5.1 Pos-Neg Photogram Tips

Total Page:16

File Type:pdf, Size:1020Kb

5.1 Pos-Neg Photogram Tips REMEMBER: Photo paper is light sensitive. Never open your photo paper in white light or while your enlarger light is on. Ms. Brown Photography 1 Darkroom Assignment #1 POSITIVE / NEGATIVE PHOTOGRAM STEPS 1. Make a TEST STRIP of your POSITIVE photogram 1. Place glass in the center of your enlarger base. 2. Adjust height so that the light shines on the entire glass surface. 3. Turn aperture to widest setting (brightest light). • Remember the apertures are located on lens of the enlarger. 4. Adjust focus so the edges of your rectangle of light are crisp. 5. On the lens of your enlarger click aperture down to f/8 then turn timer OFF. 6. Put test strip (8” x 2” strip of photo paper) under the glass. 7. Arrange objects on top of the test strip (choose solid and transparent objects). 8. Cover the entire test strip using the mat board at your station and set timer to 5 seconds. 9. Start timer and expose ¼ of strip at a time, unblocking ¼ more of your test strip every 5 seconds. 10. Unblock strip FOUR times, every 5 seconds for a total of 20 seconds. • ALWAYS KEEP TIMER OFF WHEN ADJUSTING 11. Process your test strip through the chemicals and look at it outside of the darkroom in a tray. • You may need to make a new test strip based on the results of the first one 12. The average time for a photogram is 8 - 10 seconds. You are looking for an area of your test strip that has dark blacks contrasting with light white areas and several shades of grey. 13. Write down final info: . Enlarger Height . Best Time . Aperture Setting REMEMBER: Photo paper is light sensitive. Never open your photo paper in white light or while your enlarger light is on. 2. PRINT your 8” x 10” POSITIVE photogram 1. Timing is based on the results of your test strip. 2. DO NOT CHANGE HEIGHT ADJUSTER OR APERTURE! 3. Put a piece of photo paper under the easel and arrange your objects on top. 4. Set timer to the time you determined from your test strip. 5. Expose your objects on a full sheet of printing paper for the time you determined from your test strip. 6. Develop exposed paper in chemicals. 7. Once your print is processed through chemicals and rinsed put in tray and take out into classroom to view. 8. If you need to reprint, adjust the TIME and expose again and develop in the chemicals. 9. You should have one finished 8” x 10” print of your positive photogram. 3. Make a TEST STRIP of your NEGATIVE photogram (on a different day) 1. Place glass in the center of your enlarger base. 2. Adjust height so that the light shines on the entire glass surface. 3. Turn aperture to widest setting (brightest light). • Remember the apertures are located on lens of the enlarger. 4. Adjust focus so the edges of your rectangle of light are crisp. 5. On the lens of your enlarger click aperture down to f/8. Turn OFF your timer and switch from “focus” to “time”. 6. Put your positive photogram face down on top of 8” x 2” test strip so that they form a “sandwich”. • Clear glass should cover the “sandwich”. 7. Cover the entire test strip using the mat board at your station and set timer to 5 seconds. 8. Start timer and expose ¼ of strip at a time, unblocking ¼ more of your test strip every 5 seconds. 9. Unblock strip FOUR times, every 5 seconds for a total of 20 seconds. • ALWAYS KEEP TIMER OFF WHEN ADJUSTING REMEMBER: Photo paper is light sensitive. Never open your photo paper in white light or while your enlarger light is on. 10. Process your test strip through the chemicals and look at it outside of the darkroom in a tray. • You may need to make a new test strip based on the results of the first one 11. Write down: . Enlarger Height . Best Time . Aperture Setting 4.PRINT your NEGATIVE 8” x 10” Photogram 1. Timing is based on the results of your test strip. 2. DO NOT CHANGE HEIGHT ADJUSTER OR APERTURE! 3. “Sandwich” your positive photogram face down on a full piece of photo paper (shinny side up) with clear glass on top. 4. Set timer to the time you determined from your test strip. 5. Expose your “sandwiched” papers for the time you determined from your test strip. 6. Develop exposed paper in chemicals. (do not reprocess your positive photogram print in the chemicals again) 7. Once your print is processed through chemicals and rinsed put in tray and take out into classroom to view. 8. If you need to reprint, adjust the TIME and expose again and develop in the chemicals. 9. You should have one finished 8” x 10” print of your negative photogram. .
