rs Black & white photography has stood the test of time. Despite the advance from mono to colour flm, and then from emulsion to data, lack & eginner’s guide to Black & white ‘atime when colour film technology sat its peek, and te wi is more colourful than ever before the fee of taking pictures in black & white may seer ail strange. Recerly, however, mano has experienced something of @renassance, Not ani ist wisely used for advertising and fashion, but mare and ‘more enthusiast photographers ae also enjoying the Benetits of shoating in bisck & white, The main attraction of working in mono is that by stripping colour from an image, you divorce i from reality so photographs become & more effective means of seltexpression. stead of relying on realism and frit, they become abstracts using patterns, textures and ‘the play of light and shade to gain appeal d we lve Photographs take ona aifferent mesnina, and we can see into much more withthe distraction of colour taken away. Tis apples to all sublecs, bet portraits landscape, stile or architecture, An adaitional benefits that back & white is complete cyce. Your invovernent with colour photography usualy ends tne moment aro of texas film is reraved fram your camera, But In black & write the creative process is only just beginning at that point, because ater developing the fim you then get to work nthe darkroom, printing the photograph according to haw you visualised It a the time. This guide cavers various topes, rom learning to seein Diack & white, choosing, using and Brocessna fim and makin your first print white photography remains popular with photographers around the word. Its ally to produce evocative and powerful images remains as strong ‘today as It has ever been, Welcolme tothe world of monochrome! FTO: PRK ED=\ CONTENTS Learning to see ‘the world in black Eubite ‘Which film for black & white? Blacks white technique Developing our first black & white film Waking 2 contact sheet and your first pint aking the final printBeginner's guide to Black & white LEARNING TO SEE IN BLACK & WHITE The biggest hurde to overcame when shooting black & white forthe fist time is understanding how a colour scene wil transite to blac, white and the numerous grey tons in-between ‘A good way to learn Italy is by shooting the same scenes or subjects in black & white and colour 0 you can compare the two images anc note how certain colaurs record as ey tones, eal, setup a shot or look fora scene that contains a wide range of ferent colours - reds yellows, ranges, reens and blues. What you fear wl prove valuable inthe future as wil help you visualise if scene will work well in Diack & white an also what you may need to do at both the taking tage and the printing stage | This comparison set provides a good indication of how a black & white flim wil interpret colour toensure a sucessful mage is produce. scenes, SRB (phone 01582 572471) produce an accessory called a monovue which costs E16, For example, if you photograph red and green dy al, PHOTOS LEFF objects together ther relative ffeence colour creates 2 contrast tat makes each item stand out cleary In mona, however red and ‘green records as similar grey tones so that contrat is reduced, and the impact ofthe photograph with i. When photographing landscapes, you need to consider the way the sy ml record when you expose forthe ground, {and how the many dfferent shades of green in the scene wil translate With stiifes, you need topre-vleuaize now afeent jects wil relate toeach other when converted to rey tones. Self-expression (F course, while Eis practical knavledge wil be of use, you should live and ae byt, One of the great joys of black & white photogranhy is that lt allons you to express your own creative sian far more than colour can 9 detalled techneal aceuracy may be far Kss Important to you than the overall mood and fe! ofthe image ‘Also while what you capture onthe orignal negative s important, 99 percent ofthe time W's what you do with the image inthe darkroom that counts, because its in te printing that a Diack & white photo realy comes to life, You can use cferent contrast grades of paper to control the way highlights, shadows and midtones relate to each aes for Instance. You ean lighten ordarken selective areas of the print to change | Black & white film converts colours to various shades of grey. When shooting subjects which {ts tonal balance. You can also crop the image to | are made up of various hues of the same colour, such as green plants, use a flim with good aller the composition, tone it and so on contrast, or print toa hard grade, to emphasise the change in tones. 