Comments (Subject; trying to achieve; issues)

Transcription

1 Film Data Sheet Film No: Camera: Film Type: Exposure No ISO Shutter speed F-stop/ aperture Comments (Subject; trying to achieve; issues) Processing Negatives Test Strip Chemicals Used Time (sec) Temp Grade of paper Developer F-stop (enlarger) Stop Filter type/no Fix Time unit (sec) Wash Optimum exposure time 2 nd test strip from x sec to y sec + interval Final optimum exposure time Contact print Grade of paper F-stop (enlarger) Filter type/no Exposure time Final Print exposures selected for enlargement No s Comments on this film C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb film data sheet.doc

2 PHOTOGRAPHY TAKING PHOTOGRAPHS Taking a photograph is allowing a certain amount of light into the camera and onto the light sensitive film to record a particular moment in time. An automatic camera will automatically assess and calculate the amount of light allowed in to create a correct exposure. The amount of light is referred to as the EXPOSURE. With a manual camera this EXPOSURE is controlled by the: SHUTTER SPEED and the APERTURE SHUTTER SPEED This is the speed at which the shutter opens and closes, allowing light onto the film. It is recorded as fractions of a second, ranging from ½ second to 1 / 1000 th second. Shutter speed is an important consideration when your subject is moving. Use speeds of 1 / 100 sec to 1 / 1000 sec for moving objects. If using speeds of 1 / 30 sec or slower a tripod should be used. With a manual camera you must remember to FOCUS on your chosen subject matter. Once you have focussed, set your SHUTTER SPEED and you APERTURE you can press the SHUTTER button and your exposure is taken. Remember to wind on the film before you can press the SHUTTER again. Another consideration is your FILM SPEED. This is the speed at which the light sensitive surface of the film reacts to light. This is recorded as an ASA number. 400ASA film is fast and will allow you to take a wide range of photographs in various settings without flash. APERTURE is the size of the hole when the shutter is opened, again controlling the amount of light exposed onto the file. This can be adjusted by rotating the F stop ring on the camera. APERTURE is an important first consideration where DEPTH OF FIELD is important to your subject matter. DEPTH OF FIELD is the range of focus within your photograph. A photograph with a small depth of field has only a very limited amount in focus. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb TAKING PHOTOGRAPHS.doc

3 A photograph with a full depth of field has everything in focus. Limiting the DEPTH OF FIELD can be used to focus attention on the main subject matter leaving the background blurred. Correct EXPOSURE is calculated by a combination of both chosen SHUTTER SPEED and selected APERTURE. A built in exposure meter helps to select the correct exposure. This scale is visible when you look through the viewfinder, on the right hand side. If the needle is not central you would adjust either the SHUTTER SPEED or the APERTURE RING until it becomes central. You must however first decide whether speed or DEPTH OF FIELD is most important for the photograph. SUBJECT APERTURE SPEED RESULT Birds taking off small 1/18 slow 1/5 sec Too slow to capture birds taking off Birds taking off medium 1/4 medium 1/100 sec Background fairly clear, birds recognisable but wing Birds taking off wide 1/2 fast 1/500 sec movement blurred Little depth of field so background out of focus, but bird flapping wings clear C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb TAKING PHOTOGRAPHS.doc

4 PHOTOGRAPHY DARKROOM EQUIPMENT ENLARGER There are two main types of enlargers for the darkroom: Condenser Enlarger This type of enlarger has a sharp, undiffused light that produces high contrast and high definition in a print. This enlarger is less forgiving on scratched negatives, as scratches will be emphasized on the print. (If you occasionally have a scratch on the print, these can usually be retouched with retouching dyes, a brush and a little patience... retouching is actually a valuable skill to learn). Diffusion Enlarger This type of enlarger scatters light before it strikes the negative, distributing light evenly on the negative. Detail is not as sharp as with a condenser enlarger, but negative blemishes are minimized. The diffusion enlarger will cost you more to purchase and replacement bulbs will also cost more than bulbs for the condenser enlarger. The f-stop of the lens controls the amount of light that is projected onto the easel. Filters - (Enlarger) A set of inexpensive neutral density variable contrast acetate printing filters for the enlarger. The filters allow you to use what is called "multigrade" paper - the filters when placed in the enlargers light path, either in combination or as a single filter, allow you to "change" the contrast of the paper. The higher the filter number - the higher the contrast of the print. So if you have a rather flat looking print, you reprint using a higher number filter. In the past these filters required a correction to the exposure whenever the strength of the filter pack was altered. Manufacturers now incorporate neutral density into the filters. Now altering contrast is much easier - establish the correct exposure and then adjust filtration to alter the contrast. If you are using a filter pack in the range of 0 to 3.5 then all that the filters will do is change the contrast, not the exposure. Because the filters have neutral density, the exposure should stay the same, even though you increase or decrease the filter pack. In other words if you have a properly exposed print(darkness or lightness), (but poor contrast), then changing the filter pack anywhere in the range of 0 to 3.5 should not require an adjustment in either the exposure time or the lens f-stop. On the other hand, if you were to add filtration in the range of 0 to 3.5 to a print that had not had any filtration used for the original printing, then you would have to increase the exposure by 1 f-stop - Example: f11 to f8 (larger lens opening = lower f-stop number = more light to print = more exposure = darker print). If you were to increase the filter pack from the range, to the 4 to 5 range, then you would need to increase the exposure by an additional f-stop. The idea of using variable contrast paper and the associated filters is economy - rather than buying a box of each grade paper, you just buy a box of multigrade paper and a set of inexpensive, thin acetate filters. This allows you to purchase a box of paper in your choice of finish and size, say 'glossy' 8x10, verses the alternative of having to purchase one box of contrast grade 0; one of contrast grade 1; one of grade 2; etc. Safe Lights A safe light is a light tight enclosure, with the appropriate filter, to block the spectrum of light which would expose the type of photographic paper that you are using. Behind the filter is an ordinary light bulb, usually about 15 watts, depending on the enclosure's specifications. A safe light filter for C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb darkroom euipment.doc