Recommended publications
  • 17. Display and Illumination of Color and B&W Prints
    575 The Permanence and Care of Color Photographs Chapter 17 17. Display and Illumination of Color and B&W Prints The Alarming Light-Induced Image Discoloration and Base Cracking of B&W RC Prints on Long-Term Display Those serving the needs of collections being as for how much image fading and staining can be toler- heavily used for exhibition face a serious di- ated. As discussed in Chapter 7, valuable color prints should lemma. On one hand, they are chronicling, aid- be monitored with a densitometer, and visually significant ing and abetting in the systematic destruction changes in color balance, overall density, and minimum of the photographs they are charged to protect density stain levels should not be permitted to take place. by supporting reprehensible exhibition prac- Display of color prints is inherently detrimental to them, tices. On the other hand, they largely owe their but avoiding display runs counter to the reasons most pho- existence to those very exhibition programs. tographs are made and frequently conflicts with the pur- . The current exhibition vogue amounts to poses for which most individuals and museums collect prints. a systematic program of accelerating the deg- radation of our most valued and important pho- The Expendable or Replaceable Color Print tographs. The practice can and must be changed. No doubt there will be many who will claim that If a color print has no lasting value — or if it can be such an assessment is too extreme and that replaced with a new print after the original has deterio- the problem is being exaggerated.
    [Show full text]
  • Cyanotype Detailed Instructions
    Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear.
    [Show full text]
  • Enlarger / Photogram Review Worksheet Photography 1 Ms. Brown Names Block Date
    Enlarger / Photogram Review Worksheet Photography 1 Ms. Brown Names Block Date Find your enlarger partner and work as a team to fill out the following handout. 1. It is safe to have your photo paper out of the box/bag while you focus the enlarger light. a. True, photo paper is light sensitive but not THAT sensitive. b. False, photo paper is light sensitive and should never be left out or opened when any kind of white light is present in the darkroom or classroom, which is why you turn your timer OFF while you get out your paper. 2. Please explain why we make “test strips” in photography. 3. What should you consider for your photogram composition? a. Asymmetry b. Movement c. Full range of values including true black and true white d. Strong focal point e. All of the above 4. A PHOTOGRAM is also known as a RAYOGRAM named after the artist MAN RAY. a. True b. False 5. What is the difference between “focus” and “time” on your timer? Please explain. 6. What number enlarger are you assigned to? _____ 7. Find your assigned enlarger and write down the apertures (f-stops) from brightest to dimmest. (hint…apertures are located on the lens of your enlarger) BRIGHEST (2.8) ------------------------------------------------------------------- (32) DIMMEST 8. Turn your aperture (f/stop) to the brightest setting. Now set your aperture to f/8. How many clicks does it take to get to f/8 on YOUR enlarger? (This will vary depending on the brand of your enlarger) _______ BEFORE YOU BEGIN WORKING IN THE DARKROOM TODAY.
