Practice question · Multiple choice
A printer finds that a flat, dull print lacks both deep shadow tones and clean paper whites. Why is switching to a harder grade filter usually the wrong first correction?
Hints
- What determines whether the deepest shadows receive enough light to reach full black?
- Does a dull print always mean the negative's density range fails to match the paper grade?
Show the answer
C. The fault is usually base exposure rather than paper contrast range
Why
Printers often mistake general underexposure for a contrast fault. Moving to a harder grade narrows the usable scale and exaggerates harshness across the mid-tones without fixing an insufficient base exposure that fails to drive maximum black.
Practise Paper Grades and Multigrade Filtration
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More questions on Paper Grades and Multigrade Filtration
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