Digital Photography Magazine Raw Conversion and Lens Tests

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PERFECTING DIGITAL TONES NEW T-MAX 400 —TEST RESULTS
SEPTEMBER/OCTOBER 2009

PHOTO
PHOTO Techniques

People in Action
PHOTO CONTEST

WINNERS
Techniques ®

Systems & Processes for Today’s Creative Photographer

Raw Conversion
Tools:
Which is Best for You?
• Lightroom
• Aperture
• CaptureOne
• DxO

Getting the Most
from a Lens

Choosing
Before Composing

The Panasonic G1—
Start of a Mirrorless Era?

NOISE PLUG-INS TESTED
• Neat Image Pro+
• Noiseware Pro
• Noise Ninja Pro

Cover image by
Kevin Bowman

www.phototechmag.com

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Table of contents Vol. 30, No. 5 SEPTEMBER/OCTOBER 2009

The cover: Jump

PHOTO
by KEVIN B OWMAN

Techniques ®

Features

8 A New Look to Your A Mirrorless Future? 35
Fine-Art Photographs, B y Uwe Steinmueller
by Herbert C. B erkholz 8 The Panasonic G1 leads a potential trend
Giving prints a deckled-edge to digital cameras with larger sensors,
look can help separate interchangeable lenses, and no mirror.
them from the crowd.
Turn Down that Noise, 38
14 The New T-Max 400, by Ctein
by Fred Newman Comparing three
Tests reveal you can teach noise-reduction
an old f ilm new tricks. programs:
18 Neat Image,
Noise Ninja, and
18 Field Curvature, Noiseware. 38
by Lloyd Chambers
How to analyze and work with Perfecting 44
this ubiquitous lens problem. Digital-Tone
Reproduction,
23 PORTFOLIO: B y Dick Dickerson
People in Action and Silvia Zawadzki
The winners of our contest revealed.
23 A shortcut to better digital prints.

27 Raw Conversion and PHOTO Techniques Exclusive
Editing Software, for Digital Readers
by Mark Dubovoy
The pluses and minuses of
Preview and Soft 49
Lightroom, Aperture, and CaptureOne. Proofing in Photoshop,
by Tim Daly
33 DxO Optics Pro: The Discover how to get your inkjet
PHOTO TECHNIQUES

prints to match what you see
Non-Mainstream Powerhouse 27 on your monitor through the
of Raw, by Paul Schranz use of soft proofing.
Though not as well known, DxO should
be considered with the heavyweights.
DEPARTMENTS
Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Master Print Class . . . . . . . . . . . . . . . . 11
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PHOTO Techniques (ISSN 1083-9070) READER SERVICES: Books, back issues, and
SEPTEMB ER/OCTOB ER 2009

is published bimonthly (every other month) by collector prints may be ordered with VISA, Decision Time,
Preston Publications, Div. Preston Industries Mastercard, or American Express by calling Photo News. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 by B ruce B arnbaum
Inc., 6600 W. Touhy, Niles, IL 60714-4516. (866) 295-2900 Monday–Friday 8 AM to
by JERRY O’NEILL
Periodicals postage paid at Chicago, IL and 4 PM Central Time. Or e-mail us at

New Products . . . . . . . . . . . . . . . . . . . . . . . . . 6
additional mailing offices. Copyright 2009; circulation@phototechmag.com.
____________ Marketplace/
Ad Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
reproduction without permission strictly
prohibited. POSTMASTER: Send address changes to

Vestal At Large . . . . . . . . . . . . . . . . . . . . . . . 7
PHOTO Techniques, P.O. Box 585,
SUBSCRIPTIONS: U.S.: 1 Yr./$29.99; 2 Yr./ Mt. Morris, IL 61054; or e-mail us at
$49.99; 3 Yr./$69.99. Outside U.S.: 1 Yr./ circulation@phototechmag.com.
____________ Shock of the Old,
$41.99; 2 Yr./$73.99; 3 Yr./$105.99. For new
subscriptions or renewals call (866) 295-2900, or by David Vestal
e-mail us at ____________
circulation@phototechmag.com. PRINTED IN U.S.A. BY ST. CROIX PRESS INC.
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Editor’s note

by Scott Lewis
Techniques
Preston Publications
Div. Preston Industries, Inc.
6600 W. Touhy Ave. | Niles, IL 60714-4516
Phone (847) 647-2900 | Fax (847) 647-1155
The Meaning of “Instant”
www.phototechmag.com
in Photography
PUBLISHER S. Tinsley Preston III

