35MM CAMERA Goal - To have students use the 35mm camera as a tool and begin to understand the differences between creating images rather then just recording images. Objectives: 1) Students will be able to take readings with the 35mm camera so as to produce consistently exposed negatives. 2) Students will be able to apply the guidelines to composition when creating photographs. 3) Students will be able to process negatives correctly. 4) Students will be able to produce consistently exposed proof sheets so as to show visual applications of composition and potential images for enlargements. Process: 1) Orientation into the 35mm camera. a) Presentation of the camera, note taking, hands on manipulation of the camera. b) Students apply the hands on experiences by taking a set of negatives. c) Students learn about the tools, chemistry and times for processing negatives. d) Students process their first set of negatives. 2) Orientation into doing a contact print. a) Students use the darkroom, enlarger and chemistry to produce their first set of contact prints. 3) Orientation into the subject for the students first open lab. a) Use of the booklet as it relates to the lab. b) Slides that give the essence of the compositional elements needed to create interesting images. c) Emphasis is placed on the fact that the images that already exist, change with the light and weather. Students need to increase their visual capacity to see. Evaluation: 1) Lab evaluation is attached at the end of the booklet. 2) Written work in the form of quizzes, booklet questions and homework will accompany this lab. 1
THE CAMERA The human eye is the most sophisticated living camera. These living cameras capture images trough the nerves in the eye and send the information to the brain where the visual images becomes meaningful. A camera and an eye are much the same in that light may enter only through a controlled opening. In the eye, this opening is called the iris, and in the camera, it is called the aperture. This controlled opening on cameras is accurately measured and adjusted using f-stop numbers. The pupil of the eye and the lens of the camera gather the reflected light and focus (refract) it into a sharp image. The retina and the film, both sensitive to light, record the controlled image with precision. EYE CAMERA BASIC CAMERA PARTS All cameras contain the same basic parts. The major differences from one camera to another is the location of certain parts. BODY - The body of the camera has to be designed for convenience of handling, but must be large enough to hold the various camera supports and controls. Camera bodies are made of plastic, wood and metal. LENS - This is the : eye of a camera. Its function is to gather (refract) light and focus it on the film. VIEWFINDER - The viewfinder allows the camera user to view and compose the scene that will be captured on film. All viewfinders are designed to permit the camera user to aim the camera towards the selected scene. FILM ADVANCE - This is a mechanism that moves the film forward so a new picture can be taken. Many of the automatic 35mm cameras automatically advances the film. APERTURE - The aperture is the opening that is used to control the amount of light that will strike the film. This aperture has the same function as the pinhole in the pinhole camera. An adjustable aperture is often called an iris diaphragm. Specific aperture openings are identified by f-stop numbers. SHUTTER - The shutter is a device that controls the length of time that can strike the film. It is used in combination with the aperture to expose film. The shutter is similar to the eyelid of the human eye; it is either open or closed. As with aperture, simple cameras contain a fixed shutter speed, while adjustable cameras use shutters that can be regulated for different speeds. 2
EXPOSURE The major variable that the photographer must control is the amount of light that reaches the film. Adjustable cameras contain two major controls, lens aperture and shutter speed which photographers must know. An aperture is an opening which lets the image pass through. Numbers called f-stops are used to measure the size of the aperture opening. The larger the opening, the more light passes through the lens. An iris diaphragm is used to regulate the aperture opening. Focal plane shutters are in nearly all 35mm cameras. These shutters include two rubberized fabric or metal curtains that are mounted as close to the film as possible. Focal plane shutters are designed to operate either in a vertical or horizontal direction across the film. Shutter speeds are measured in fractions of a second. A 1/1000 of a second shutter speed is very fast. Shutter speeds are marked on the camera only with the denominator of the fraction. For example, a marking of 250 equals 1/250 of a second. Each shutter speed permits half or twice the amount of light to pass through the lens. Several combinations of f-stops and shutter speeds transmit the same amount of light. 