070:COLN DKON "Using filters Cole ies cane wed to contro the wy ere colors recor as ey oes nd there ater the oa ttn ase fa salor lage ete. ‘The mal cls eset actee hs ae lo, ee, ranean re Each wl cause som cola fo ecard a here tne nck 6 we an complementary cle rc rr ry tee 5, vil ese an arn gen we rer wl ighten gen bt eae Yel isthe est coe for eeyy ase 2 sig ares He sty ané emphasis leds Orange oes tus mre bial a artnng qrecn tog amarante cette ure sy eest tc sow cots stan oo strand the sy ales on reser rome other he does cre ‘you use a polarising fitter (which can also be used for black & white photography). A red flter also darkens green Conley to proc a, ate eels ae w ‘Greens popalar ith landscape photographers 2st eps to emphasise the diferent shades of green in the cae (0 Bagnnars gle to Fiters pl-au gue no OTD LEE FSTWHICH FILM FOR BLACK & WHITE? ‘The choice of black & white fim Is wider now than ever before. In practice, however, ‘there Isn'ta massive difference between ‘one brand or another, so unless you want to ‘get very technical the main decision you need to make is which speed to use. ‘As with colour the slower the film Is, ‘generally, the fer the grain and the ‘greater the resolving power, so having ‘decided what you want the fim for, you can ‘then choose a suftabe speed, Slow films IF you requir the best image quality, and intend ‘making big enlargements, choose a slow speed fm such as Rafa Aalapan APK 25 (SO 25), adel Technical Pan (SO 32) or Iford Pan F Plus {150 50). Al tree produce incresibly sharp negatives with amazing detall and almost Invsble grain. The downsie is you wal need to tse a trpad nal but the brightest conditions Medium-speed films Films in the I 100425 range are goo if yourequle high mage quay without compromising speed too muen. Hfor's Delta 100, and FPA Pius, Kodak F¥Max 100 and Agfa Aafapan APK 100, among others, al provide fine arain and snarpness, and at enlargements up to 16x20 wil produce excellent image quai, while til allowing you to take handheld petures, Fast films Today’ craps of 150 400 fms are capable of amazing aualty making them tne most popular speed for general use. The more madern Fims have the edge - Mord Delta 400 and HPS Plus, odek Tax 400 and Aata Aafapen RPX 400. The alder emulsions such as Kodak TeX an Ful Neopan 400 arent as fine grained, but stil produce excelent results and are muctviove 1n prints up to 10x8in, grain is fire, but any bigger and grain becomes more obvious Ultrafast films IF you need to take handheld pictures in low light, then an ultrafast fm wil be more sutabl There are tree to chodse frm ~Fuj Neapan 1600, Kadak FMax 3200 and ford Detta 3200, with speeds of $0 1600 ana ISO 3200. though {these fis ofer high qual, they ae very srairy. Many photographers see this as & creative beet, nowever and use these fins spectcally for their coarse gran Q&A {the to experiment ith lack & wit fin bat don't hare adartroom. What ar my opto? Ie esto use Aaa Seal, whe is 3p 190200 ack & le ie fr produces aici rest bat per cst cheap, ar yu ca pi the bnages nt ea ble wt tin pape The seconds tous Hod ak White Mor F2 Ps Btn ae50 £0 ek wit neat ate capa, sa they can be proesed an pried by yur cai ab. The ny sag itt many las pr on oor pape othe pets surf cor cas ang rom sepia or eto gree. ele yas or black wie pts Tha ball you can take eargunets rte negates youd set ado, UN A Black & white film Is far better than colour at producing evocative images. In shots lke these, where highlight ‘and shadow deta are equelly Important, i's cesential to ensure the original exposure Is correct, and the Printing is also spot-on. oT NE MLLER ON lel Sel [aye Yl | f T Mono infrared yo lootng for something etfeent, gv fared fn a try. eg ses to nar aswel as vie gt, Itrecors the world in a werd and wonder ay = Blu sky and water go black, while fllge an kin tones record as ghostly wit tones. ota High Speed Mono nrre is the ost sense IR fn, sot es the strongest eect, wile Honea 750, an ford SX 20 area s0 sesh. ota’ intare lm sust be loaded and unloaded in complete darkness to vl fogsng (use a changing bag on locaton), wile fort's and Kon’ can be ane Inc contr. To et the Inrered fc, seared iter You meter withthe fiter In place, et he folowing fm speeds on ‘your camera ~1S0 400 for the Kodak fm, 150200 for for SX and 8050 for Konica 750. ‘Bracket exposures a stop ort over the metered exposure ad printf a hard contrast grade V or V~for pot! inages with long hls and deep shadows PHOTO. KAHLEIN HARON 35eginner’s guide to Bla ck & white BLACK & WHITE TECHNIQUE Learning to visualise how colours translate to ‘rey tones fs