I
EDITOR Scott Lewis
slewis@phototechmag.com
___________
’m sure that many of you have read that a group of Europeans is trying
COPY EDITOR Kathy Zawilenski
to reinvent Polaroid instant film to begin selling it again by some point
ADVERTISING Charles Pachter
this year. While others work to create smaller, better pixels, they are
cpachter@phototechmag.com
_____________ laboring to recreate chemistry and chemical processes. For many of us, the
DIRECTOR OF MARKETING Janice Gordon swift development of a Polaroid print was as close as one got to an “instant”
PRODUCTION Roberta Knight image—until, of course, digital came along and soon had pixels f lashing on
ART camera backs. My wife and I shot most of our honeymoon pictures with a
Lynne Anderson, Director Polaroid camera; partly because we wanted to see them immediately, partly
Stephanie Graffuis-Cain, Webmaster
Pamela Kintzel
because we like the look (the soft look of a Polaroid was certainly f lattering
Mila Ryk for portraits). Now those photos almost seem like relics of a bygone era.
CONTRIBUTING EDITORS What killed Polaroid? Largely the growth of digital photography, which
Howard Bond Michael Reichmann has been not just in the news, but oftentimes making the news. The
Robert Chapman Paul R. Schranz
Ctein John Sexton highest-profile recent example is in the post-election turmoil in Iran. It
Patrick Gainer Abhay Sharma proved fairly easy to stop the official press with its official cameras from
Ron Jegerings David Vestal
taking photographs of the demonstrations and violence, but when
Bobbi Lane Carl Weese
Jerry O’Neill hundreds of people had cellphones with cameras, it proved impossible to
stop them from capturing images (and video). Sure, the images weren’t as
LIST RENTAL
sharp and perfect as a professional photographer would have captured, but
Statlistics
Nancy Spielmann in a chaotic and historic situation, that quickly becomes secondary to the
Phone (203) 778-8700 fact that the image exists at all.
Fax (203) 778-4839
People can argue about the quality of digital in general (and cameraphones
NEWSSTAND DISTRIBUTION
in particular), but it’s difficult to argue with the speed and efficiency of
Curtis Circulation Company
730 River Road, New Milford, NJ 07646-3048 taking a digital photo and getting it onto the Internet, even in the midst of
(201) 634-7400 Fax: (201) 634-7499 a crackdown by a repressive government. However instant it seemed at the
RETAIL DISTRIBUTION time, it’s hard to imagine this working in the days of Polaroid. Hopefully
6600 W. Touhy Ave, Niles, IL 60714-4516
(847) 647-2900
we will continue to have the choice of either medium.
In closing, I want to thank everyone who entered our People in Action
SUBSCRIPTION SERVICE
SEPTEMBER/OCTOBER 2009

P.O. Box 585, Mt. Morris, IL 61054 contest. It was very difficult to narrow it down to just a few winners. So
(866) 295-2900 difficult, in fact, that we are presenting some additional images beyond the
Editorial contributions, letters to the editor, photos, etc. to: PT Edit.
Dept., 6600 W. Touhy Ave., Niles, IL 60714-4516. Material official winners on our Web site at www.phototechmag.com/actioncontest.
accepted for publication subject to revision, at publisher’s discretion,
to meet editorial standards/style. Unsolicited material will not be You can see the five official winners in this issue’s portfolio on page 23.
returned unless accompanied by SASE. Payment upon publication at
prevailing rates covers all one-time publication rights, author’s and/or
contributor’s rights, title and/or interest in/to material including, but
not limited to photos, drawings, charts/graphs and designs, which
shall be considered as text. The act of mailing manuscripts, letters,
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photos and/or material shall constitute an express warranty by the
TECHNIQUES

contributor that the material is original, has not been published/
submitted elsewhere in similar form, and is in no way an infringement
upon the rights of others. Publisher makes every effort to ensure
careful handling of all photos, but is not responsible for incidental
loss/damage; submission of duplicates recommended. Mention of
any photographic formula/product does not constitute endorsement
by PT.
Scott Lewis
| PHOTO

Canadian Publications Mail Agreement # 40030346
Return Undeliverable Canadian Addresses to Editor
Station A, P.O. Box 54, Windsor, ON N9A 6J5
Email:___________
jgordon@prestonpub.com
2
Printed in U.S.A. by St. Croix Press Inc.