5 a black and white darkroom is usually a yellow-brown in color (Kodak's designation is "OC"). The red filters that you commonly see used in television movies, are for dramatic effect only and not normally used in the working darkroom. Film Processing Tank One 35 mm film processing tank (or one to match the film format that you are using) available in various capacities (2 or more reels) (plastic or stainless steel). Thermometers 1 low temperature range for mixing your stock solutions with water in preparation for film or print development and 1 high temperature range (Only needed if you decide to mix your own stock solutions from dry prepackaged contents like Kodak Dektol) Print Trays Size dependent on your needs. You can generally use an 8x10 tray for processing 8x10 prints and an 11x14 tray for 11x14 prints, although you will get a more uniform development by using a larger tray, than the paper you are developing. The reasoning here is that you get a better circulation of developer around the print when using a tray that is larger than the print. Timers While not necessary (you can use your wristwatch), digital or analog darkroom timers are nice as they are generally larger and more luminescent. Its nice to have a dedicated timer for your dry area and another for your wet area. The timer for your wet area (print processing), should have a good size luminescent dial that is easily readable under the low light illumination of a safelight. Print Washing Tray Large print trays can also be used for washing finished prints (16x20 tray)(unless your sink has a built-in wash area) Print Tongs Tongs for handling prints while processing (1 for each solution) (usually 3 - developer; stop bath; fixer). You definitely want to minimize frequent contact with potentially toxic chemical solutions. You should also label your tongs, so that they are never placed in the wrong solution. Even though you may have washed them, there will still be residual chemicals on them. If you were to place the tongs that you last used for 'fixer' into your 'developer' solution, you may deplete the 'developer' significantly. Under no circumstances backward contaminate your processing solutions. Each tray should have its own set of rubber tongs, and they must stay in the proper trays. If you accidentally contaminate your developing solution with stop bath or fixer, pour the developer down the drain and mix up a new batch. I always label my tongs, so that I always begin my processing with them in the correct solution. Optional Equipment Contact Sheet Maker A contact sheet frame will allow you to make a print of 24 to 36 negatives on one sheet of 8x10 paper. Each image (picture) will be the same physical size of the negative. This is a great tool to quickly appraise your negatives and their potential for making a good print, allowing you to decide which of your negatives are worthy of printing to larger paper. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb darkroom euipment.doc

6 DEVELOPING & PRINTING BLACK AND WHITE FILM Composition ISO Aperture Shutter speed Load film in DARK Shake container every 60 sec for 10 sec. Time dependent on make & temp Look up At least 1 min At least 2 mins At least 10 mins Add wetting agent Don t allow to touch another strip or ruined Must be completely dry Create test print first to establish how much light needed Time depends on make and temperature Agitate gently Transfer with tongs xx xx xx xx C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcd developing and printing B & W film illustrated.doc

7 PHOTOGRAPHY - Easy way to load 35mm film onto a spiral/reel 1 Make sure your spiral is completely dry. It is not possible to load film onto a spiral that is even so much as damp. You may have found this out already. Check that there is nothing stuck in the grooves. Emulsion can be stripped of the edge of the film during loading/unloading so rinse spiral thoroughly after use. 2 Trim the leader off your film. If you are careful when you rewind your film the leader will be left sticking out. It is the curved bit at the start of your film. You want to remove this bit and be left with a slightly rounded end which is easier to feed into the spiral. Cut between the sprocket holes as you do not want any bits sticking out to catch on the spiral. If you do not have the leader sticking out you have two options. a) Open the cassette, which you may already be doing. Remove the top from the cassette and slide the film out, try to keep the film from unrolling at this stage. Trim as above. b)use a film leader retriever to pull the leader back put of the cassette. You can get one from a camera shop. 3 Load film. Gently feed the film onto the spiral. If the film is still in the cassette pull out a couple of inches, if you had to remove the film you will probably have to let it go now. Try not to let it drop to the floor as it will get covered in stuff. You will now have about four feet of film swinging about which makes things very awkward particularly if you are not very tall. You could, if you have a clean surface to work on, just let the film drop a few inches on to that. If you are using a Paterson type spiral with the ball bearings at the start you just have to feed the film over the ball bearings until the sprocket holes catch on the bearings. If you are using a Jobo type spiral you will have to apply a little pressure with your thumbs onto the edge of the film to hold it. There is a groove just where the film goes in. 4 Wind the film on. With the Paterson spiral this is fairly easy. If you still have the film in the cassette you can pull a fair piece out now. Hold the spiral in both hands and rotate alternate sides back and forth.don't push the film on, wind it on. With the Jobo spiral when you rotate one side release your grip on the film edge on the opposite side. 5 Take your time. Don't try to rush the film on. If both film and spiral are dry and you took care when first loading the film in, making sure both edges of the film are in the same groove on the spiral the film should go on fine. 6 Trim of the end. When you reach the end cut the film leaving any tape that was holding the film on the reel. 7 Put the film in the tank. Slide the spiral over the centre spindle, put it back in the tank and put the lid on securely. 8 Disaster. Don't panic. If you feel you are forcing the film it is stuck, if it makes crunching noises it is stuck,if it is coming of the spiral somewhere other than where it goes on it is not in right. Just stop and slowly pull the film back out. Sometimes just pulling a few inches back out then trying again works fine if it was sticking. Likewise sometimes gently squeezing the sides together a couple of times can also free of a sticking film. If the worst comes to the worst you will have to take the film off and start again. If you had to take the film out of the cassette this is a pain because you are now stuck in the dark but if you were able to keep the film in the cassette you just have to wind it back in put the light on and try later.

