Black and White Photography

of paper, as paper will let some light through. Take care that you don’t accidentally

bump the enlarger or move the easel while positioning the mask.

3. Turn on the enlarger and burn-in by moving the mask so the projected light

falls only on the area of the paper that needs darkening—in this example, the

upper left corner. Burn-in exposure times vary widely; you might start by

using the same amount as the initial exposure—here, 10 seconds.

Move the mask back and forth slightly but keep it in constant motion to

blend the additional exposure into the rest of the image; otherwise the burn

will leave a noticeable line. In practice, parts of the image adjacent to the

burned-in areas often receive additional exposure, but if blended correctly,

this should not appreciably affect the overall look of the print.

4. Process the print. The results should show the same overall density and contrast

as the initial print, but with a darker upper left corner. If the corner

still looks too light, make another print and burn in for a longer time; if it’s

too dark, burn in for less time.

The amount of burning-in can be moderate or considerable. To darken an

area moderately, try a burn of 30–50 percent of the initial exposure (3–5 seconds

more exposure for an initial exposure of 10 seconds). If the area needs

more significant darkening, burn-in for at least 100 percent of the initial exposure

time (a 10-second burn for a 10-second initial exposure). And don’t be

surprised if very bright areas, such as overcast skies, require burning-in for

three or four times the initial exposure (30–40 seconds more for a 10-second

initial exposure)—or even longer.

If the area to be burned-in is along the edge of the image, you can use just an

opaque mask to do the job. If the area is in the middle of the image, however,

you will need an opaque mask with a hole cut in the center. Let light project

through the hole to the areas of the print that need darkening. You can use a

commercially made burning-in tool, or you can make your own with a piece of

cardboard, and punch out the hole yourself. Make several such tools, each with

a hole of a different size and shape.

You can vary the size of the projected beam of light either by stocking several

masks, each with different-size holes, or by varying the position of the mask

under the enlarger. Lifting the mask up toward the lens makes the circle of projected

light broader, while bringing it down toward the easel makes it narrower.

If you position the mask close to the easel, be sure it is large enough so that

light doesn’t spill over and accidentally expose the edges and corners of the

paper.