    [Show full text]
  • ART-191 / Darkroom Photography
    Course Name: Darkroom Photography Instructor Name: Course Number: ART-191 Course Department: Humanities Course Term: Last Revised by Department: April 2021 Total Semester Hour(s) Credit: 1 Total Contact Hours per Semester: Lecture: Lab: 30 Clinical: Internship/Practicum: Catalog Description: This course covers basic darkroom concepts and procedures. Students will learn to shoot with 35mm film cameras, develop roll film, make enlargements, and create full-sized negatives for contact processes. Students will learn to apply basic design elements and principles to their photographs. Via self- and class critiques, students will evaluate their own work and that of their peers. Required participation in the college photography show. This course will allow students to find new forms of self-expression, both in visual career fields and on a personal level. Pre-requisite: ART-184 Credit for Prior Learning: There are no Credit for Prior Learning opportunities for this course. Textbook(s) Required: Access Code: Required Materials: Suggested Materials: Course Fees: $35 Institutional Outcomes: Critical Thinking: The ability to dissect a multitude of incoming information, sorting the pertinent from the irrelevant, in order to analyze, evaluate, synthesize, or apply the information to a defendable conclusion. Effective Communication: Information, thoughts, feelings, attitudes, or beliefs transferred either verbally or nonverbally through a medium in which the intended meaning is clearly and correctly understood by the recipient with the expectation of feedback. Personal Responsibility: Initiative to consistently meet or exceed stated expectations over time. Department Outcomes: A. Students will analyze diverse perspectives in arts and humanities. B. Students will examine cultural similarities and differences relevant to arts and humanities.
    [Show full text]
  • The Fine Art of Photography Eighth Annual Juried Photography Exhibition 2018 Prospectus
    THE FINE ART OF PHOTOGRAPHY EIGHTH ANNUAL JURIED PHOTOGRAPHY EXHIBITION 2018 PROSPECTUS Categories: • Color • Black and White • Non-Traditional (Please note that the Judges’ assessment of which category an entry will be judged is final.) AwarDs: • $500 Best in Show, • Each Category: $250 First Place, $100 Second Place, • Two Honorable Mentions per category Color and Black and White Categories: This is traditional photography. The image has conventional post processing techniQues that enhance the image appearance without changing the pictorial content. Edits and/or effects that changes an image’s appearance from being a normal photograph may be categorized as Digitally Enhanced. Cropping, sharpening, and removal of obtrusive artifacts such as dust specks are allowed. Black and White includes monochromatic and sepia tones. Non-TraDitional Photography (incluDes the following) • Digitally EnhanceD: An image that does not meet the stricter reQuirements for the Color or Blank & White categories, or which has been digitally enhanced beyond the appearance of a photograph. It may have subjects or lighting added, removed or otherwise modified to create the image. • Vintage anD Alternative Printing Processes: Despite having been pioneered decades ago, alternative- printing processes — the photogram, daguerreotype, tintype, collodion, Mordançage and others — are still widely practiced. The 21st century has witnessed increased popularity among these and other organic printing methods, as photographers gravitate to the uniQue, unpredictable and fascinating print characteristics achievable through these time-honored techniQues. This is the perfect opportunity to show off your darkroom skill and creative vision. • Pinhole/Plastic Camera Imagery: This category includes analog photography, e.g. pinhole cameras and plastic cameras like the Holga, Diana and Lomo.
    [Show full text]
  • Making Photos with the Sun
    MAKING PHOTOS WITH THE SUN For her exhibition at Storm King this year, artist Kiki Smith made this artwork, called river light. It is made up of nine brilliant blue flags arranged in a circle. Each flag is an image of sunlight sparkling on water. Kiki took these images from videos she made of the East River in New York City as she walked from her apartment to a nearby pool to swim. To make her flags, Kiki Smith used an almost 180-year- old photography process called cyanotype. A cyanotype is a kind of photograph made without a camera. It is made by coating paper or fabric in chemicals that change color when exposed to light. Then, an object or a transparent photo negative is placed on the treated paper and exposed to the sunlight. Everywhere the sunlight reaches, the paper turns deep blue, but everywhere that it is covered up, where the sun does not reach, stays white. Originally, cyanotypes were used to copy text and architectural drawings. Even though they’re no longer copied by cyanotype, that’s why building plans are still sometimes called blueprints! Anna Atkins was the first person to use the cyanotype process to record other kinds of things beside text and building plans. In 1843 she began placing algae and plant specimens directly onto cyanotype paper and exposing them to light to record their exact size and shape. She included over three hundred of these photograms, or photos made by placing objects directly onto photo-sensitive paper, in the very first book illustrated entirely with photographs, Photographs of British Algae: Cyanotype Impressions.