8 PHOTOGRAPHY DEVELOPING A ROLL OF B & W FILM In order to produce a properly developed negative in a daylight tank, the temperature and duration of the process must be carefully regulated. Generally, a temperature of 68 F (20 C) is recommended for black-and-white film developing. During development the solution is periodically agitated-gently sloshed around-to ensure uniform development and to prevent streaks from forming on the film. Experienced photographers usually agitate on the same time schedule for every roll of film the process. In a dark room or changing bag where you have placed the film to be developed, a film tank, reel, center insert, scissors and a film cap opener 1. Remove the cap from the flat end of our roll film cartridge using a film cap opener (CAREFUL) 2. Remove the inner reel and trim the film leader off of the film using scissors 3. Handle the film only by the edges or better yet use cotton gloves to avoid finger prints on the film surface In the DARK 4 Place the tank reel so that the insert faces away from you. 5 Feel for the bumps on the inner side of the reel. 6 That is the start of the reel spiral that will hold the film 7 Insert the flat end of the film into the spiral and pull it about half way around the reel. 8 Then twist the top reel while holding the bottom reel still. 9 This will push the film into the reel. 10 Keep this up until the end of the roll is reached. 11 Cut the tape and plastic reel off and you are done. 12 Place the reel into the tank with the plastic insert face up. Notice that the lid on the tank fits into the center of the insert. NB You MUST have the reel on the cylindrical center plastic insert or light will get in and spoil your film 13 Place the lid on the tank and twist it clock wise until it clicks shut. 14 You are now free to bring the tank out of the dark for processing. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Developing a roll of B&W film.doc

9 Steps for processing film 1. MIX your developer. In this lab we use HC 110 from a stock solution diluted 1.5 oz. with 10.5 oz. of water to make a total of 12 oz. For a two roll tank this is doubled. 2. Use a thermometer to test the water temperature 3. Take the temperature of the developer and look on one of the processing charts in the lab to find the time. DO NOT assume it will be correct. 4. Pour the mixture into the top of the film tank. Gently tap the tank on the table 10 or 12 times to dislodge air from the side of the film. Start the time as soon as you start pouring in the developer. 5. During your development time which will likely be between 8 and 12 minutes pick up the tank every 60 seconds and shake it for 10 seconds to agitate the developer. This will bring fresh chemical in contact with the film. Failure to agitate could cause your film to be low in contrast. 6. With 15 seconds left on your time begin to pour out the developer. With the lid still on the tank rinse it out with water from the sink. Be sure the temperature of the water is the same as it was when you mixed the developer. Very cold or hot water can cause the grain to get larger on your film. 7. Pour in 12 oz. of fixer from the bottle. Again tap the tank to shake off the air and set the time to 10 minutes. During the 10 minutes you should continue to agitate every 30 seconds, although some photographers do not think this is as critical as it is on the developer. 8. At the end of the 10 minute time pour the fixer BACK into the bottle. DO NOT pour it down the drain. 9. With the lid on the tank, fill the tank up with water and empty it 2 times. Then remove the tank lid and take out the reel and place it in the wash sink where it will be washed in running water for 15 minutes minimum. A 30 minute wash would be best if time permits. 10. At the end of the wash pull the film reel out and DIP it in the photo flow solution, adding two drops of??????????? with a pipette to clean the film. Then pull the film from the roll and remove it to hang it up. It will take about 60 minutes to dry. Do not allow the films to touch whilst drying as they will stick together and both films will be ruined C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Developing a roll of B&W film.doc

10 PHOTOGRAPHY DEVELOPING YOUR FIRST B & W FILM Please read all of these instructions before processing You will need: 3 measuring cylinders each capable of containing 300ml (or 600ml if you are developing 2 films at once. Volumes for developing 2 films are shown in brackets below) 1 small measuring cylinder capable of measuring 30ml. A tray in which to stand the three large measuring cylinders. If a tray is not available stand measuring cylinders on paper towels. A dry tank, top. spiral (2), centre column and tank stirrer. Pair of scissors A film cassette or bottle opener, Sticky labels. Clothes peg and film drying clip. Thermometer Changing bag ALWAYS HANDLE FILM BY ITS EDGES Method: No 7 can be done before steps Wash out the measuring cylinders. 2. Fill one of the measuring cylinders with WATER at about 68 F,20 C, pour about 250ml (500ml) into another cylinder and keep away from the remainder. 3. Carefully measure out 30ml (60ml) ACUTOL CONCENTRATED DEVELOPER. Be sure to put the cap back onto the developer. 4. Pour the 30ml (60ml) of DEVELOPER into the measuring cylinder containing approx 250ml (500ml) of water. Rinse out the small measuring cylinder with water from the large one to ensure all the developer is washed out of the small cylinder and to the cylinder containing the developer/water mix add more water up to 300ml (600ml). Throw away any water that is left. Label the cylinder "DEV'. Stand it in the tray. 5. In a second measuring cylinder measure out at least 300ml (600ml) of the prepared STOP BATH and label it "STOP". Stand it in the tray. 6. In the third measuring cylinder measure out at least 300ml (600ml) of the prepared FIXER and label it "FIX". Stand it in the tray. 7. Load film(s) into the tank using the changing bag. Take cassette to pieces using the opener, extract the film and trim the end and corners off. With the bases of the two triangles opposite each other and towards you slide the film under the triangles and about two or three inches onto the reel. With thumbs on the two triangles turn the sides or the reel forwards and backwards, this will load the film on the spiral. Cut or tear off the spool at the end of the film. With the flange of the centre column at the bottom of the tank push the spiral as far down the tank as it will go. Put the lid on (funnel shape down), check it is square and will not fall off. 8. Remove tank and bits and pieces from changing bag and label the tank. 9. Check temperature of DEVELOPER and work out development time, correcting the temperature if necessary. Check your figures. 10. Pour in DEVELOPER for the calculated time. Agitate for 30 seconds and then 10 seconds at the end of each minute. 11. Fifteen seconds before the end of the development time pour the DEVELOPER back into the measuring cylinder. 12. Pour in STOP BATH (usually clear or yellow in colour) for at least a minute. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Developing your first B & W film.doc

