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Contrast
Masking Examples
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Moon
Over Zabriskie Point, 1980.
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Straight
print before masking
Point
to the image to view the before masking version.
If a change is not seen, allow more time for comparison image to load (at least
30 seconds for a 56k modem).
Original
print without the use of any masks. Some general dodging and burning was
done, but the dark values in the mudhills lack vitality and have a dull
gray appearance. The top half of the image (mostly the sky) was burned
substantially. There is detail throughout the image, including the surface
of the moon, but the "mood" that I sought could best be achieved
by the use of masks. Resorting to a higher grade of paper contrast would
destroy the delicate relationship of midtone to highlight values, particularly
in the sky (clouds/sky/moon) and light mudhills in the middle area of
the image.
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Final
print after masking
Do not point to the above image
Final
image after applying a SCIM mask to the dark foreground areas. Note the
crisp black accents which contribute to more richness in the dark values.
On the fine print there is actually a perceived increase of detail
in these areas. Merely using a higher filter grade to print the lower
portion of the image would not yield the same results. Also, substantial
highlight brightening (using my Highlight Brightener bleach formula) was
done to the entire sunlit mountain range in the background. If I were
to use a higher contrast printing filter when burning the top half of
the image it would not have had the extreme brightening effect that localized
bleaching did and the sky values would be far too harsh. An additional
edge burn was done using a Fog Mask to slightly darken and soften the
edges. In the print, the moon shows subtle detail.
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| Bisti
Badlands, 1998. Near Farmington,
NM. Straight print on left, final print on right.
Original negative was 4x5 Tri-x shot with a yellow filter and given normal
development. The straight print (left) was printed on grade 1 paper. The
mid-tone and highlight contrast looks good, but the shadow areas are far
too dark and lack "luminosity" and detail. Overall, the print
looks very "gaudy" and harsh - not at all the intention I had
for this image. This image is ideally suited for the use of a CRM mask
followed by a SCIM mask. On the final image (right above), also printed
on grade 1 paper to preserve the delicate highlight values, the CRM mask
lightened the shadow values substantially (probably one to two full zones
or values) and increased apparent sharpness while the SCIM mask exposure
brought richness and contrast back into the shadows by deepening the crisp
black accents, giving the image a very tactile and luminous feeling. See
the interactive example at the bottom of this page. |
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| Sand
and Ice, 1978. Zion National Park, UT.
Straight print on left is made without masks on grade 3 (approx.) paper.
Print on right was made on grade 3 paper also, but I used a Dodge Mask
to lighten the frozen sand ripples, creating a very luminous and mysterious
result. This mask only lightened the sand (without increasing local contrast)
and gives a result similar to extremely detailed dodging. I also used
a SCIM to deepen the fine black accents, further delineating the sand
ripples from the surrounding icy water. |
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| Interior,
Thinnes House, 1991. Piedmont,
WY. Straight print (without masks)
on left, final print on right. A special contrast mask was used to affect
the contrast of all the interior values, while not affecting the values
of the open window area. On the straight print (left), the interior values
were a little too dark and "muddy", while the values in the
window area are just right. I could have used two different contrast filters
when making the print, a soft filter for the window area and a hard filter
for all the interior areas. I chose instead to use a special contrast
mask because the result was much more controllable and repeatable. This
technique allowed for a more accurate and "seamless" effect
especially around the rectangular window area where the drastically different
contrasts meet. The contrast enhancing effect of this mask is extremely
versatile and can vary from subtle to extreme. |
Interactive
examples
rollover
the mask variations listed on the right to see mask effects
For proper viewing, please allow extra time for the image
variations to load.
If after a few minutes, all images do not load, please hit the refresh button
on your browser.
| Marble
Canyon Petroglyphs, 1987. Death Valley
National Park, CA |
Mask
effects
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No
Masks
HLM
HLM
+ Fog Mask
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Straight
print (no masks)
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All
photographs on this site are copyright © Lynn Radeka. All rights reserved.
Precision
Pin-Registration Carrier System copyright © 2002 Lynn Radeka. Patent
pending.
Contrast Masking Kit copyright © 2000 Lynn Radeka.
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