the first step in honing your black & white technique, because It wll help ‘you to understand what the final image may {ook lke when printed - and guide you towards ‘making certain decisions to Influence that final image. However, there are other factors to consider when taking pletures in black & white. Metering and exposure Perhaps the moet importants how you expose a black 5 white photograph, because tat wll «over how much del s cored inthe neva ad consequent, how easy that negate i toprit. “The old ade tha when shooting in clo, expe for the highlights, and when shoting in Black & we, expase forthe shadows. Tis & not a bad technique to adopt, but uress you understand now camera meters work key to cause more narm than good ‘Ach sinple proach in nena ighting conton st expose for amidtane then et everything ese fl into pace around it. This Should produce a negative tht contin ful range of delat ar tone farm white through to black when you can pint on a normal grade ot paver rade 2 ‘Most modern camera meters wil naturally set ‘migttane expaeure in average ging, 2 that Sinha ey are desired todo, you could Simply go along wth what your camera sets The other option ist take a sot readin froma specifi part ofthe scene thot represents ai {ope. To Vaunise big think af sareting tat nas the same dens as ami-reyeoiaut~ welt green gassed rick na tarmac are Common examples. Alteratvely, Nod a 8 per cent grey ca whichis a pertectmitone, the same ight 2s that fing on your subject, and meter fort wn the lighting it ‘average you need to mate 9 decision about ow you wht interpret the scene and expose according For example you photograph atree against brights, you need to decie ithe mid tones and shadow ares are more inportrt ofthe Pighlghs you expose for a mite the bright wil be overexposed enon normal print this would produce hig Bac effect. Homer you expose for thes the midtones an shadows ws be underexposed, adore straight print etree wuld come cut ssa sihouelle ocnasrsthouetl, In doubtin stations neti you can aways make a series of exposures then decide tater utlen interpretation you preter and choose the best negative fr pening. You ao havea large degree of creative licence inthe darkroor soi you change your mind ts usual possi to.actiove the effect you want by using erent contrast grades of paper varying the pit exposure and ging more ress epasure to certain ports ofthe image Black & film Is @ popu recommended that you use a slow or medlum-speed flm to ensur cholce of medium for portraiture and also for fashion work. I's the best possible sharpness and also ensure that grain Is not evident on your subject's skin. "070 R00 FDANOS Composition Aithough you can change te composition of @ Black & white photograph by cropping it uring printing do et ths aca youn 3 ase sense of secur asi ends to soppy technique Intend, cm to compose enh lture incamea exact 2s You wait tobe printed Tink careful about the way the thes shapes, patterns and textures ae ranged, so they Toate expressly to one anaet Some thatographers inch the more at ype, ten pit the Bock & ite pctures wh the fam rebate showing ~ evidence thatthe image hast been cropped. You need got such measures (although the lecnlgue can ook very eetve) and theres nothing wrang wth cropping an mage i inproves the end res, bt being dcpined about compasiion when you tte the picture the first pace wil nt ony produce better compositions it wil also make you a more considered photographer over Make the most of light Lght has diferent meaning in black & white photography compared to ola: Men you tke 2 colour phtograh, the ght can actualy have @ color of ts ov war, as at sunrise and une or cot as ona lucy or Foggy dy Ceour fi recards tse variation Inthe colour aflignt even tthe eye cat ee ther, Siler, color f reconds artificial ighting In eral way, 0 tungsten gt produces an orange cast ard furesent a green as. lack & wie fm sleet incapable of doh tn which can have bth postive and negative effets on your protograph Troma postive pt of ve theres n0 colour Ia nfuuncethe mud of your pitres, 30 you zan shoot porta or cand nor in 36‘The total absence of colour Is the secret to the success of this Image, which works thanks to ‘te patterns and texture of the water and th Using « st fl and printing on a hard grade of p EXPERT VIEW UMIT ULGEN ack white ooops very eh fe pling tales tine, patience, ‘afl lala, rs sketching and mst Igortaty ‘the so’. ‘When eo at yy partclar scene, aways imagine tas 2 hal pit ay ban, lo ‘the way want tok whieh is usualy completely itlerent to what actualy ksh in rely. ‘Visualsig the nal inage lps alot atthe