11 13. Pour STOP BATH back into measuring cylinder and pour in the FIXER for at least two minutes, five for Kodak T-Max and Afford Delta films. Stir occasionally. 14. Pour FIXER back into measuring cylinder 15. Fill tank with WATER and pour it away 16. Remove spiral from tank and label, use pencil as ink will wash off. DO NOT TRY TO TAKE PART OF THE FILM OFF THE SPIRAL IT WILL DAMAGE IT. 17. Wash in running water for at least ten minutes. 18. Put film and spiral into a tank of WETTING AGENT for at least thirty seconds. Remove the film from the spiral, try to keep the floor dry. Using WET (with wetting agent) SQUEEGEE to remove the excess water from the film (if tongs are not available use your fingers). DO THIS ONCE, if it is done a second time the film might be damaged. 19. Put a peg on the bottom of the film and a label and film drying clip at the top, put the film in the drying cabinet. When opening the drying cabinet turn off fan heater so as to minimise dust sticking to the film. 20. Be sure the film is not touching another film. 21. While the film is drying throw away the developer, return Stop Bath and Fixer to the correct bottles. Wash out measuring cylinders and put them back on the shelves. Put all the other items away. 22. After about ten minutes check to see if your film is dry To do this look at the film behind the clip/peg furthest from the heater. If there is no water, the film is dry. 23. When the film is dry take it out the drying cabinet and place in a dry place. Handling by the edges, cut the film up into lengths of 5 or 6 frames, making sure that when you come to the end of the film you are not left with less than three frames (short lengths are difficult to handle at later stages). Slide the negatives into a negative wallet. IF IN DOUBT ASK Please not: The above only applies to processing your fist film. When processing the photographer should make informed choices as to the developer etc. Times and dilutions will vary depending on the manufacturer of the chemicals chosen and the results required. Processing 68 F, 20 C at dilution 1: 9 llford FP4+ llford HP5+ llford Delta 400 Kodak T-Max 100 Kodak T-Max 400 Kodak TRI-X 6 mins 8 mins 8 mins. 8 ½ mins 8 ½ mins 9 mins C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Developing your first B & W film.doc

12 PHOTOGRAPHY DIAGNOSING FILM PROCESSING ERRORS My film is completely black. Indicates gross overexposure. If the film is all black including the rebates then the film has been exposed to light and completely fogged. My film is completely clear. Indicates gross underexposure. If there really is nothing there at all apart from edge numbers, you probably didn't expose the film at all, either through incorrect loading where the film hasn't wound on or by developing an unused film by accident. If the film is completely clear including the rebate and the leader then you have fixed the film before developing. Negatives are very thin (faint). Assuming correct exposure in the first place. Underdevelopment. Developer too cold, too short development time, developer too dilute or insufficient agitation. Negatives are very dense (dark). Assuming correct exposure in the first place. Overdevelopment. Developer too hot, too long development time, developer too concentrated or over agitation or the negative was overexposed Film is cloudy or milky. Insufficient fixing. Too short fixing time, fixer exhausted or fixer too dilute. Return to fixer solution or if necessary re-fix in a fresh solution. Overall Grayness Often caused by light sneaking into your darkroom during the time you were loading your developing tank. rebate Uneven development. Film is lighter or underdeveloped along one side. Not enough developer to cover the film in the tank. Negatives have denser areas mirroring the shape of the sprocket holes. Surge marks caused by vigorous agitation causing developer to surge through sprocket holes. Undeveloped patches or patches of film which have been unaffected by any processing solutions. Film incorrectly loaded onto spiral allowing film surfaces to come in contact with each other inhibiting or preventing chemicals from acting on surfaces. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Diagnosing film processing errors.doc

