3 Home reference manual

Analog photography step-by-step manual

Project report

Cristiana Costin MA Information Design 2016–17 Tutors: Ruth Blacksell & Bryn Walls Department of Typography & Graphic Communication University of Reading

1 Home reference manual

Contents

Project brief 4

Discover Topic and audience 5 Reference reading 6 Bookshop visit 7 Styles of visual instructions 8

Transform Strategy approach 10 Structure and format 11 Book cover 14 Contents page 16 Chapter dividers 18 Reference spread 20 Process spread 22 Glossary spread 24

Make Production specifications 25 Typographic styles 26 Grid structure 27 Blad details 28 Conclusion 36 Project brief

Background The home reference manual is a specific genre of books dedicated to the large audience, aims to be read and understood by a general group of people and is surrounded by practical topics such as DIY, cookery, health or physical activities. Most popular publishers in this domain are Dorling Kindersley and Reader’s Digest.

Aims • To understand how text, photos and diagrams can work togeth- er to explain information in a heuristic way • To explore the possibilities offered by the double page spread • To understand the role and relationships of publishers, writers, packagers and designers in home reference publishing

Deliverables A blad (book layout and design) consisting a minimum of four spreads, along with specifications about production and design style like typographic details and color scheme: • Cover • Contents page • Reference spread • Process spread

Considerations • Design with the targeted user group in mind and develop the strategy based on the level of knowledge of the user and age group • Try to approach the layout like a double page spread, as a unit • Use multimodality throughout the book with the help of hierar- chy and interplay between verbal and visual language • Develop the overall structure of the book under the form of a flatplan, where the structure is clearly defined

4 Home reference manual Discover

Aims

• Understand the targeted user group • Identify different types of instructional manuals • Research on this specific type of editorial design

Actions

• Bookshop visit and material research • Investigate styles of instructional diagrams • Identify differences between reference and process spreads

5 Home reference manual Topic and audience

Topic decision I decided to create a home reference manual about analog photog- raphy because it is a topic I have experience with and I could devel- op a process spread based on own observations which I find useful and wish to share with beginner photographers. When I started my research with a visit to the bookshop, I noticed that they had a couple of books related to photography but only one specifically on analog photography. Other popular techniques found online and in other bookshops are related to pinhole cameras and the well known digital photography. The lack of books on this topic made me more enthusiastic about this decision.

Persona The structure of the book is based on a main user group. In order to develop an appropriate look and feel for the book, a persona profile was created and managed to define the overall strategy for the home reference manual. The persona was created based on own observations of different users in specific contexts. Also, my own experience with this type of photography helped me to gather faster insights after I made a list with the major difficulties I encountered during the whole process.

Andrew, aged 17 • Lives in a flat with his girlfriend in London • Has a couple of cameras around the house but he never really developed a serious interest in shooting with them • Likes art, mixed-media and collages, experimental art in general • He recently attended an analog photography exhibition and was impressed with the creative work he saw there Objective: Start playing with analog photography and take photo- graphs with the cameras he already has at home.

6 Home reference manual Reference reading

About the book genre Before starting to think about layout sketches and structure, we had to understand the genre of the home reference manual. Rob Waller held an Open University course that contains a text called How popular books are designed. This text is based on a series of interviews that Waller had with a publishing manager, an editor and a designer from Dorling Kindersley. I extracted some essential ideas that helped me develop my approach:

• Illustrations and photographs should be carefully selected because the home reference manual is sold in several foreign markets and the meaning of certain elements might be disturb- ing for user groups that have different traditions. While photog- raphy always ensures accurate depictions, the illustrations help the user to understand the inner parts with the help of sections and see-through drawing techniques. • The cover is a very important part of the book. It has to be very attractive, to catch the eye of the user when they are browsing bookshelves and also, has to represent its contents. • The information contained in this kind of books is presented in flowcharts, where each chapter has a certain number of pages dedicated. The length of the chapters is decided before the content is selected. The content should fit the structure and not the other way around.

About visual sequences A reading I found about instructions, called Making connections: and topic structures typography, layout and language, by Rob Waller was very useful to me when it came to structure the process spread and the overall hierarchy of the information. He presents in his thesis, The typo- graphic contribution to language. Towards a model of typographic genres and their underlying structures different strategies for presenting information in sequences and compares the views of authors like Nash and Halliday & Hasan (p. 156): • Step / Temporal • Stack / Additive • Star / Adversative • Chain / Causal

7 Home reference manual Bookshop visit

Book analysis Analog photography is a topic which is becoming increasingly popular because of its vintage aspects. At the bookshop I paid attention to book sizes, the type of paper that was used along with details like position on the shelf and the impact of the spine compared to other books from the same shelf. Lomography is a website which sustains analog photography and occasionally publishes books about photography along with other publishing houses which have a more traditional look. The film photography handbook by Chris Marquardt and Monika Andrae

Hardcover: 282 pages Publisher: Rocky Nook Dimensions: 8.2 × 0.7 × 10 inches

Figure 1 Cover of the book Has a minimal contemporary look that uses color contrast and bold sans serif letters but does not reflect the interior of the book. I thought it is a colorful book that uses a lot of illustrations but has only black and white photography and a couple of tables and diagrams. Figures 2,3 Contents page and reference spread It has a traditional look and is very much based on symmetry and serif typeface. The book tries to combine images with text but I think the result is not very successful. Could use some color photography in order to attract the user that browses the book on the shelf.