Prltng stage, | expose my negates according to hw Int the ptt lok. I malt soot on overcast days whe he gts seh softer and even. In these conltons, ts posse to take lack & white photographs with Ince smooth nd sft fet ost, PHOT EAR. BUONALL "key landscapes very rk and moody, Dark shy ark folge an alas ty to Inde «patch ofligt peeking through the cous or nce reflective water somevtere nthe compostns, ‘Sometimes’ not ays possible to catch thet Ig ut that's wher ait ceatng nthe arzoa comes in handy. “There are tines | spend 840 hours inthe ‘areca to get one decet pit nthe early ay, wast a whole ox of paper, bt now Hts not werk, pack everyting in and go dows the put, ‘then ry agate ne dy ‘an produce black & white pletures with tY of atmosphere and impact. Don't be afrald to use ISO 1600 or 1S0 3200 films in bright daylight as the gritty results a artifeialigting and produce striking images without worrying about a sick orange cast, spoiling them, ‘The typeof ahting thet would normally produce rather drab boring colour photographs for example, an outdoor scene on a dreary overcast day can produce wondertuly evocative lack & white photographs, enabling you to expat cations tha would leave colour photographers heading for home. The downside is that you have to work harder with ight when shaoting mona, because the colour of the light cannot contribute tothe ‘mood ofthe final pieture ~a black & white sunset shot simply cannot compete with one shot In colour because without the golden glow ‘much ofits emotional appeal wil be ast. Fortunately, this fector can also work in your favour because in using ight to define shape, ‘texture, pattern and form =the elements on perfect for this type of image. 0; TOM RHARESO woh black & white photograph aly ~ your eye for a pieture can only get better, The power of black & white (ne factor you must never averiook isthe sheer emotive power of black & white. By removing the colour from an image, i becomes far easier to convey a message and alow the viewer to get straight to the point af what you are trying to 'ay-As Ansel Adams, possibly Une worlds ‘oreatest back & white ohatogranher and printer ‘once said~ "Forget what looks lke. How does feel? This can work on many eves and with ifferent subjects, from landscapes to abstracts, but black & whites never more powerful than wen it s used to depict people, wether in posed, frmal situation ar ane of cant ana Dioodshed = which s why black 5 white is tne ‘chosen medium af so many ahoto journalists,Beginner's guide to fe uors orr Black & white © DEVELOPING YOUR FIRST FILM Having exposed your first rolls of black & white fm, the next step Is to ‘develop it to produce negatives from which you can make prints. This is ‘actually very easy, providing you follow a set procedure and think about what you're doing. YOU WILL NEED: {© Development tank and spirals @ Film developer, stopbath and fixer (© Wetting agent @ Measuring graduates and jugs @ Thermometer (© Film clips (or plastic clothes pegs) @ Film squeegee @ Scissors LOADING THE FILM ONTO THE DEVELOPMENT TANK If your camera rewinds the fllm completely into the cassette it's worth Investing Ina flm leader retriever so you can pull the leader back out. ‘When you have done that, follow these steps: HERE'S WHAT TO DO NEX’ Set the development time on| your timer - five minutes, ten minutes or whatever it says onthe developer traction er he fim you are sna ¥ e - Press the start button on the| timer, then pour the developer Into the tank, Once itis ai, press the ld ofthe tank back on, tap the base ofthe tank on a hard surface Pour the fixer Back nt its vessel then fl the tank with fresh water, vert the tank, empty it wth frezn water agen, vert ad empty. Hash the firm continuously with fresh water for ten minutes or so my the tank, pop a couple of ‘to9s of wetting agent in, then filagain with water Wetting agent should be placed in jugs oF lerge Incomplete darkness, draw the | graduates, each marked with Fim cassette down so flmis | waterproet pen ~ DEV, STOR, FIX ~ pulled from then rack the sides | so you dont get confused. Always fof the spiral back andfortnsothe | use the same vessels forthe film's cacred into the grooves same chemicals. secure, tap its base to dislodge bubbles then invert the tank two or three times. Repeat this inversion every minute Fix according ta the manufacturers instructions 38 OF | tovemave air uses fromthe | fearmid detergent that hegs water surface ofthe tm, then vert the | slide off te surlace ofthe fin 30 tarw two or tree tes. that ries clean and evel. > eutheenaortetenerwih |] Wren etin fas een ay ‘ota the tank a