The potential for extremes in a negative are great when recording the
tonal range of a 360-degree scene. Intrinsic to character this view encounters
details within completely backlit shadow areas and those illuminated by full
sun. Critical control of film exposure and processing are necessary not to
compress or expand the range beyond usable tolerances.
     Cirkut Camera negatives are contacted to print. Conventional enlarging
systems do not accommodate the modern medium-format negative lengths
I work with. There exist enlarging systems designed to operate on the
principles of slit-scan technology. However, I have not followed this path
for two reasons; the first being that darkroom conventions of photographic
printing i.e., dodging and burning are not available in practical measure with
the system and secondly, the need for those techniques is many times greater
given the sheer dimension a 360-degree photograph records in field of view
and tonal range. Subsequently, high quality prints are extremely rare, if not
altogether non-existent, especially where 360-degree photographs depict
detail recorded by the full range of tones a sunny late afternoon brings.