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P H OT O N E W S

© Robert Adams, courtesy of Fraenkel
Gallery, San Francisco, and Matthew
George Eastman House collections.
by Jerry O’Neill

Marks Gallery, New York
New Topographics show Mobile Homes, Jefferson County,
Colorado, 1973, by Robert Adams

B ack in 1975 there was a landmark
exhibition of photographs called
of Arizona (www.creativephotography.
__ and George Eastman House, with
org)

George Eastman House collections.
New Topographics: Photographs of a a selection of more than 100 works
Man-Altered Landscape. It became from the original show. The 10
the second-most-cited photography photographers featured in 1975, and
exhibit in history, beaten only by again in the new show, are Robert

© Nicholas Nixon
The Family of Man, curated by Adams, Lewis Baltz, Bernd and Hilla
Edward Steichen, which opened in Becher, Joe Deal, Frank Gohlke,
1955 at the Museum of Modern Art Nicholas Nixon, John Schott, Stephen
in New York City. Shore, and Henry Wessel Jr. View of the Boston Public Library, 1974,
But where The Family of Man was Eastman House says, “The current by Nicholas Nixon
humanistic and warm, many visitors to exhibition demonstrates both the
New Topographics felt it was cold and historical significance of their photo- New Topographics is at Eastman
impersonal, and well, maybe even a graphs and the continued relevance of House through September 27,
little weird. After all, by the standards this work in today’s culture.” meaning it closes there shortly after
of the day, landscape photography
might include Nicholas Nixon’s
excellent, perspective-corrected view-
camera photo of the Boston Public
Library. But what about photos of an
empty parking lot, or a motel where
each room was a separate “teepee” (with
a TV antenna on top), or a trailer park,
even if it’s raked by dramatic light?
So, back in 1975, New
Topographics (mounted by the George
Eastman House International Museum
of Photography and Film in Rochester,
New York), drew comments both
positive and negative. But whatever
one’s opinion, it was an important
PHOTO TECHNIQUES

show that Eastman House says
“signaled the emergence of a new
approach to landscape photography,
ultimately giving a name to a
movement and style.” As an example
of its far-reaching effects, today—
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34 years later—there’s an active New

Topographics group on Flickr, showing
“work that shows human activity and
interaction within the landscape.”
So the show is being recreated for an
international tour by the Center for
Creative Photography at the University
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P H OT O N E W S
__________________

George Eastman House collections. © John Schott
Untitled, from the series Route 66 Motels, 1973, by John Schott

you receive this issue. But it will travel

George Eastman House collections. ©

Gallery, San Francisco, and Matthew
to eight venues in the United States

Robert Adams, courtesy of Fraenkel
and Europe: Los Angeles County
Museum of Art (Oct. 25, 2009–Jan. 3,

Marks Gallery, New York
2010); Center for Creative
Photography, University of Arizona,
Tucson (Feb. 19–May 16, 2010);
San Francisco Museum of Modern
Art (July 17–Oct. 3, 2010);
Landesgalerie Linz, Austria (Nov. 10, Tract House, Westminster, Colorado,
1974, by Robert Adams
2010–Jan. 9, 2011), Photographische
Sammlung Stiftung Kultur, Cologne,
Germany (Jan. 27–April 3, 2011); Netherlands (July 2–Sept. 11, 2011);
Jeu de Paume, Paris (April 11–June and Bilbao Fine Arts Museum,
12, 2011); and the Nederlands Bilbao, Spain (November 2011–
Fotomuseum Rotterdam, the January 2012).

