Darkroom Design
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Equipment Evaluation and Design of a Geologically-Oriented Photographic Facility for the Department of Geology and Mineralogy at The Ohio State University SENIOR THESIS-- Presented in fulfillment of requirement for the Bachelor of Science Degree at The Ohio State University Research and compilation by Cecil D. Applegate December 14, 1973 ApproJ. b~:°;l, /. £= •· · · {l !1. ·· Advisor...... ·· ·u· ·· · · · · · · · · · partment of Geology & Mineralogy TABLE OF CONTENTS List of Illustrations ••••••••••••••••••••••••••••••••••••••••••• Acknowledgements. • • • • • • • • . • • • • • • • • . • • • • • . • • • • • • • • • • • • • • • . • • • • • • 2 Abstract•••••••••••••••••••••••••••••••••••••••••••••••••••••••• 3 Introductory Material••••••••••••••••••••••••••••••••••••••••••• 4 Introduction••••••••••••••••••••••••••••••••••••••••••••••• 5 History of Photography••••••••••••••••••••••••••••••••••••• 6 Basic Principles of Photography•••••••••••••••••••••••••••• 8 Geologic Applications of Photography ••••••••••••••••••••••• 11 Design of a Geologically-Oriented Photographic Facility ••••••••• 15 The Dark:room. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 1 6 The Enlarger. • • • • • • • • • • • . • • • . • . • • . • . • • • • • • . • • . • • . • • • . • • . • • 20 The Print Washer••••••••••••••••••••••••••••••••••••••••••• 23 Other Darkroom Accessories••••••••••••••••••••••••••••••••• 25 The Photographic Studio •••••••••••••••••••••••••••••••••••• 28 The Cameras •••••••••••••••••••••••••••••••••••••••••••••••• -
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. -
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. -
Photographic Films
PHOTOGRAPHIC FILMS A camera has been called a “magic box.” Why? Because the box captures an image that can be made permanent. Photographic films capture the image formed by light reflecting from the surface being photographed. This instruction sheet describes the nature of photographic films, especially those used in the graphic communications industries. THE STRUCTURE OF FILM Protective Coating Emulsion Base Anti-Halation Backing Photographic films are composed of several layers. These layers include the base, the emulsion, the anti-halation backing and the protective coating. THE BASE The base, the thickest of the layers, supports the other layers. Originally, the base was made of glass. However, today the base can be made from any number of materials ranging from paper to aluminum. Photographers primarily use films with either a plastic (polyester) or paper base. Plastic-based films are commonly called “films” while paper-based films are called “photographic papers.” Polyester is a particularly suitable base for film because it is dimensionally stable. Dimensionally stable materials do not appreciably change size when the temperature or moisture- level of the film change. Films are subjected to heated liquids during processing (developing) and to heat during use in graphic processes. Therefore, dimensional stability is very important for graphic communications photographers because their final images must always match the given size. Conversely, paper is not dimen- sionally stable and is only appropriate as a film base when the “photographic print” is the final product (as contrasted to an intermediate step in a multi-step process). THE EMULSION The emulsion is the true “heart” of film. -
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). -
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. -
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. -
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 ..... -
Black & White Photography PGY 3406C CRN:15845 Pre-Reqs
Photo by Keith Carter Black & White Photography PGY 3406C CRN:15845 Pre-reqs: PGY 2800C, ART 2600C, or permission of the department Florida Atlantic University- Fall 2018 VA 116 Tuesdays + Thursdays from 9-11:50am Professor: Sharon Lee Hart [email protected] Office Hours: Tuesdays/Thursdays 1-2pm and by appointment Course Description: This course concentrates on analog black and white photography and will utilize pinhole and film cameras. Initially the focus is on the acquisition of necessary technical skills in printing, film processing, and darkroom practices. Through projects, readings and critiques, students will continue working on critical issues in photography as well as on composition and content. Analog/digital hybrid practices will be explored. A working 35mm film camera with manual