discontinued) held on the fridge door with a magnet. I can't recall where they came from; they've been there for years and they seem to work for me.
 
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