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P.Rinting Your Own Photographs

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P.Rinting Your Own Photographs P.rinting your own Photographs JOHNSONS OF HENDON LTD MAKING CONTACT PRINTS Printing is always the most fascinating part of photography because it is at this stage that the finished picture is first seen. Contact Prints (so called because the printing paper and negative are held in close contact while being exposed) are made on a specially coated paper one side of which is 'light-sensitive'. This side is usually glossy, and the paper tends to curl Cover part of the sensi­ with this side inwards. tive (glossy) surface of the paper with some small object like a key or a Although it would be spoilt by exposure to coin and expose the paper to light, say, 5 seconds daylight and bright electric light, contact paper is at 2 feet from a 60 w. lamp. quite safe to handle in dim (shaded) electric light or yellow or orange light. Hold the object in position until you are back in the shade, then remove it and examine the In making prints there are four stages: Exposure paper. At this stage it will show no change. of the sensitive paper behind a negative during which time the light acts on the sensitive surface. Now if this sheet of paper is placed in a dish of Development which brings up the image. Fixing developing solution after a very few seconds it will which removes the surplus begin to darken and in about one minute will be chemicals not. blackened quite black except for those parts which were by the developer and makes covered by the key or coin. (The same experiment the print permanent. Wash ­ can be made with leaf skeletons or cut out paper ing and Drying complete shapes-even drawings made with indian ink on the process. tracing paper. The prints will need to be fixed and A simple experiment will washed if they are to be made permanent). show you how the printing From this experiment it will be seen what paper works. Take a sheet happens when a negative is printed. The dark of contact paper from the parts of the negative hold back the light and these 2 3 strongly advised to obtain a packet of normal grade paper only in the first instance and to learn to print his good average grade negatives first. Then as experience is gained he can try the more difficult negatives with the soft or contrast paper grades. Very little apparatus and only two chemicals are required-developer and fixer. The white borders round a print are obtained by You will need two dishes, one for the developing masking with black paper or special masks (such as solution and one for the fixer. A large basin of Johnson See-Thru Masks). clean water for rinsing the prints should also be obtained. (Many photographers like to use a 'Stop Bath', see page 11, between developing and Contact printing paper is made in several grades fixing, in which case a third dish will be needed.) of contrast: 'Normal', this will be suitable for most well exposed negatives; 'Soft', which is used when You can make use of shallow basins or other the negatives contain strong contrast between household utensils provided that they are light and shade (such as might be ·taken in very thoroughly washed in hot water after use but bright sunshine) and 'Hard' (or Contrasty). Hard specially made photo- paper is used with negatives in which there is not graphic developing dishes a great deal of difference between the lighter and are quite inexpensive and darker parts of the image. There are also available i- are much more suitable for very soft and very hard grades of paper but the the purpose. It is sensible three types mentioned will enable you to obtain to avoid putting the fingers good prints from practically alJ your negatives. into the solutions by using small plastic forceps (cost­ To avoid complicating matters the beginner is ing only a few pence) for transferring prints from 4 one solution to the other. " WHERE AND WHEN ensure that all exposures TO WORK are made at the same distance from the lamp. In the evening after The exact distance is not dark it is usually sufficient important but It to 2 feet to draw the curtains and is convenient. A 'pearl' to attach a piece of card or 'opal' bulb is preferable to the lampshade so that as the light from a 'clear' it leaves the part of the bulb tends to be uneven. room where you want to work in shadow. Or you can fix up a card or plywood barrier and work in PREPARING THE SOLUTIONS the shade of that. The main thing is to keep the For developing Contact Paper a fairly strong direct rays of the light from the unexposed paper solution is required and this can be conveniently and the developing dish. Keep all paper in the made by using Johnson M-Q 'Pactums'. These packet (or in your pocket) until you are ready to contain powders to make two batches of developer use it. Yellow or orange light, however, has no of 5 fl. oz. (145 c.c.)-enough to develop about effect on Contact Paper and it is a great con­ three dozen 2t " x l!" prints each. venience to have a special darkroom lamp pro­ Concentrated liquid solutions are very easy to ducing this kind of light (see page 15 for the prepare and Johnson Universol (which is diluted Johnson "Battery" Safelight, the Johnson Allways 1 part developer to 3 parts water) or Johnson Darkroom Lamp). · Con-Sol (I part to 7 parts water) will both give Any room will do but if there are carpets or admirable results. polished tables to be considered use a tray or a The Fixing Bath is easily prepared by dissolving thick wad of newspapers to take care of any the contents of one Johnson Acid Fixing 'Pactum' spilt solutions. in 20 oz. (I pint) of water. Acid Fixing Powder is also obtainable in larger sizes or, if a concentrated THE EXPOSING LIGHT liquid fixer is preferred, Johnson Fix-Sol may be An ordinary 40 or 60 watt bulb is ideal for used (I part Fix-Sol to 5 parts water). making the exposures. The main thing is to Important. Be very careful not to get any of the l'i 7 fixing powder or solution Place this in the frame in the developer and do with the shiny side towards not handle the paper if the glass. you have either developer Take a piece of Contact --ta?'W# , or fixer on your hands. Paperfrom the packet(close Cleanliness is essential if the packet afterwards) and stained and spoiled prints place this, shiny side down, are to be avoided. l on the negative. Fit the back Always use forceps. of the frame in position and secure with the two springs. MAKING THE PRINTS FINDING CORRECT EXPOSURE TIME You should now have ready: Your negatives The exposures will be measured in seconds and (these should be clean, dry and free from dust); accuracy is essential. So this first print will have the Contact Printing Paper (kept in the dark until to be a test print on which subsequent exposures you are ready to use it); a dish of developing will be based. (You can economise in paper by solution; a dish of fixer; a bowl of clean water; cutting a sheet in strips for these experiments). a light to expose by and a printing frame or Cover the frame with a piece of card and take it printing box. to the light. Uncover half the glass for 5 seconds USING A PRINTING FRAME i and then remove the card entirely for another 5 seconds. Quickly This is the least expensive cover the whole frame again and but nevertheless a highly effi­ take it back to the shaded part of cient method of holding nega­ the room where you are working. tive and paper in close contact while printing. Half your print will now have had 5 seconds exposure and the Remove the glass from the frame and see that it is clean other half 10 secQJlds. and free from dust. Replace Take out the paper and immerse it and select your negative. it completely in the developer keep- S! q ing it moving about for DEVELOPMENT exactly one minute (time it!). After 1 minute take it Slide the exposed paper out and place it in the fixing quickly under the surface bath. of the developing solution ~ and gently rock the dish to Within a few seconds it keep the print moving. will be safe to examine this test print in a bright light. The print will be faint at If one half of the print is exactly right, neither first but the image then too dark nor too light you have the correct appears fa irly rapidly. After exposure at once. If half is too dark and half too about 40 seconds develop- light then 7 seconds would be about the exposure ment will slow down. Do not develop for more required. If both halves are too dark repeat the than a minute and do not attempt to pull an over­ experiment doubling the distance from the lamp. exposed print out after only, say, 20 seconds. You Both halves too light indicates that a longer cannot save it and the result will be dull and exposure is required. foggy. Save paper by making test strips first. For subsequent prints from negatives of similar MAKING THE PRINT density to the first one the exposure times will be Having found the correct exposure time you the same.
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