13 Streaky Negatives Due to uneven development. Probably not all of the film was in contact with the developer throughout development time or there simply wasn't enough solution. Rows of Regularly Spaced Marks If they occur inside the picture area of the negative, it's because the film wasn't properly seated in the apron or because you used the wrong apron. Black Streaks A sign that light reached the film while you were loading or unloading your camera. If all the streaks are on the same side, it might be because the top of your developing tank was loosened during processing. Surface damage. Dust embedded in surface. Dirty water or, more likely, dust settling on film while it is hanging up to dry. Scuff marks or scratches. Caused by rough handling. Although physically quite strong film is easily scratched, particularly the emulsion side when wet. Straight scratches extending the length of the film. Tramlines. Caused by dirt or grit either on the felt light trap on the film cassette or on the film plate in the camera. Tramlines can also occur if you squeegee or run wet film through your fingers to remove excess water before drying. Wet emulsion is very delicate and even a small piece of dirt or grit will leave a scratch the length of your film. Roughly circular marks on film surface. Drying marks. Droplets of water form on the film as it is drying. As they dry out they leave residue on the film surface. If marks are on the non-emulsion (shiny) side it may be possible to very gently polish them off, though I am not actually recommending this. Clear crescent shaped marks. Caused by kinking or buckling the film during loading. Forcing the film onto the spiral or cross threading the film in the grooves. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Diagnosing film processing errors.doc

14 PHOTOGRAPHY MAKING A TEST STRIP Test strips are used to determine the correct exposure and contrast grade for your print. Contrast is controlled by different grades of papers, the higher the grade the more extreme the contrast between black and white in the print 1. Place the negative in the carrier of the enlarger 2. Turn on the enlarger lamp and adjust the height so the light falling on the base board will extend to just beyond the edges of the FULL size of light sensitive paper you will be using 3. Focus the enlarger at this height with the lens fully open 4. Set the f-stop to the middle of the range 5. Turn off the white light. Turn on the safe light 6. Remove a sheet of paper from the light proof container, cut it into approx 2cm wide strips along its length. Use one return the rest. 7. Place strip emulsion side up (emulsion side sticks to tongue) on the masking easel under the locator grid. 8. Using a piece of card larger than the light sensitive paper, cover up 4/5 th of the paper and expose the remaining 1/5 th for a unit of time (unit of time either 3 secs or 5 secs be consistent). 9. Move the card to expose 2/5 th of the strip and expose for a further unit of time 10. Move the card to expose 3/5 th of the strip and expose for a further unit of time 11. Move the card to expose 4/5th of the strip and expose for a further unit of time 12. Remove the card completely and expose the entire strip for a final unit of time 13. Develop, stop, fix, wash and dry the print 14. In normal white light (not in the darkroom) examine the print to determine which stripe of the print is the best exposure. What you are looking for is a black area that is as black as you want it to be without losing detail. If the best exposure is the first or last stripe, do another test strip In this example the best exposure is between 15 and 20 secs so do another test strip at say 2 second intervals between 14 and 22 secs to get a better guide to correct exposure C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Making a test strip.doc

15 15. You should now have a test print that has a best exposure time surrounded by one section that is too light and another that is too dark Best Exposure Test strip Strip No Units of TIme Comments 1 5 Far too light 2 5+5= = =20 Best exposure on strip (try new test strip 1 sec increments secs? =25 Far to dark NOTE you should ALWAYS record the exposure time for each of your test strips and all of the prints you produce for assessment purposes (use the sheet provided for every B & W film you shoot) C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Making a test strip.doc

16 PHOTOGRAPHY MAKING A CONTACT PRINT 1. Rotate lens in the enlarger head to F8 and switch on the light 2. Raise or lower the head using the knob on the column until a rectangle of even light covers the base board SWITCH OFF THE WHITE ROOM LIGHTS 3. Place a sheet of print paper, emulsion side up on the base board under the masking easel 4. Slide the negatives emulsion side down (glossy side up) into the transparent guides on the underside of the glass negative holder this holds the negatives flat and in place 5 Create a test contact print by exposing the paper to light gradually (a third at a time) using a piece of cardboard and exposing each 1/3 rd for 5 seconds. Tip arrange the test strip diagonally across several of the strips of negative. 6 Develop the print a determine the ideal exposure NOTE the trays are the opposite way round in Amersham darkroom C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Developing a contact print.doc

17 7 Reprint as above exposing the whole sheet for the length of time determined with your test print (this will vary but probably in the order of 10 seconds) 8 Develop the final contact print 9 Review all the photos using a loupe or magnifying glass and select the best 5 or 6 photos to enlarge / further manipulate in the darkroom

18 PHOTOGRAPHY Making a Print Enlarger light on 1) Place negative in carrier (Shiny side up). i) Check for dust. ii) Set Print easel to desired size & check location of the adjustable border guides. 2) Size and Focus (lens at full aperture for max light): i) check sharpness; ii) crop image as desired; iii) gauge contrast required (0-4) and fit appropriate contrast filter; iv) make rough guess for initial exposure, based on density of negative and degree of magnification v) check for dust again 3) Stop down lens (2 or 3 stops) & then Turn off enlarger light 4) Set timer and Produce Test Strip (initial exposure then 2 second steps) 5) Place the strip so that it samples a range of relevant image tones. 6) Develop the strip 7) Evaluate result (under white light) i) Make changes to sharpness, exposure time, contrast grade as necessary ii) Consider any dodging or burning which may be required 8) Make print - (use identical processing times as used for test strip) 9) Record the results in your record book (or on the Film data sheet for this film) so that you could repeat what you have done, and so you can refer to it in your sketch book writeup