8 Home reference manual Styles of visual instructions

Illustration research In the previously-mentioned paper by Rob Waller, two books are being analysed by the author in terms of image and text combi- nations: The handbook of skiing and The handbook of swimming published by Knopf and written by Karl Gamma. I borrowed the handbooks from the library and studied the different techniques that are being used in order to differentiate between various types of information, spoken in different voices. Some illustrations are appropriate although some appear quite different, as if they are part of a separate book. I could also observe the types of sequences explained by Waller, such as stacks and chains.

The handbook of skiing The whole book uses the colour blue throughout the chapters by Karl Gamma to highlight different elements of the page, although this makes the book more dull and boring. While there are many chapters, Paperback: 320 pages they are all treated in the same way and it is hard to differentiate Publisher: Knopf between levels of information because they are all represented in Dimensions: 1 × 6.8 × 9.2 inches the same tints of blue.

Figure 4 Figure 5 Cover of the book Colourful illustra- Reference spread The layout makes use of borders and boxes to segment informa- tions that create dynamics on the page tion. However, the drawings use the same color even though the type of infor- but are not very helpful in establishing mation is different. The products presented in the image are not proportional in relation to each other. This makes me feel confused when I look at the items. what information you can find inside.

9 Home reference manual Figure 6 Reference and process pages There is a level of inconsistency in the illus- tration styles. Sometimes they are very geometric and axonometric, but other times they are very realistic. Moreover, the book sometimes combines pho- tography and drawings to illustrate a certain movement from different points of view. The use of a background color makes the black and white photos appear slightly more interesting.

Analog photography Most of the instructional drawings related to photography make illustration styles use of technical drawings and section views. Some styles decide to show hands for more realism, some exclude them so that the user could focus on the objects shown in the diagram. Other styles, more contemporary, make us of photography. This type of techniques is like a collage illustration because arrows and other movement signals are shown digitally, on top of the photo.

Figure 7 IKEA cardboard rechargable camera Image source: https://petapixel. com/2012/04/27/ikea-cardboard-cam- era-called-knappa-to-land-on-store- shelves-soon/

Figures 8, 9 Instructional drawings from scanned old user manuals. Image source: http://www.butkus.org/ chinon/mamiya/mamiya_nc1000/ma- miya_nc_1000_1000s.pdf

10 Home reference manual Transform

Aims

• Establish the structure of the book based on content • Identify the visual grammar needed for spreads • Explore layout possibilities for the required blad

Actions

• Develop a flatplan for the book with different chapters • Gather the content and define typographic styles • Create instructional diagrams for the process spread • Test different formats for the book

11 Home reference manual Strategy approach

Key insights and The discovery stage was necessary in order to generate relevant goals for the blad key insights into analog photography home reference manuals. Contemporary books about photography contain instructional spreads based on photos with additional digital visual cues added over the photo. I decided to take a different path for my book. Coloured illustrations are suitable for the young group of users I selected as the primary audience.

• Illustrations could be used for instructional information while photos could be used just to exemplify different results related to the final product. While most books about photography use black and white illustrations, my approach will contain more colours, making the whole product more appealing. • The book will have a structure that is also reflected in the colour palette. Each chapter will have a designated colour and an icon. • The book should be handy and easy to transport, meaning that people can experiment with the camera while reading the instructions. • Because it is a book for beginners, there will not be a huge amount of information inside; the home reference manual rep- resents an intro that could lead to further reading, if the person is interested. • The content will be technical, in most parts. There will be gener- al information about basic photography characteristics such as aperture, shutter speed and ISO as well as practical examples of different cameras and the functions of each camera

The blad The finished book layout and design will be represented by key spreads that reflect the overall look and feel of the manual:

• A cover page • Contents page • Chapter dividers • Reference spreads • Process spreads (step-by-step) • Glossary

12 Home reference manual Structure and format

Format I chose a smaller book size because I wanted it to be a book that people could carry around with them. In addition, the fact that young people are scared of thick, big books was an element I considered when choosing the specific size. At first I wanted to pro- duce something bigger than A5, although after feedback sessions with Bryn I decided on a 160 by 220mm page size that allowed me to use a multi-column grid and was big enough to present appeal- ing photos, even in relatively small sizes

Binding With regards the binding of the home reference manual, it will either be a softcover paperback or a flexi-bind, as this will allow the book to lie flat when open. This is an advantage for the process spreads, which must be followed without holding the book in hand, because the photography processes imply using both hands most of the time.