euler Remove the spiral fom the scissors nto a curve loaded sti in complete intervas by inverting it You fimtank, then caetly darkness cut of te cazeete | may need to agate orton remove te fi from the pr sa ©] | using scissors seconds in evry 30 6 stent, or example. Three inversions ’ WZ sau take around ten seconds x e Remave exces water from the fim using one fm sueep of Ten seconds before the the fim squeegee, tren hana it up deveogment time ends, pour | overnight to dry. Choose a ean, Feedthe endofthe fim teder | [Place the spralinthe tank, | the developer ou ofthe tank back | dusfee location fr this ~a Into the grooves ofthe spa ick the tp section nplace, | Int ug then pour in the shoner abil dea untiits past the bal besrina, Bress the fd daw, then pop the’ | stopbath This ada chemical halts Fights back on the development process. e You can now cary out the processing In daylight, as the q development tank is ohtproot. “The next step isto mix your ‘ ‘three chemicals according tothe P| | manufacturers instructions. You need to get the developer to 10) ort tines eat exactly 20°C (the stopbath and Tovert the tank fora inate or itinto strips of sx negatives {xe can be one or two °C ut, so, then pourthestopbath | and pace them in storage sheets ‘The three diluted chemicals | back nt ts vesse! and pour in the finer Once the id ofthe tnd is It you exposed the fl with reasonable accuracy when It wes In your camera then developed it correctly, you should end up with a set of negatives that wil print very easly.MAKING YOUR FIRST PRINT With your frst film successfully developed, the most exciting part of black & white photography comes next ~ making your fist prin. This Is ‘an Incredibly rewarding expertence, yet the procedure ts relatively simple. It's unlikely that you produce a perfect result on your first _attempt, but be patlent and prepared to practise, you'll soon get there. You WiLL NEED: (@-An enlarger and lens @ Printing paper @ Mashing frame '© Three developing dishes @ Print developer, stopbath and fixer {© Safetght @ Timer or clock @ Focus finder @ Print tongs @ Scissors, anthstatie brush, conned alr @ Measuring graduates and jugs The erlarger and lens allow you onlo a sheet of printing paper w ‘the enarger’s baseboard in ame with use a variable contrast (VC Muligrade. With VC paper you contrast grade using the fiers colour fiter head of your ela colour head, by placing ites in Resincoated paper has @ paste base Which means is washes and ries very quichly and aso dries perfecty fat. This ‘makes it easier to use for beginners, though serious printers tend ose fitre-based paper ast records a wide tonal range an dives better depth of tone ‘You will need a room that you can black out, suchas a spare bedroom or the bathroom. Running water handy but rot essential Buy sheets of Dackout materia ram Jessap. A safeight wil provide adi ight so you can see what you are doing but wont fog the printing paper MAKING A CONTACT SHEET [After mixing your chemicals according tothe instructions, and pouring leech into a dis, the first step isto contact print your negatives so you ‘ean assess them and decile which to enlarge, Here's how to do this: MAKING AN EXPOSURE TEST STRIP. After washing and drying the contact prin, you can decide which negative to enlarge fist. ‘This negative Is placed inthe enlarger and the head Is adjusted until te image on the beseboerd is the rght size and sharply focused. ‘A focus finder will help you achieve ertiel sharpness by magnifying 2 tiny part of the projected image, so you can focus the actual grain structure, Set the enlarger lens aperture to 1/8 orf. (nce everything Is set up, you need to determine how fong the print ‘must be exposed for by making an exposure test stip. ‘Set your enlarger head toa suitable height soit urinates an area on the baseboard of at least 2xt0n, Sel the enlarger lens t 7 cover two this ofthe paper with some car, then expose the cncovered area for fve seconds, ¥ e ~ ‘Under satelight conltions ay 2 Oxdin sheet of printing oper onthe baseboard carefully lay the strips of negatives side-by side on the paper, then piace a Sheet of clean glass on top sothe negatives are pressed flat agaist the printing paper. UUneaver another third of the -antaet sheet, expose for 8 further five seconds, then uncover ‘al of It and expose for ive seconds Remove the lass and negatives from the printing paper ther develop and fii Under safeligt coneltions, remove a sheet of printing paper from its packet and cut into thirds along the length x - e ‘Unsover alte more ofthe est strip and expose for another two seconds, Repeat this