19 PHOTOGRAPHY CREATING A PHOTOGRAM Photogram allows you to make a photograph without a negative by placing objects between light sensitive paper and a light source. An opaque object blocks the light, casting a shadow so that when the print is developed the shape of the object appears white while the rest of the paper which has been exposed to the light goes darker depending on how long the exposure to light is. Transparent and semi transparent objects allowing differing amount of light penetration result in grey shades. 1 Ensure your enlarger (free of any negatives) forms an even patch of light larger than the sheet of photographic paper you will be using and there are no negatives in the carrier 2 Create a test exposure strip - exposing the strip for seconds by holding and moving a piece of card across the objects 3 Develop your strip to establish how long an exposure to light is needed to get full black when processed 4 With the safe light on - Arrange a variety of objects on the same grade of developing paper on the base plate of the enlarger 5 With the safe light off - Switch of the enlarger light to expose the photogram for the number of seconds established by the test strip 6 Develop your exposed paper to reveal the photogram NB Developing chemicals reverse way round at Amersham 7 Dry the photographic paper

20 PHOTOGRAPHY Printing positives and negatives Original positive print Negative version of the original print Create a test strip 1. With safety light on place a strip of light sensitive paper on the base board of the enlarger 2. Place a normal print on top of the strip arranging it so that you will get test coverage of a representative area of light and dark parts 3. Expose the test strip use longer time intervals say seconds as the light will take longer to penetrate through the print Develop and assess the test strip 4. Develop the test strip repeat the process if needed to get the optimum exposure 5. Select the optimum exposure Expose and print the final negative version of the image 6. Place a sheet of light sensitive paper the same size as your original print on the base board and place the normal print on top. Expose them for the optimum time 7. Develop the second print as normal it will be a negative of the first print C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb positives and negatives.doc

21 C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb positives and negatives.doc

22 PHOTOGRAPHY Printing negative with transparent overlay This type of print is created when you have your chosen negative in the negative carrier of the enlarger and you expose the negative on photosensitive paper which you have covered with transparent and semitransparent materials eg tissue paper, bubble wrap, plastic bag etc The materials you are using will affect the rate at which the light will penetrate through to the light sensitive paper. In combination with the negative itself this can be used to create interesting images with areas obscured, revealed or with applied textures. 1. Create a test strip in the normal way 2. Develop the test strip 3. Determine the optimum exposure time, repeating the test strip if required 4. Create a full sized print 5. Develop the full sized print The image can be further changed by adding solid items as on the left and also painting with developer in this case letters C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb printing negative with texture overlay.doc

23 PHOTOGRAPHY Print using newspaper (translucent) These prints are created by exposing light sensitive paper through the newspaper sheet so that the light is affected by the dark and light areas of the newsprint. Select your piece of newspaper carefully, holding it up to the light to see the sort of effect you might expect (remember it will be the negative of what you are seeing ie blacks will be white and whites black. Create a test strip placing the newspaper over the top of the print paper on the base board of the enlarger (you may need to use a sheet of glass to hold it down this will improve the sharpness of the image by keeping the newspaper in contact with the print paper) Newspaper print under glass Develop and determine the optimum exposure time Create a full size print using the exposure time determined by your test print process You can then create further prints and add additional techniques like painting words with developer if you think it will improve your image Newspaper with pictures on both sices of the sheet Newspaper print painted with developer during processing C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb printing using newspaper.doc

24 PHOTOGRAPHY Selective Development Painting with developer This is simply a creative application of developer or fixer to the print after exposure. After enlarging a normal negative, the paper can be painted, sprayed, splattered, poured, etc. with developer. The look of the image will vary greatly depending on the way you apply the developer, as well as on the paper and chemicals used. Another control factor in this technique is paying close attention to where you want the development to occur on the print s image. The print is then stop bathed, fixed and washed as normal. Fixer can also be applied to the paper before development to prevent certain areas from producing an image. Application of fixer can be stencilled, painted, dripped, etc. as with the developer. With either application of Selective Development it is important that you lay your print in a tray to prevent chemicals from either contaminating the development tray that others will use or from getting onto your hands The image was selective developed by painting developer onto the photographic paper, then it was re-exposed to white light for a partial Sabattier (solarise) Effect. IThen sepia toned the print and added hand-colouring with pure pigment watercolours finishing the image with touches of metallic ink.. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Selective development painting with developer.doc

25 PHOTOGRAPHY - Solarising a negative Also known as Sabattier technique after the photographer who first discovered it This effect is created by exposing a partially developed print to a flash of light and then completing the development process. This creates a somewhat surreal image that is both positive and negative at the same time. Note it is a good idea to use virtually exhausted developer for this process ie liquid you are about to discard. (Alternatively there is special developer Solarol specifically for the purpose) 1. Expose your negative as normal, creating a test strip to determine optimum exposure time. 2. Create the full size print in the normal way 3. Place the paper in the developer and put on a 15w lamp for about a second until you can just see the image beginning to appear (very short time!) 4. Turn off the lamp and immediately take the paper out of the developer and place into the Fix bath (miss out the stop bath) 5. Fix and wash as normal C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb solarisation.doc

26 PHOTOGRAPHY Printing a double negative In this technique you are going to print two negatives at the same time ie two pictures will be superimposed. This can be used to eg add a background or an interesting sky to an image, to create clever combinations of images. 1. Arrange your two selected negatives in the negative carrier of the enlarger 2. Create a test strip in the normal way remembering that the exposure time is likely to be longer with the two negatives 3. Determine the optimum exposure time doing a repeat strip if necessary 4. Create a full sized print using the optimum exposure time Double Print from two negatives Double print from 2 negatives C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Double Negative.doc

27 PHOTOGRAPHY PRINTING USING MULTIPLE TECHNIQUES One negative in carrier Created test strip for optimum exposure Exposed print for optimum time Developed as normal One negative in carrier Created test strip for optimum exposure Exposed print for optimum time Developed using the painting with developer technique One negative in carrier Texture (tissue paper) on top of paper Created test strip for optimum exposure Exposed print for optimum time (will be longer because of textured paper) Painted with developer to expose One negative in carrier Textures/objects over top like photogram (bubble wrao tracing paper + spool Created test strip for optimum exposure Exposed print for optimum time Painted with developer - letters C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb mixing techniques for printing.doc

