Vignetting Question

[JeremyLangford]

When using an enlarger to vignette I just develop the paper with the negative for the right amount of time, and then keep the negative in the enlarger when I turn it back on to vignette dont I?

When vignetting, do I just take a piece of cardboard, and hold it over the rest of the picture except the part I want to vignette, and then when I turn the enlarger on, just move the cardboard back and forth so it wont make a straight line?

I am just going by the image the negative portrays on the undeveloped paper to see where to vignette right?

Also, I should use the smallest aperture possible right?

Sorry if these questions sound dumb, but I am enlarging my first print tommorrow, so I wanna know this.

 

[JeremyLangford]

maybe I worded this wrong. What Im talking about is burning in some light on a side or edge of a print to make the subject pop out better.

Heres an example. Look on the left side of the picture.

http://www.ryanrussell.net/2006l_35.jpg

 

[Finder]

Yes, you kep the negative in for the whole process. Simply make one exposure for the entire image - the image should be exposed make to the correct density. Then simply hold a black piece of paper over the image and give the second exposure for the dark edges. Move the paper during the exposure so the light fall off is not abrupt. The aperture can remain the same as the one for the first exposure.

 

[Finder]

BTW, the example in the link show vignetting caused by the camera optics, not the printing method.

 

[rogue_designer]

Start with a straight print before you worry about dodging and burning (corners or otherwise).

You'll be using shorter amounts of time at the same fstop as your primary print. (ie. if your print time is 15 seconds at f8, you'll probably add another 3-5 seconds burning for the corners. I like to do that prior to the primary exposure. An audible second count on the timer is useful.

The basic idea is very simple - you add exposure to those areas that you want darker (burning in) and hide light from the areas you want lighter (dodging). An assortment of cards/matboards works well. Your hands work even better. For dodging areas in the middle of the print, you can make dodging tools by fixing various shaped cardboard pieces to wire. For burning in the middle, you can use you hands or use holes cut in card. By bending cards, you can get curved shapes. By tilting a circular dodge tool, you can get ovals. Keep the stuff moving all the time to prevent hard edges and unreal effects. Another useful control is afforded by how close to the lens (i.e., far away from the paper) you hold the tool. Closer to the lens gives you a more diffuse penumbra, which yields a more gradual effect.

FWIW, the example you show looks like light falloff from the wideangle lens. Not darkroom work.

edit: btw, won't your professor give you a printing lesson? Some things are better seen, and done hands on, and won't make much sense in a written description.

 

[JeremyLangford]

BTW, the example in the link show vignetting caused by the camera optics, not the printing method.

Are you sure? It seems to only darken on the left side.

If the lens was doing this, wouldnt it make a circle?

 

[JeremyLangford]

Start with a straight print before you worry about dodging and burning (corners or otherwise).

You'll be using shorter amounts of time at the same fstop as your primary print. (ie. if your print time is 15 seconds at f8, you'll probably add another 3-5 seconds burning for the corners. I like to do that prior to the primary exposure. An audible second count on the timer is useful.

The basic idea is very simple - you add exposure to those areas that you want darker (burning in) and hide light from the areas you want lighter (dodging). An assortment of cards/matboards works well. Your hands work even better. For dodging areas in the middle of the print, you can make dodging tools by fixing various shaped cardboard pieces to wire. For burning in the middle, you can use you hands or use holes cut in card. By bending cards, you can get curved shapes. By tilting a circular dodge tool, you can get ovals. Keep the stuff moving all the time to prevent hard edges and unreal effects. Another useful control is afforded by how close to the lens (i.e., far away from the paper) you hold the tool. Closer to the lens gives you a more diffuse penumbra, which yields a more gradual effect.

FWIW, the example you show looks like light falloff from the wideangle lens. Not darkroom work.

edit: btw, won't your professor give you a printing lesson? Some things are better seen, and done hands on, and won't make much sense in a written description.

Im not in college, just 11th grade. She doesnt really know what shes doin. She didnt even know what depth of field preview was.

 

[Finder]

Are you sure? It seems to only darken on the left side.

If the lens was doing this, wouldnt it make a circle?

It is. You may be assuming the sky is evenly illuminated. It is not. You can see vignetting on the opposite side of the frame as well.

 

[Tom A]

A suggestion! If you want a "pop" of the center of the print with dark edges - cut a piece of cardboard either as an ellipse (for a print with 2x3 proportion) or a circle (square print) and attach it to a piece of wire (tear on of those wire coat hangers apart). You can use heavy tape to hold it in place.
Expose the print for correct print tones and then stick the "dodging tool" under the image. Depending how dark you want the edges to go, double or triple the exposure while moving the "dodger" up and down continiously during the exposure. This will give you a smoother transition between the image and the darkened edges.
If you want the edges black. Turn off the enlarger and remove the negative and open the lens fully and keep the "dodger" in place when you turn it on. Remember that with no negative, it will be a very short exposure to reach maximum black so be shure to move the "dodger" all the time. Do some trials on prints and see how close to the lens you can go and how close to the paper you can go before losing the centered image.
Try to find a piece of board which has at least one side black (that should be facing the print surface, as it prevents reflections from the paper).

 

[JeremyLangford]

BTW, the example in the link show vignetting caused by the camera optics, not the printing method.

Ok heres another one from the same photographer.

I think it was vignetted or burned on the top-right corner when he was enlarging or on Photoshop. I dont think it was from the lens.

http://www.ryanrussell.net/2006al_64.jpg

 

[rogue_designer]

there it looks like its from light fall-off - in camera, and in scene, not done in post.

 

[MikeL]

maybe I worded this wrong. What Im talking about is burning in some light on a side or edge of a print to make the subject pop out better.

Heres an example. Look on the left side of the picture.

http://www.ryanrussell.net/2006l_35.jpg

Hi Jeremy,
One possibility is a cropped image, which could result in one side showing stronger vignetting. Just a thought.

 

[Finder]

Ok heres another one from the same photographer.

I think it was vignetted or burned on the top-right corner when he was enlarging or on Photoshop. I dont think it was from the lens.

http://www.ryanrussell.net/2006al_64.jpg

Can very easily be vignetting from the optics. You seem to also be assuming even illumination again, but I think that would be a false assumption. Also a contast change will emphasize the vignetting.

The other question would be why would he want a burn like that? It hardly looks natural. I don't see it adding to the image in any way.

 

[JeremyLangford]

I really think he burned it that way. I would have. I love the effect it gave and I think the ceiling would look very boring and plain without it.