1/500 1/250 1/125 1/60 1/30 1/15 The number used to designate given apertures or f-stops are based on the diameter of the diaphragm opening and the focal length of a lens. The larger the aperture opening, f-2.8, the faster the shutter speed will be. The smaller the aperture the slower the shutter speed will be. The larger the aperture opening is the less depth of field there may be. The smaller the aperture, f-22, the more infinite depth of field there will be. Shutter speed and f-stop adjustments have a direct relationship. The shutter speed combinations permit the same amount of light to reach the film during exposure. For example, a 1/125 & f-5.6 combination will give the same amount of light (exposure) as 1/15 & f-16 combination. Every time you move the camera the meter readings and therefore the combination ( shutter speed & f-stop) may change. Prior to every picture being taken you should take a reading. 3
FILM Photographic film is the material used to capture the scene. Choosing the right film for the situation is important because the choice of film has a significant effect on the outcome of the photograph. The film sensitivity system is known by the initials ISO (International Standard Organization). Film speed was known as ASA (American Standard Association). Typical film speed ratings are ISO 25, 64, 125, 200, 400, 1000, and higher. ISO relates to black & white film as well as color film. The sensitivity standard is the same with all companies that make film. It is very important to adjust the camera film speed dial to the ISO rating of the film. With this information, the light meter within the camera will be able to calculate the correct f-stop and shutter speed settings, to make the correct exposure. Film speeds are easy to understand. Assuming that the ISO 25 is the base, a film with an ISO of 50 is twice as sensitive to light. Film having an ISO of 125 is five times more sensitive then ISO 25. Camera shutter speeds and f-stops also enter into the film speed rating system. Using slow speed films (25 through 64) will give you one set of readings. Using medium speed films (100 through 200) will give you another set of readings. The slower the film speed the more light is needed to get a good exposure at a fast shutter speed. The faster the film speed the less light is needed to get a good exposure at a fast shutter speed. With the arrival of the digital camera some films are no longer readily available. Most people do not know that their digital camera also has an ISO setting. The ISO setting works in a similar fashion to film. KEY TERMS adjustable camera aperture f-stop compensation iris diaphragm lens pupil retina SLR viewfinder film pressure plate film speed dial film sprokets flash hot shoe focusing screen pentaprism rewind button focal plane shutter leaf shutter compensation half-stop ISO/ASA/DIN bulk loader film contrast film grain film speed composition 4
SHOOTING ASSIGNMENT You are to read the assignment and understand the concept of what is being asked. During an open lab period, get a camera, appropriate film and take pictures. You are not allowed in the cafeteria, bathrooms, in automobiles or academic halls You will have approximately 10/15 frames per assignment. You are to do only one part of the lab each period, take pictures, process your film or do contact prints. Take one or two periods to shoot your assignment. Without interesting images you have just snap shots. Take a full period to process your film. Take a full period to do contact prints. Following the processing of your film you will make contact prints the next class period. Do not shoot your second set of images until you turn in your proof sheet with the proper evaluation sheet. If you are not satisfied with the results or the grade of your shooting, you may reshoot the assignment. The better grade will prevail. COMPOSITION To compose a photograph is one of the most important stages in the process of creating a photograph. Photographic composition can be defined as, a pleasing selection and arrangement of the elements within the picture. There are no hard and fast rules that a photograph must follow to obtain