28 2 negatives 1 doll 1 bottle - needs longer exposure time to allow light to get through to paper NB Doll is too dark. Test strip then developed normally C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb mixing techniques for printing.doc

29 PHOTOGRAPHY Dodging and burning in the darkroom You will frequently find that it is not always possible to produce a quality print by just projecting the negative image onto your printing paper and then developing the print. There will sometimes be areas of the print that will be either too light or too dark, while the rest of the image looks good. Example #1: "Burning" You are printing an image that has a scene, horizon and sky. You print, develop and evaluate your print and find that everything looks great, except that the sky is completely devoid of detail, or has very little depth to it. This would also apply to a print that is very light in one corner, while everything else is correct. Burning "Burning" is defined as adding more exposure to a selected area of the print, to make that area darker, and maybe more detailed. Steps for "burning" You have just made a print and have decided that it needs a little "burning". Your negative should be in the carrier and the enlarger settings should be as they were when you made the print. Do not put any enlarging paper in the enlarger. Practice - Place one of your hands under the enlarger s lens, so that you block off any light coming from the lens. Turn on the enlargers light source and project your image onto the easel. Now clasp your 2 hands together under the lens and move and shape them so that the light will only strike the area of the image that will need the extra exposure. This takes a little practice. It will be necessary for you to constantly keep your hands in fairly rapid motion, or you will have a line across your finished print. This technique requires a nice blending of the burned and unburned areas, in order to look completely natural. When finished the actual "burning", you would move one hand up close to the lens to block off all light and then reach over with the other hand and turn off the enlargers light. Expose a piece of photographic paper as before, turn off the enlarger light, but leave the paper in the enlarger. Leave the safe lights on. Set the timer for an adequate amount of time, with which to perform the mechanics of "burning", - try about a 1 minute. Using the "practice" method above, burn the image for 20 to 30 seconds. Your print now has its original exposure time, plus an additional 20 to 30 seconds for the area that was originally too light. For larger prints, since the lens is farther away from the easel, you may have to burn an area for a longer duration. Process the print and evaluate. If the sky section is now too light or too dark, estimate a different burn time and make a new print. Reprint as necessary - This is a trial and error process! C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Dodging and burning.doc

30 Example #2: "Dodging" You are printing an image that is overall good, but one small to medium area is too dark Dodging "Dodging" is defined as reducing the exposure to a selected area of the print, in order to make that area lighter. Dodging is generally accomplished using small tools, that you can custom make to fit the situation. Cut a piece of thin cardboard or other opaque material to the approximate size and shape of the area of the print that needs to be "dodged" ("held back"). Tape the material to a piece of coat hanger rod or something similar. This technique is generally more difficult to master, than is "burning". Steps for "dodging" You have just made a print and have decided that it needs a little "dodging". Your negative should be in the carrier and the enlarger settings should be as they were when you made the print. Do not put any enlarging paper in the easel. Practice - Using your "dodging" tool that you made above, turn on the enlargers light and position the tool between the lens and the easel. Move the tool rapidly back and forth, while maintaining the shadow that it is producing over the area that requires less exposure. Maintain this technique for a fraction of the time of the original print. Using the "practice" method above, make a new print using your "dodging" techniques. Use the same enlarger settings and length of exposure as before, only this time use your "dodging" tools to "hold back" the exposure in the area that printed too dark in the original print. Process the print and evaluate. If area is now too light or still too dark, adjust your "dodging" time and make a new print. Reprint as necessary. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Dodging and burning.doc

31 PHOTOGRAPHY - How to Take Better Pictures Follow the Rule of Thirds Placing your subject off-center creates an interesting, dynamic image. Imagine your photograph divided into three horizontal and vertical sections. To compose a well-balanced, off-center shot, place your subject near the intersections of the imaginary grid lines. This is called the rule of thirds. Get Close Your subject is interesting, so get close to it. Don't let your pictures suffer from a tiny subject and lots of boring, irrelevant space. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb How to take better photographs.doc

32 Try Unusual Angles Be bold! Try turning your camera to 45 degrees before snapping a picture. Or instead of snapping it from eye level, kneel down or lie on the ground to get a more interesting shot. Frame your Subject Try framing your picture with foreground objects to add depth to the image. Pay Attention to Lines Curves, straight lines, and diagonals add energy and movement to your compositions. Let roads and rivers draw the viewer into the image or lead the viewer's eye in a specific direction. Watch for natural geometric patterns and place yourself at an interesting angle to them. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb How to take better photographs.doc

33 Don't let lines unintentionally throw your photo off balance. When you shoot the horizon or a building, keep the straight lines level unless you're shooting at a dramatic, intentional angle. Avoid Cluttered Backgrounds Don't let a cluttered background overwhelm or obscure your subject. Move around, or lie down, to get a clear shot at your subject without the distractions. Avoid Merging Objects As you position yourself to avoid a cluttered background, also look out for trees, lamp posts, and other background objects which might merge with your subject in unfortunate ways. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb How to take better photographs.doc

34 Interesting Shadows and Reflections Reflections and shadows lend a touch of artistry to an otherwise plain picture. They can provide meaningful contrasts (such as an old building reflected in a modern high rise) or depth (such as the shadow of trees along a wooded path). C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb How to take better photographs.doc