    [Show full text]
  • Color Printing Techniques
    4-H Photography Skill Guide Color Printing Techniques Enlarging Color Negatives Making your own color prints from Color Relations color negatives provides a whole new area of Before going ahead into this fascinating photography for you to enjoy. You can make subject of color printing, let’s make sure we prints nearly any size you want, from small ones understand some basic photographic color and to big enlargements. You can crop pictures for the visual relationships. composition that’s most pleasing to you. You can 1. White light (sunlight or the light from an control the lightness or darkness of the print, as enlarger lamp) is made up of three primary well as the color balance, and you can experiment colors: red, green, and blue. These colors are with control techniques to achieve just the effect known as additive primary colors. When you’re looking for. The possibilities for creating added together in approximately equal beautiful color prints are as great as your own amounts, they produce white light. imagination. You can print color negatives on conventional 2. Color‑negative film has a separate light‑ color printing paper. It’s the kind of paper your sensitive layer to correspond with each photofinisher uses. It requires precise processing of these three additive primary colors. in two or three chemical solutions and several Images recorded on these layers appear as washes in water. It can be processed in trays or a complementary (opposite) colors. drum processor. • A red subject records on the red‑sensitive layer as cyan (blue‑green). • A green subject records on the green‑ sensitive layer as magenta (blue‑red).
    [Show full text]
  • Darkroom Fog Test - Intraoral
    Minnesota Department of Health Radiation Control, X-ray Unit Dental Darkroom Fog Test - Intraoral Equipment needed • Timer • Coin • Unexposed Intraoral Film Packet (Fastest film in use) Procedure Turn off Safelights In the totally darkened darkroom or inside the glove box of the processor, remove the film from the film holder and place it on the counter. Place the coin on the film. Turn on safelights. Let film sit for 2 minutes, which is the nationally recognized standard. Change your position in the darkroom so as not to block any light from the film. Process the film. Because your eyes have now partially adapted to the dark (about 5 minutes) look for light leaks around the door, and around ceiling fixtures and vents. Evaluate the film. If the outline of the coin is visible, a fog problem exists that needs to be corrected. Date film(s) and record results. Radiation Control, X-ray Unit 625 North Robert Street PO Box 64497 St. Paul, Minnesota 55164-0497 651-201-4545 www.health.state.mn.us/xray [email protected] Determining where fog is from Run another fog test, this time leaving the safelights off. If the fog is reduced, you have a safelight problem. If the fog is not reduced, there is probably a white light problem. Some possible sources of safelight fog The bulb or filter may give off the correct color spectrum for the film being used. The bulb may not be the correct wattage for the distance to the work surface. A 15-watt bulb should be four feet or more from the surface.
    [Show full text]
  • Digital Photography- JB
    COURSE OF STUDY UNIT PLANNING GUIDE FOR: DIGITAL PHOTOGRAPHY GRADE LEVEL: 9-12 PREPARED BY: CAROLYN WAGNER SUPERVISOR: JACQUELINE BELLO REVISED AUGUST 2019 Dumont High SCHOOL DUMONT, NEW JERSEY [Born Date: August 20, 2015] ALIGNED TO THE NJSLS AND B.O.E. ADOPTED AUGUST 22, 2019 Digital Photography – Grade 9-12 – Full Year – 5 Credits This course will explore camera functions and basic principles of photography. Students will use Adobe Photoshop to gain an understanding of post-production photography techniques. Students will also gain an understanding of digital file types and resolution for quality printing and online distribution. Major topics of study will include, lighting, composition, as well as various photography genres, such as landscape, portrait and still photography. An additional component of this course will be the history of photography and influential photographers, both historical and current. Grade Distribution Categories - Class participation 20% Teacher will make an assessment as to how well the student is prepared for class each day, attentiveness and energy to projects being created. Class participation follows through to project participation. Each student is expected to work to the best of their individual ability. Project grades 60% Students are expected to complete all projects assigned. Teacher will make an assessment as to students work based on their individual ability, following of directions, craftsmanship* and meeting the objectives of the given assignment. * The ability to demonstrate pride and neatness in one’s own work. Care/Use of Materials/Equipment 20% Students will be evaluated on their use of tools and materials in the art room. Care and safety will be followed at all times.