controls and a tripod are required. Course Objectives: -Develop an understanding of the technical basics of B&W analog photography -Gain knowledge about creating compelling black and white imagery -Develop the ability to process and print 35mm film -Further develop the ability to use photography to communicate an idea visually. -Enhance critical writing skills and visual literacy that allow for the evaluation of the content and aesthetics of a photograph -Develop an appreciation for the medium through the study of past and contemporary photographers. -Gain/strengthen research skills. Learning Methods: Formal demonstrations, hands on practice, readings, lectures, research projects, class discussions, photographic assignments in and out of class and critiques. Attendance Students are expected to attend all of their scheduled University classes and to satisfy all academic objectives as outlined by the instructor. The effect of absences upon grades is determined by the instructor, and the University reserves the right to deal at any time with individual cases of non-attendance. -
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 -
Cyanotype Toning Kit
www.bostick-sullivan.com (505) 474-0890 Cyanotype Toning Kit Thank you for purchasing a Cyanotype Toning Kit from Bostick &Sullivan. The 500 ml kit will tone approximately 50-75 8” x 10” images with a cool, deep magenta color using a Tannic Acid toning solution. Before you begin, read all instructions completely, and follow all safety advisories. 1. Safety and Handling Always follow proper laboratory safety practices when handling chemicals. Wear latex or nitrile rubber gloves, protective eyewear and an apron to limit your exposure. Never store chemicals in a refrigerator that is used to store food. Store all chemicals away from children and pets. The chemicals in your Cyanotype Toning Kit have a shelf life of 10 years at room temperature. 2. Preparing your Workspace You may tone cyanotype prints under normal room lighting, so no safelight is necessary. You will need three trays for the toning process; one for bleaching, a second one for toning, and a third for washing with cold, slow running tap water. 3. Mixing Bleach and Toner Baths Tray 1: Mix 50 ml Bleaching Solution A with 950 ml distilled water. Tray2: Mix 50 to 100 ml Toning Solution B with 900 ml distilled water (Stronger solutions tone more quickly, and give a darker image). 4. Bleaching the Image Submerse your cyanotype image in the bleaching solution. Agitate the tray gently to cover your paper completely. Notice the color change from a bright blue to red, and then begin to fade quickly. Agitate every 20-30 seconds, and continue bleaching for 3 minutes. -
Download Product Catalog
PHOTOGRAPHIC EQUIPMENT Developing excellence for over 65 years 150 Years of Manufacturing Excellence The Charles Beseler Company was founded in 1869 as a manufacturer of a variety of products including inhalers, magic lanterns with oil lamps and stereopticons. By 1943 the company had become an innovative audio-visual company serving the military and education markets. In 1953, Beseler entered the amateur and professional photography fields with the development of the 45 Series Enlarger and other darkroom products. Today, the Charles Beseler Company continues to be the leading supplier of photographic darkroom equipment for the educational market. Proudly made in the USA, at a modern manufacturing facility in Stroudsburg, Pennsylvania, Beseler’s line of high-quality photographic equipment continues to withstand the test of time and remains the industry standard for professionals and amateurs alike. beseler.com NEW PRODUCT DESIGN AND INNOVATION. A BESELER TRADITION. Our team of experts is constantly working on engineering and manufacturing new products to meet your most challenging photographic needs. Check back on our website to discover the very latest Beseler products, parts and accessories in the coming months! From enlargers and light sources to copy stands and easels, Beseler offers the highest quality photographic equipment, all backed by an experienced sales and service team. See why photographers have trusted our products for generations. ENLARGERS 2-3 LIGHT SOURCES 4-5 EASELS 6 COPY STANDS 7 ACCESSORIES AND REPLACEMENT PARTS 8-9 800.237.3537 • beseler.com 1 ENLARGERS 23C III-XL Enlargers All 23C III-XL enlargers are built around the extra long and rigid twin girder construction which helps reduce vibrations while allowing print sizes larger than 16” x20” on the baseboard.