35 PHOTOGRAPHY Camera angles for modelling Firstly, shooting a full body photo of a model, is shot from relatively low camera height, generally no higher that the photographers hips. The most flattering head and shoulders portrait is shot from slightly above the models eye level. By shooting from just above the models eye level, you will bring out well defined facial features, shoot from too high however and you will create a distorted view. Shooting from a high angle, creates an interesting look, however, it distorts the proportions. To create a strong image shoot from below eye level, this is generally how world leaders are photographed, as this angle will make your subject seem taller and more dominant. An eye on eye shot, will look plain and ID photo like. Below are some basic examples. The three main angles 1. Straight on eye to eye viewpoint most common but least effective therefore try different perspectives. 2. Flattering viewpoint from just above the eye level. 3. Dominant/Powerful Viewpoint shot from below the eye level.. There is no hard and fast rule to framing images or to the angles used, it is really up to you to create a style of your own. If you look at any glossy fashion magazine, you will see many outrageously framed, lit and model positions. Therefore keeping this in mind, the basis of the creativity in photography seems to be to learn the rules, once mastered go out and break them to create alternative and non-conventional perspectives. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Photgraphing a model.doc

36 The Model s pose The model's pose is crucial to the success of the photo. Often photographers get carried away with the technical aspects of the shoot, such as ensuring the exposure is perfect, making sure the model remains in focus, the framing of the shoot, and controlling the lighting set up, that the actual fine tuning of the model's pose is often overlooked. Then, when you look at the pictures after the shoot, and your photos are technically brilliant, a photo can be ruined by an unnatural pose, or something as simple as a clenched fist, a creased shirt, out of place hair, a uncomfortable head position, or well you get the idea. It is therefore crucial that you not only ensure the technical aspects are perfect, but at the same time you are directing the model, and creating a natural comfortable pose. When a model is uncomfortable it most certainly shows in the pictures, therefore take the time to ensure your model is comfortable, and at ease. Discuss the shoot with your model before hand, to get a common understanding of the shoot. Some models prefer moving around by themselves, while you shoot away, occasionally adjusting a pose you like. Whereas other models prefer you to direct them completely, where you will need to tell or show them exactly what you have in mind. Either way, for the best possible photos, make sure that you have discussed this and have a clear understanding. It is said that the head and the hands are the most noticeable in the photo. So make sure that the head has a natural or comfortable tilt in the photo. Also make sure that the hands are either fully in the frame or out completely, a half cropped hand really does not work. An easy way to break the ice, and make the model more comfortable in the photos, is to bring some props along. This will give the model a character to work with and should loosen up the process. Examples are a pair of sunglasses, a chair, a hat, etc. The best way to have a shoot is to just have fun, if the model is enjoying the shoot, and you mastered all the technicalities mentioned above, the photos are bound to be successful! C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb Photgraphing a model.doc

37 PHOTOGRAPHY CAMERA OBSCURA If a small hole is made in the window blind of a darkened room, an inverted image of the scene outside the window is produced on the opposite wall of the room. (The name Camera Obscura comes from the latin and means 'dark room'). This ability of a pinhole to form an image appears to have been known to the Ancient Chinese as early as the 4th century BC and was first described outside China by the Arabian scholar, Alhazen in about A clear description of the formation of images by a small hole in a darkened room is contained in the manuscripts of Leonardo da Vinci in the fifteenth century and by the mid-sixteenth century, lenses had begun to be used to increase the brightness and sharpness of the image. At first, camera obscuras were always a room in a house. By the seventeenth century, however, smaller, portable versions had appeared. Various forms evolved, including tents, sedan chairs and pocket models. Portable camera obscuras were used widely by artists as aids for sketching. For this purpose the most popular form was the reflex box camera obscura in which the lens formed an upright image on a sheet of translucent paper after reflection by an inclined mirror. At the beginning of the nineteenth century, when the first photographic experiments were taking place, the camera obscura had evolved into three distinct forms; One form was a darkened room with a lens and mirror in the roof, producing an image on a table within the room. Such camera obscura were a common sight at seaside resorts and pleasure parks. A few examples survive today. A second type was in the form of a portable tent. A lens and mirror at the apex of the tent produced an image on a horizontal desk inside the tent. The third form was the portable box-form camera obscura which produced an image on translucent paper. Abelardo Morell Image of S Maria in Venice on Palazzo Wall It was this this type of camera obscura that eventually lead to the development of the photographic camera when it was used by the inventors of photography, Wedgwood, Niepce, Daguerre and Talbot. Camera Obscura Select bibliography Coe, Brian, Cameras - From Daguerreotypes to Instant Pictures, Marshall Cavendish Editions, London, 1978, ISBN Hammond, John H, The Camera Obscura - A Chronicle Adam Hilger Ltd, Bristol, ISBN X Scott, Peter, 'What Came First, Camera or Photograph?' in The Photographic Collector Vol 4 No 1, Spring, 1983 pp Camera Obscuras Today Camera Obscuras were at their most popular during the nineteenth century. Today, only a few survive. As well as original Tower bridge on hotel bedroom wall Morell Albardo 2006 Victorian examples, however, there are some modern camera obscura. For example, in 1990 the Department of the Environment sponsored the building of a camera obscura for the Gateshead Garden Festival. When the festival closed the camera obscura was bought by Hove Borough Council and installed as a visitor attraction at Foredown Tower Countryside Centre. C:\Documents and Settings\jan\Desktop\AL photography\hcb handouts complete set from all areas\hcb CAMERA OBSURA.doc