S H O RT TA K E
Family surprised at Czech photo- and e-mailed it to her. That convinced

swiping—It started with a bit of true her—“Not only is that my family,” she
Americana: Danielle Smith, her told National Public Radio, “that is
husband Jeff, and their two kids posed my family life-size.” She had posted
for a photograph that the family used the photo, in high resolution, on her
on their Christmas card. A bit later, Web site and “a few social networking
imagine their surprise when Danielle sites,” and obviously somebody had
got an e-mail from a college friend downloaded a copy. Meanwhile, the
living in Prague, the Czech capital, Smiths haven’t received much of an
| TECHNIQUES

saying he had seen a huge blow-up of apology from the grocery store.
the photo in the window of a Prague “I think at this point, our apology is
grocery store. Danielle was skeptical, that they are willing to take the photo
so to prove it, her friend took a picture down,” says Danielle.
| PHOTO

For additional news go to www.phototechmag.com/news.html
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DXG offering $149.99 underwater HD camcorder

I t sounds hard to believe, but there’s
a new high-definition video camera
on the market, complete with
itself lists for $129.99, plus $49.99
more for the housing.) The camera
allows shooting down to 15 feet.
underwater housing, for less than I haven’t seen sample footage yet, but Front and back views of the
$150. It’s from DXG, “one of the specs are pretty impressive: Video DXG-579VS HD underwater
the fastest growing camcorder resolution of 1280×720 at 30 frames camcorder .
manufacturers in the U.S.”—the per second; recording time up to
DXG-579VS Underwater Value 4 hours (using optional 8GB SD f lash memory—all powered by four
Pack. (Normally the camcorder by memory card); and 32MB of built-in AAA batteries.

Obama Time Capsule
book can feature you Gepe Card Safe
Extreme: The bet-
ter memory card
Heliopan: SH-PMC digital/film protector. Holds any
filters eliminate reflections up combo of 4 CF, SM,
to 99.9% and repel dust and SD & MS cards.
moisture.

H ere’s a unique book about

Great
Barack Obama’s presidential
campaign—it lets you customize the

Gear,#3.
book specifically for you and your
family, adding personal messages
Ansmann Li-Ion
and photographs. It’s the creation of Digicharger: For 3.6 & 7.2V
batteries. 4 adapters for
Rick Smolan, best known for the 100+ battery types.
Microprocessor controlled.
popular Day in the Life book series.
Smolan says Obama Time Capsule is
like the scrapbook his mother made
for him when President Kennedy
was elected. Purchasers of the book
can write a dedication or post their
own photograph on the back cover,
but Smolan points out they can’t
actually put themselves into the
pictures—for example, on stage with
PHOTO TECHNIQUES

Obama—it’s not like Woody Allen’s
Giottos Q. Ball
1983 movie Zelig, he said. Price of Rocket Blaster:
Blow away dust from
the customized book at amazon.com lenses, computers;
60° tilt nozzle.
is $64.95, and note there are no Braun Multitray Digital Slide
returns or cancellations, since each Scanner: Scans up to 100 slides
automatically into MAC or PC.
copy is unique. There’s more info at 6 tray types, fire wire and USB.
|

www.theobamatimecapsule.com. ■

Jerry O’Neill has been photographing, Performance and value.
writing, and lecturing about photography for 973/808-9010 For dealer list,
many years. His photo credits include grip- visit www.hpmarketingcorp.com
and-grin shots for the U.S. Army, photo
f inishes for thoroughbred race tracks, hospital
operating room photographs, and snapshots of
his wife and two children.
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N e w P r od u c ts

JOBO Digital Picture Frames
JOBO announced a new ultra-thin such as a versatile remote control.
and stylish digital picture frame The JOBO NANO 7 Pro and Media
The new .35-inch thick NANO 7 is versions feature touch-activated
the first in a series of three new buttons on the front to control all
NANO digital picture frames to be important functions. Buttons become
introduced this year. The JOBO visible by simply touching the bottom
NANO 7 is available in three front of the digital picture frames.
different versions: Basic, Pro, and The NANO Media version features
Media. The NANO 7 features a 7- multimedia capabilities including 48×234-pixel resolution. The NANO
inch high-resolution color TFT LCD viewing digital photos in slide shows 7 Pro ($94.90) and NANO 7 Media
display designed to showcase digital along with music and video with ($119) versions provide an 800×480
images and user-friendly functions audio. The Basic ($74.90) features a resolution. (www.jobo.com)