Unt you havea test strip that has been expose in stages for twa, four sx eight, ten, and 12 seconds a, Pt tao trips back nthe packet and ay the remaining strip on the masking frame across ‘an important part of the image, Hold a sheet of card an inch or twa above the masking frame so covers most ofthe strip of printing bape then tur on the enlarger and expase fortwo seconds Sone tetris pape am pace ate ‘Setter ti ate ‘Tht het doy steatst as est nc 39 ‘Turn over to learn about the last stage ~ Making the final print Develon fin and wash the test strip Gee nest paye for Inatrutions then turn the darkroom ight on and assess it to See which exposure you nee to tse forthe tna prinBeginner's guide to Black & white MAKING THE FINAL PRINT After re-checking that the negative is clean, still sharply focused and ‘the masking frame Is in correct position on the baseboard, you can go ‘head and make the final print, using the exposure time determined from your test strip, ‘To do this, set the requlred exposure on your enlarger timer, switch off the room lights, then under saeligt conditions remove a sheet of printing paper from Its box, carefully place It in the masking frame and make the exposure. ‘Once exposed, quieKy remove the print from the masking frame and bein processing it. 4 p ‘Gently side te print ito the developer then rock the seveloing dish so the whole print surface ie covered, Continue gently rocking the dish throughout the development tne ~ usualy 110 16 nutes at 20° Lit and drain the print again, then side i to the fier fora further two minutes o so, Once fully txed you can tur on the room lights to check te print, before washing andl drying. Wash resin-coated prints under running water for five minutes or 50 (ibre-based paper needs at Feast 40 minutes), then drain excess water and either peg the Brints on a tine to dry o fy them ona flat surface covered In old newspapers. Resin-couted prints willbe ry within an hour or two, but fibre- based paper should be left overnight. It wll also cul at the corners s0 you will need to flatten it under books. = Ten seconds before the development time is up it he print by one corner so much of the excess liquid drains back inte the lish, then sl the print into the stop bath and rock gently for 1 min, Q&A oun ares se shel cae wi holes ctin fret pstos nt ret sires, oc when unin in te shy use ah sheet ca. ‘ounce ta ary the amount of any oa yur dogg ben ol cose diet parts the rit ese. | moving ing he exposes theres no ounce toselecineenose those areas | hart ely vite tate to daar ese ie yo wh fo eft nd expose the aes tat too git toa ooger sting exes tine tak than cari, These ecru ae now as desing ech he expoze fin and bmi Unread te ring pose) For engl with dscns the shy usually comes cut oti sits barney ging tor exposure. (isi cousdby dust ands on te rete. Tava this prebleclan your este before cing he ager sya atte bust and abla of To ie salves youuse pees of card catia ete tapes ec, sare srs, uses sis hh relayed tokens ne wie 2c og Spot then ui speci ks such Stu a ae bus (and Dsl, ‘te the kwh watt teri sy, then est nat of paper bet apphing sa. To dele areas yucaruse | toteprc Youn ee to bul up the your and or tigger lcs can. density in aes cove white ars, ‘You can produce a good print In a matter of hours, but making a first- te print withthe right balance of highlights, mid-tones and shadow detail takes time. But the effort ls well worth I, £0 be patient. Toning prints Once you ot teas with ack ite printing wy nt ‘xpecinent th tonng sme of your foonre print? Spi the mat ppsar tone fs to-bath proces ier you bleach the et fist so the nage fas tak then, after wesig t's inmesed ina tone bth othe inage ‘ecepears with the characterise frown coburn, varying th Alito of the tone bath you con Costa he depth of tones fom ‘ery subtle warming of he nage to.adee choclate bom, Bue is anther opr clu, ing an fetve col cas fo {oar pehts, Sees toner des sow mich a coerng th some plating ‘tapers, ut used to ma the puta sf sot does odo scolar ever tho years DT: OD EOAOS The digital darkroom {you dont fancy worn with sey chicas n darkened room, why not san your black & wit natives and manipulate them dtl? ‘Al the tecniques you use transl darkroom ca also be practised ‘italy wth sttvarepacages suchas Adobe Photoshop and Pltshop Pro = ajsting contrast, dag and burl, retouching, tosog an oon. Moe ‘ample maipltion can diab ahve seh a can more than on age ‘The benef of doing this with computers that you can perfec he image ‘fore you pit, so you drt wast lads of priatng pape. The October 2001 sue hasan expert's gl to protulag mono inet rats.