Tim Rudman's Two Golden Rules
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- เผยแพร่เมื่อ 10 ก.ย. 2024
- Tim Rudman, well known photographer and an instructor at the Photographers' Formulary in Condon, Montana, recently taught a series of workshops about Lith Printing. Unlike Lithography, which focuses on achieving pure blacks and pure whites without any grays, Lith Printing seeks the opposite: delicate tones ranging from subtle and delicate grays to bold blacks. It also capitalizes on the ability of the Lith developer to release varying colors during the development of various photographic papers, giving the papers a three dimensional, color quality.
In this short film Tim Rudman explains how the Lith Printing process works. It depends on what Tim calls the Two Golden Rules of Lith Printing. Follow them and you will have success.
1. Highlights are controlled by exposure; Shadows are controlled by development.
2. Grain size of silver in the print is everything. It varies from the fine, low contrast, silky and warm tones in the early stage of development, to the coarse, gritty grain size of "infectious development" as the process proceeds.
All important is the infamous and sometimes elusive "snatch point" at which the partially developed print is "snatched" from the developer and plunged into the stop bath to stop the development process.
Listen carefully as Tim explains the process, then listen again. Once you understand it, it's like riding a bicycle. You won't have to learn it again.
I have just had occasion to see this page for the first time since it was posted :) and I see there is some confusion in the comments about control of highlights and shadows. Just to clarify: In lith printing the lith developer proceeds by 'infectious development' - not normal development. The shadow tone development accelerates much faster than the slowly progressing highlight development. Therefore the highlights in the print ARE controlled by exposure under the enlarger and the shadows are controlled in development by the snatch point, which stops development at the desired point for the interpretation required by the printer. Unlike conventional printing - the process is not allowed to develop to completion and because the print is snatched before development is complete the print must be heavily over-exposed otherwise it will be too pale when 'snatched'. This determines the highlight density in the final print. The shadows are therefore controlled in the development by 'snatching' or terminating the development early - otherwise the over exposed print would be far too dark. Remember - we are dealing simultaneously with very slowly developing highlight tones and very rapidly developing dark tones in the lith print.
I just made my first light prints and I am in love with the variables and beautiful. Contrast control has always been something I wanted to control more, this process is the way.
The calmest, most knowledable, patient and kind man. It was a sheer pleasure doing a two day workshop in London with the great Tim Rudman.
The best workshop I've ever taken. The best.
Tim is the man 👍🏻
Great session. I am wondering if anyone has contact information for Tim? The one of his website seems to be dead. Thank you
where can i find the full workshop ?
Da hat der gute Tim aber etwas verwechselt. Die uralte Regel lautet: Belichte auf die Schatten, entwickle auf die Lichter.
Is it that hard to read the name of the video (2 golder rules of LITH PRINTING) and maybe even the earlier comments? Google the lith printing and learn something about it please.
Now I know he knows more than I do on this topic but his first rule goes counter everything I've read and heard before. You expose for shadows and you develop for highlights. If you don't expose properly for your zone 3 no amount of development will bring out that image. You need to get that right in camera. Your highlights are more affected by development than your low tone values so when you develop you control your high tones thru giving more or less development.
Yep , he's got it backwards, lol.
No he hasn’t. When printing, you do the opposite to what you would do with film i.e. expose for the highlights and develop for shadows.
Thanks@@nickmoys22 you are correct. It took me a little to realize that is what he was talking about.
Sorry, Tim. Shadow value is controlled by EXPOSURE. Highlight values controlled principally by DEVELOPMENT. You have it backward. More exposure = more shadow detail. More development = increased contrast in highlight region. People "push" film to increase contrast. All the development in the world will not appreciably increase density in an underexposed negative. Your premise is correct for color transparencies - a reversal process. A good negative is one that prints easily and well.
What you say is correct for negative film but he's talking about lith printing.
@@musiqueer I missed that. He's standing in front of silver prints. I do take exception when he claims it's all "complicated." It isn't at all - very straight-forward. We make in complicated.
The entire video is about lith printing, not film development.
Wrong! - your shadows are controlled from exposure, and the highlights are from development - ask Ansel Adams if you don't believe me!
Not in lith printing Ivaylo. See my newer comment.
@@timrudman8622 Thank you 🙏 I understand now.