Anthropics Portrait Professional 9
Anthropics has released Portrait automatically removed. Anthropics weak or strong jaws. It can brighten
Professional 9, which incorporates says the software avoids the or change eye color, make eyes whiter,
its new ClearSkin automatic skin- “featureless, plastic, over-airbrushed change hair color, reshape lips, and
enhancing technology and a new look that characterizes much skin so on. The program is available in
interface. The program enables skin touch-up.” The software uses a stand-alone form, and as a PC and
defects such as acne, blotchiness, knowledge base of human facial Mac Photoshop plug-in.
roughness, wrinkles, age spots, grease, shapes, and can selectively reshape (www.anthropics.com)
and other skin problems to be faces to avoid double-chins and overly

Photo/Graphic Edges 7
Auto FX Software launched preset effects and the intuitive including Mottled, Pastel Creations,
Photo/Graphic Edges 7 Platinum onscreen transformation controls that and Painted Scenic give
Edition, software which gives users let photographers lay out effects to photographers a natural backdrop
the ability to add thousands of edges, meet their needs. New effects such as behind their compositions. The street
frames, and other adornments to their Storyboard contain photo layouts that price of Photo/Graphic Edges 7
photos. New content includes Film can be used for photo books. Classic Platinum Edition is $249. Upgrades
Frames, Grunge Edges, and Natural effects such as Darkroom Edges are from Photo/Graphic Edges version 5
Media Frames. The workf low for also included with more than 350 or 6 are available for $129.
adding enhancements to images is darkroom-styled edges and transfer (www.autofx.com)
simplified by hundreds of instant effects. A new collection of textures

Museo IIGS Archival Double-Sided Paper
Museo Fine Art announced the stability. Ideal for book and card
immediate availability of Museo making, the grain-short orientation
IIGS acid-free, double-sided, f ine- of Museo IIGS allows for easier and
art inkjet paper. Museo IIGS is a cleaner scoring and folding. Museo
250 gsm, 15-mil thick, 100% cotton IIGS is available in 25-sheet boxes
| TECHNIQUES

paper with an extra-smooth f inish on of 11×8.5 inches, 17×11 inches, and
both sides. Museo IIGS contains no 19×13 inches. In addition, 17×22-
optical brighteners, resulting in inch sheets are available.
outstanding long-term base color (www.museof ineart.com)
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V e s ta l at L a r g e

by david vestal

The Shock of the Old
by S. Tinsley Preston

Some prints are old; some prints are good—
they’re not always the same print

“ The shock of the new” is a popular cliché, but not too much of what is publicized as new and shocking lives
up to its hype. I’m reminded of a night in the early 1950s when Dorothea Lange, on a visit to New York,
came to Sid Grossman’s class. I was one of the students. We were awed by her presence, but she showed no
interest in us. She had also visited Alexey Brodovitch’s more famous class, attended largely by leading
fashion photographers, and here’s what she said about them: “They talk a lot about shock and impact, but
their pictures just squeak.”

S o much for the shock of the new.
The shock of the old has just hit
me, and it hurts more. One of the two
separately in the same city at about the
same time, not as participants in a
group or “school.”
before I wrote this, a beautifully packed,
massively sealed box arrived.
I was preparing for a trip to Montana
photo art dealers who have handled No prints were returned to me and thought I’d open it when I got
my photos in recent years has left the from the Corcoran. Jane Livingston, back, but a postcard from Sandy urged
business, and has therefore sent me a who had invented the imaginary NY me to open the box, in which
big box of “vintage prints” that I had School and put together the show and I would find some “paperwork.”
not seen since some of them were the book, delivered my prints from Receipts or something, I thought, so
chosen long ago for a show at the that show to a photographic art dealer I undid the outer wrappings and then
Corcoran Gallery in Washington, near D.C., and that was all right unwrapped the interior box and found
D.C. From that Corcoran show came with me in 1993 or whenever it was. the paperwork, a nice note from Sandy
a big picture book with the misleading (I looked again at the book, trying to asking me to let her know I had
title, The New York School, in which f ind the date, but found no copyright received the prints. She had packed
some of my pictures were treated more page. Jane Livingston’s comments in them with extreme care, and prints of
kindly than work by some others, so the book are dated 1992, presumably different sizes were fitted together to
I suppose I shouldn’t complain. the year of the show). The prints that fill the inner box so that nothing could
However, there never was a New York dealer Sandra Berler thus informally shift or be damaged in transit. So I
School of photographers, just a acquired, she sold now and then, and wrote to her that the prints had arrived
number of people, some of whom for increasing prices. Her last sales for in good shape and thanked her for
knew each other, who worked me were of “vintage” prints (variously taking such excellent care of them.
PHOTO TECHNIQUES