    [Show full text]
  • Darkroom Lighting Basics
    Darkroom Lighting Basics Requirements: 7. “White Light” and clean-up lighting systems have 1. Darkroom lighting for each film product follows failsafe procedures to avoid accidentally fogging safelight “Darkroom Recommendations” in unprocessed film. published product technical data. When a mix of product types is used in a particular area, the 8. Machine film sensors are appropriate for the film most conservative (least chance of fogging) product being handled. lighting recommendation should be used. 9. Laboratory runs periodic checks of darkroom 2. Use of “task lighting” (light on only while lighting systems to verify that film is not being performing specific task) and “guide lighting” fogged under any normal operating condition. A (e.g., LED strip lighting outlining walkways and check should be done anytime darkroom lighting objects) is preferred to overall illumination (e.g., is changed or if light leaks are suspected. yellow sodium vapor room illumination). Darkroom lighting should not shine directly on unprocessed film, except as required for safety. Examples: 1. Unprocessed camera films should be handled in 3. Machine control, computer, and data entry total darkness. For safety, very dim green guide systems should use designed “task lighting” lighting (LED strip lights) may be used to outline concepts to minimize product exposure. walkways, walls, and darkroom hazards. Safe task lighting may be used for reading labels or 4. Use of hand-held “safelights” are discouraged data entry. In no case should light shine on the except for emergency use. film itself (even after dark accommodation, you should not be able to see the film itself with any 5.
    [Show full text]
  • GRAFLEX EN LA RG - 0 R- PR I NT ER Important Features of the GRAFLEX ENLARG - OR - PRINTER
    NATIONAL SERlfSJI GRAFLEX EN LA RG - 0 R- PR I NT ER Important Features of the GRAFLEX ENLARG - OR - PRINTER ENLARG-OR- PRINTER as natur­ ally appeals to the owner of an elabor­ ately equipped darkroom as it does to the newcomer. Its features supplement other apparatus-supplant less effec­ tive methods and practices. Here are a part of them: 117idt Range-for en­ larging accepts all negatives from 35 mm. to zU" x 3 Uti sections of 4" x 5" negatives. Regular top takes up to 8" x 10" paper" for contact printing or enlarging. An accessory extension top provides for contact prints or enlarge­ ments to I I" x 14". Unlimited large sizes are easily made. Interchangeable lens board permits use of owner's camera lens of proper focal length. Accessory lenses are available. Ground Glass Focusing-an exclusive ENLARG­ OR - PRINTER feature. Strip film holders as well as a book-type holder for cut films. Masking Blades are scaled and adjustable-hold the "negative flat for contact printing. Tilting Top-for correcting or creating distortion. With top tilted, the platen plate glass serves as retouching desk. Illumination varied by controlled light. Readily portable, self-contained, sturdily and precision built. GRAFLEX ENLARG-OR-PRINTER PRICES For those about to equip a dark- • • 'IIIIIl. ENLARG-OR -PRINTER, ~::-~~:~:tu~~~l:: d~~~::s:ar~f • • ~ complete except for lens, limitations of space-the ENLARG- • Is but_._ ..... __ ._._ ....... $87.50 OR-PRINTER is made to order! The Accessory Extension Strip Film Holder lop for llx14 prints or Apartment dweller or estate owner , ' enlargements, is .....
    [Show full text]
  • A Curriculum Guide
    FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This page is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE PART IV Resources FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This section is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE Focus Lesson Plans Fand Actvities INDEX TO FOCUS LINKS Focus Links Lesson Plans Focus Link 1 LESSON 1: Introductory Polaroid Exercises Focus Link 2 LESSON 2: Camera as a Tool Focus Link 3 LESSON 3: Photographic Field
    [Show full text]