acceptable composition. First and foremost understand the concept; what is being asked of you. Second, apply the guidelines to composition; simplicity, rule of thirds, lines, framing, balance. These are only guidelines and several can be found in one photograph at a time. Keeping a photograph dimple is one of the best seeing guidelines that any photographer can remember. Too much content in the recorded scene makes it difficult for the viewer to see the central theme of the photograph. Photographs can be made to tell a story. If nothing can be said, possibly the photograph should never have been made. Ask yourself, before snapping the shutter, what is my purpose in taking the image. Compose in the viewfinder. The viewfinder in a camera is useful for more than just aiming the camera in the correct direction. It can and should be used to carefully compose or arrange the scene content prior to release of the shutter. Film is wasted when the photographer fails to take even a few extra seconds of time to study the scene in the viewfinder. NO 5 General intersections in which to place the key elements in the photograph. Keep the main object out of the center of the viewfinder
HUBCAPS & TAILLIGHTS ASSIGNMENT: Photograph the surfaces of automobiles; lines, designs, blemishes, reflections, etc. Include in these shots, close-ups, abstract imagery, cropped sections, use of a variety of angles & positions. Fill the frame with your purpose in taking the shot. Do Not aim & shoot, just record images; no logos, stickers, etc. Emphasise surfaces affected by the weather, shadows, light and where its parked. Use the camera vertically as well as horizontal. TIPS: Choose your subjects carefully; the more intricate the better. Some colors reflect better then others. Surfaces with textures, shadows, dents, curves, alter the image. MUST INCLUDE IN THE SHOOTING: Reflections Abstract imagery Altered surfaces; age, rust, dents, etc As close as you can get Radical angle Texture 6
CONTACT PRINT & PROOF SHEET Steps To Take: 1) Head of enlarger even with column. 2) Weak/underexposed negatives use f-16 or f-11. 3) Normal negatives use f-5.6 or f-8. 4) Dense negatives use f-4 or f-3.5. 5) Place CLEAN glass on top of both negatives & paper. 6) Set timer for 30 seconds. 7) Do test print to see if selected f-stop is correct. glass negative photo paper PROCESSING NEGATIVES Developer Short Stop Fixer Water Bath Develop contact print for 60 seconds with full adgitation. Remove and place into short stop. 7 Place contact print into Short Stop for 15 seconds or in & out. Remove and place into fixer tray. Place contact print into fixer for one minute. Take print into classroom light, evaluate and if good, place back into fix for a total of 5 minutes. Remove from fixer tray and place in water bath for 5 minutes. Remove and squeege. Wrap in paper towels and place in folder. Do not have proof sheet touching each other when drying.
PROCESSING NEGATIVES ALL PARTS OF THE DEVELOPING TANK ARE TO BE DRY NEGATIVES NEED TO BE TRANSFERRED TO A DEVELOPING TANK IN TOTAL DARKNESS. NO LIGHT AT ALL MAY GET INTO THE BAG. USE A CHANGING BAG After transfer of the film into the developing tank, the chemistry must be set up. Set the chemistry, front to back. You are making a working solution. DEVELOPER 1:2 (Working Solution) SHORT STOP (water) FIXER (used fixer) 1 Layer, 4ozs. Dektopl to 8ozs. water 2 Layers, 7 ozs. Dektol to 14ozs. water 1 Layer, 12 ozs water 2 Layers, 21 ozs water 1 Layer 12ozs 2 Layers 21ozs A) DEVELOPER All chemistry is to be at room temperature. Set timer for 5 minutes. 1) Pour into developing tank the developer (working solution), agitate for 30 seconds, rest 30 seconds, agitate 5 seconds, rest 25 seconds. Agitate 5 seconds, rest 25 for the remaining 4 minutes. When finished developing, recycle the dektol into the used dektol container. SHORT STOP 2) Pour the short stop into the developing tank, agitate for the full 30 seconds, pour down the drain. FIXER 3) Set timer for 5 minutes Pour fixer into the developing tank. Do not dilute, use as is. Agitate for 30 seconds, rest 30 seconds. Agitate 5 seconds rest 25 seconds, do this for the remaining 4 minutes. Recycle the fixer back into the fixer bottle, do not pour down drain. WATER BATH 4) Submerge developing tank into water bath, remove lid, take film off reel. Scribe name & period into both ends of the film. Place film into the photo flo. Hang reel up, put tank together, place upside down on sink. PHOTO FLO 5) Film sits in photo flo for 5 minutes, totally submerged Take film out of photo flo and place in the dryer. Hang from a clip with a clip at the bottom. 8