def ined, but anyway old, not new).
These went to the National Gallery in The old prints are the shock
When a collector Washington, D.C. at $4,500 each, I’m still getting ready for that trip,
insisted on buying an
and I was glad to get my half of that so I haven’t yet looked through all the
price and to have work in that prints. In fact, I’ve seen only three or
overpriced bad print
collection. “Vintage” prints fetch four of them. Bear in mind that it’s
| SEPTEMB ER/OCTOB ER 2009

j u s t b e c a u s e i t wa s higher prices than those that might or more than 17 years since I last saw any
old, [ralph] Steiner might not be better, but are def initely of them. The f irst ones I looked at
i n s i s t e d t h at h e m u s t not as old, and “vintage” prints were now are such horrible, murky prints
Sandy’s specialty. that I quickly put them back in their
accept a good recent
On deciding to retire from the box and have decided to put off seeing
p r i n t, t o o , at n o business, she called me to arrange to the rest until I get back from the trip.
e xtra charge. return the prints she had. About a week continued on page 10
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A New Look to Your

Fine Art Photographs
Giv ing them a de ck le d- e dge lo ok c an help sep arate them f rom the c r o w d

by herbert C. burkholz
D uring 25 years of doing fine-art shows, I became dissatisfied with the
sameness of exhibited photography. The almost endless combinations
of frames and mats all had that typical straight-line cut. There was little
individualism in the presentations to associate the work with the artist.
There was little, if anything, unique about the framing and especially the
matting. Close examination of both painters’ and photographers’ works
eventually made me realize that presentation was everything in making an
outstanding impression—which is what it takes to make a sale.

I’ve always liked the ragged edges paper’s edges would certainly
found on many lithographs. It accomplish what Adams prescribed.
reminded me of the deckle edge that The second benefit is that the photo
was common to snapshots many years paper’s unexposed white edge provides
A simply made and inexpensive easel allows for ago. But unlike the deckle edge, which a perfect place for the title of the image
correct positioning of the mask over the photo simply replaced the straight edge of and the photographer’s signature,
paper.
the photo, the ragged edges of much the same as is done with
lithographs actually tear into the lithographs. I believe that all glossy
image itself. The lithograph is then papers available today can be written
fastened to the mount with anywhere on with a Schwan Stabilo #8008 pencil
from 1/2 to 1 inch of mount board (available from most art supply stores).
showing before the mat appears. The I find it best not to have the pencil too
finished look is elegant and very sharp. A broad line from the pencil
professional. Taking a cue from looks best for both title and signature.
lithographs that are done in this way, Two relatively simple items are
I experimented with combinations of required. The first is a mask that will
materials to construct a mask that provide the ragged-edge look to your
would give me the desired effect. This photograph. The second is a simple
The ragged- or torn-edge effect works well with
black-and-white as well as color images. Notice technique works with both black-and- and inexpensive easel to aid in the
the wooden weights along the edges to ensure white and color prints. Two things perfect alignment of the mask. I will

firm contact of mat to print. were important. Ansel Adams spoke of explain the construction of the easel
chemical stain creeping into an image and masks of any size up to 14×18
from the edges over time. He inches. A 14×18-inch mask uses 16×20
recommended not printing to the paper, about the largest size suitable
paper’s edge, but instead keeping the for this technique. First, let’s talk about
image in from the edge, then trimming the easel.
the edge by 1/2 to one inch, thereby The masked-border technique can
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removing any contamination that be used with most standard easels to
TECHNIQUES