Student EVALUATION OF HUBCAPS & TAILLIGHTS Period 100 points Consistent negative exposure Proof sheet exposure & processing Understood and filled the goals of the assignment used automobile surfaces Filled the frame with primary and secondary compositional elements Sought out images Visually dissected automobiles Applied guidelines to composition Reflections Created abstract images Shot pieces, details, patterns, lines Close ups Some images worthy of making enlargements EVALUATION OF HUBCAPS & TAILLIGHTS 100 points Consistent negative exposure Proof sheet exposure & processing Understood and filled the goals of the assignment used automobile surfaces Filled the frame with primary and secondary compositional elements Sought out images Visually dissected automobiles Applied guidelines to composition Reflections Created abstract images Shot pieces, details, patterns, lines Close ups Some images worthy of making enlargements
Booklet Questions - 35mm camera, Hubcaps & Taillights Student Period 1) All photography needs light. What type of light is needed to create a negative? 2) You have shot at least one set of film. List the film speed of any of the film you used? 3) The old settings on the camera and box of film was ASA. This is the speed of the film which indicates it s sensitivity to light. What is the new abbreviation for film speed which also is found in digital menus? 4) Allowing a certain amount of light, for a certain length of time, to strike the film is called exposure. Besides the film speed, list one other camera setting needed to make a proper exposure? 5) After the film is processed, you will see an overexposed negative as what color? 6) When taking a reading with our 35mm film cameras, your film speed is set, your shutter speesd is set and you continue to change your f-stop to get a readng. If you exhaust all of the f-stops and still could not get a reading what camera part would you adjust to get a reading? 7) When taking a reading you change and adjust the f-stops. Even when changing the f-stops the camera always let s you see and focus at what f-stop? 8) You were asked not to photograph below what shutter speed? 9) What part of the camera (use it s proper name) do you look through to compose your scene? 10) Within the Into to Photo classes, students have already messed up taking pictures because their film didn t advance. What part of the camera will show you each time you advanced the film, that the film is caught and advancing? 11) Proper exposure in most cameras is controlled by three settings. Which of the three settings is most important. The latter two settings rely on the first setting to tell them the type of film being used? 12) When looking through the camera, at the meter, what does + mean? 13) When your meter gives you a reading of -, what setting do you adjust to change this reading? 14) The retina is to the eye, as the is to the camera? 15) The aperture is to the camera as the is to the eye? 16) All film cameras, including our eye, first produce a negative. What part of our body reverses the negative image that enters our eye? 17) The pupil is to the eye as the is to the camera. 18) When the trigger is pressed on a SLR camera the viewfinder turns what color? 19) Give another name for aperture? (35mm only) 20) After exposure but before processing you have images on the film. These images are called? 21) The developer does what to the image on the film? (A term beside develop) 22) Which of the four steps in processing film, hardens the image on the film? 23) Which solution in processing film, stops the developing action as well as cleans off excess developer? 24) In order to make a working solution of developer we use a ratio of 1:2. What does the 2 represent? 25) During the first steps in processing, the chemistry is rotated and circulated. This prevents air pockets and makes sure that the chemistry touches the film all over. What is this process called? 26) Film speed slower then ISO 100 is considered in what range, category of film speed? 27) The tool used to distribute film into your cartridges called? This tool holds 100 of film. 28) In the illustration of the f-stops, which f-stop lets in the most amount of light? 29) Which f-stop will give you the greatest amount of depth of field? 30) In this lab, (35mm, hubcaps & taillights) what single essence are you asked to photograph?
BOOKLET QUESTIONS ANSWER SHEET Student Period 1) 2) 3) 4) 5) 6) 7) 8) 9) 10) 11) 12) 13) 14) 15) 16) 17) 18) 19) 20) 21) 22) 23) 24) 25) 26) 27) 28) 29) 30)