might have seeped into the paper from make prints up to about 2 inches
the cut edge. Just how valid that smaller than the capacity of the easel.
argument is, I cannot say. But printing When making such smaller prints,
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A mask slightly offset to compare the torn-edge a torn edge by way of a mask that keeps I tape the mask to the blades of the
effect of the mask on the finished print. the image about an inch from the easel. However, for making larger
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prints, your regular easel might not be experimenting with different materials,
suitable. Needed is a white Formica- I found single-ply mat board to be best-
covered piece of particleboard that’s at suited to the ragged-edge effect. I get
least 2 inches larger than the largest this material from a local frame shop
print you intend to make. Such simply by asking for scrap single-ply
material might be found at a local white mat. I’ve never had to buy any, as
building supply house or a local cabinet framers usually have lots of scrap. I
shop. A 1-inch wide strip of either achieve the torn-edge effect by actually
wood or mat board needs to be glued or tearing the single-ply mat into narrow
taped to the top edge and left-hand strips. Mat materials have a “grain,” if Using a piece of two-ply mat board, tear
edge of the easel. These strips serve as you will.That is, you might get a rather upward in short, approximately ¾-inch
increments to achieve the desired effect.
the border guides to position both print fine tear effect in one direction and a
and mask. I use two thicknesses of mat much more rugged tear that is 90° in
board that I glue together, then fasten the other direction. Experiment to see
to the edges of the Formica easel using which you like best. I find that the
double-stick Scotch tape. rough tear looks best.
The following instructions are based To begin, use a piece of mat that is
on the use of the Formica-covered long enough for your mask. Mark the
easel. To construct a suitable mask two sides of the mat material “A” and
using an existing easel requires “B.”To make the tear, slip the mat “A”
dimensions that an existing easel can side up, under a straight edge that can
accommodate. The actual construction be held firmly in place. Allow a full
of the mask is basically the same. It’s inch of mat material to show beyond
only the outer dimension of the mask the straight edge. Then simply tear the The removed strip is discarded; use the piece
that might need to be adjusted. mat with your fingers along the under the straight edge. Without flipping the
The f irst step in constructing a straight edge by pulling the material stock, mark the top side as “A” and the under
side as “B.”
mask having a ragged- or torn-edge upward a little at a time, and work your
look is to determine the exact size of way from the starting point to the
the final image. Consider the standard finish. Your fingers must begin the tear
paper sizes, remembering that a by lifting upward on the mat for no
minimum of 1 inch of the photo more than 1/2 to 3/4 inch. Then you get a
paper on all four sides must remain new hold as close to the straight edge
unexposed. The width of the paper- as possible and repeat this process until
white border that you want to completion. The 1-inch piece that you
complement your image is a matter have torn away is scrap; use the
of personal taste but I like a 1/2-inch remaining torn edge under the straight
margin on most matted images. edge. Again, mark the “A” and “B” sides
Cut a strip of about 1 inch in width. Repeat the
Next, select a piece of two-ply mat near the torn edge. This is necessary processes until you have one finished strip for
board (any color) that measures because it’s the “B” side of the torn each of the four sides of the mask.
3 inches longer and 3 inches wider than mat that needs to come in contact
PHOTO TECHNIQUES

the image in question. Make a cutout with the photo paper during the
in this mat that is 1/2-inch larger than exposure. Once you have experienced
the intended image in both making a mask, you will recognize the
dimensions. The location of the cutout difference and it will no longer be
should result in a 3/4-inch margin on necessary to identify the sides. Next,
the left side of the mat and a second cut a strip of about 11/2 inches parallel
| SEPTEMB ER/OCTOB ER 2009

3/ -inch margin along the top edge of to the torn edge of the mat material.
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the mat. The wider margins along the With the “A” side up, f latten the torn
bottom and the right side of the mask edge using a round plastic pen the
simply add a bit more body to the same way you would crease a piece of
mask. paper. Repeat the above-described
The next step is one that might process until you have four strips, one Measure 14 -inch in from each corner to locate
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require some practice. After much for each side of the mask. the position of the ragged edge.
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