Contents of the book I started to think about the content that would go inside the book. I divided the information I thought was relevant into sections and decided on the instructional processes I will illustrate. Moreover, the contents page was defined in order to make sense of the colour code that will be used throughout the book. 1 Introduction Why analog photography Enjoying the process

2 Equipment Body of the camera SLR and compact cameras Aperture, shutter speed & ISO Types of 35mm film Lenses

3 Taking pictures Getting started Single exposure Multiple exposure Flash photography Cross processing Flash photography Using the self-timer

4 Processing film Darkroom setup Exposure times

5 Specifications Glossary References

13 Home reference manual Flatplan cover end end title page copyright title page table of contents papers papers + author + publisher

1 2 3 4 5 6 7 8 9

divider introduction introduction introduction divider equipment body of lens aperture shutter the camera speed

10 11 12 13 14 15 16 17 18 19

cameras film inserting the battery using the strap divider taking single exposure formats pictures

20 21 22 23 24 25 26 27 28 29

multiple exposure film swaping tips & tricks

30 31 32 33 34 35 36 37 38 39

divider developing how to draw on film process

Figure 10 40 41 42 43 44 45 46 47 48 49

Sketches for the reference spread in divider specifications early development. The flatplan helped me better place in space different types 50 51 52 53 54 55 56 57 58 59 of information I planned on including divider resources in the book. divider glossary

60 61 62 63 64 65 66 67 68 69

Figure 11 end end cover papers papers Final version of the flatplan.

70 71 72

The structure of the flatplan changed a couple of times before this final version. I used a better division for the different chunks of informations. The flatplan helped me to easily visualize the size of each chapter and the recurrence of layout structures.

Typeface family I decided to choose a versatile typeface family that could allow me to use different typographical voices. I wanted to constrain myself by using only one typeface family and vary the tone of voice by size, column width or condensed version of the letters. My choice was Trade Gothic LT Std because the weights really make a difference and could be used somehow like different type- faces. Using a big family of type makes the book more coherent. Trade Gothic Bold Trade Gothic Condensed No. 18 Trade Gothic Regular 10pt: SLR cameras have a mirror between the lens and film that reflects the image so that it appears the right way up on a translucent focusing screen. They permit up- right and laterally correct viewing through use of a roof penta- prism situated in the optical path between the reflex mirror and viewfinder.

14 Home reference manual The grid of the book

Figure 12 Sketches that explore different varia- tions for the reference spread; I thought about timelines, chains, transitions across the spread or even clean, simple tables for information that does not need more than that.

Figure 13 While I gathered the information I needed for the interior of the Sketches for the layout of the book and book, I also thought about the grid and how that information the use of a multi-column grid. This would fit inside in a unified way. I decided to structure the book type of grid is very flexible, allowing on a multi-column grid created from six columns, while horizontal different types and sizes of information. guides were used for the hanging of different elements such as images or headings.

divider - chapter page table of contents

reference spread

15 Home reference manual Book cover

Visual elements The book should have a colourful cover which stands out on the bookshelf. Most photography books tend to opt for a black cover or other minimal approach which does not reflect the contents. I wanted to use photography on the cover, but not as a main unit. Moreover, it is important to make hints about instructional draw- ings, so that the user might get a sense of what is inside just by looking at the front and the back cover of the reference manual.

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The MIT Press Massachusetts Institute of Technology Cambridge, Massachusetts 02142 http://mitpress.mit.edu

16 Home reference manual FILM IS ALIVE

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you fall in love with FILM IS ALIVE analog photography. Either if you keep it for you or you turn it into a gift, the book is a must-have from any home. Enjoy reading! ANALOG PHOTOGRAPHY

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The MIT Press Massachusetts Institute of Technology Cambridge, Massachusetts 02142 http://mitpress.mit.edu

17 Home reference manual Contents page

Visual aspects The book should have a contents page which will reflect the navi- gational structure of the book. The chapters and the sub-chapters should have a similar typographic style, while the contents page and the colour coded language should respect the exact order of the chapters and sub-chapters.

First iteration Chapter title Sub chapter title Table of contents

Figure 19 I wanted to create a contents page Introduction 4 Taking pictures 26 Developing process 48 similar to the chapter divider pages but Why analog photography 6 Getting started 28 Darkroom set-up 50 the feedback received was that these Enjoying the process 8 Single exposure 30 Exposure times 52 Multiple exposure 32 are different sections of the book and Flash photography 36 should be treated in different ways. Equipment 10 Cross processing 40 Specifications 54 Body of the camera 12 Flash photography 44 Glossary 56

SLR and compact cameras 16 Using the self-timer 46 References 58

Aperture & shutter speed 21

Types of 35mm film 23

Lenses 25

2 3

Figure 20 Chapter title Sub chapter title

I tried to create a connection between Contents the image and the text and to treat the spread as a whole, in the same way the Introduction 4 Equipment 10 Taking pictures 26 Developing process 48 Specifications 54 image is treated. Applying text directly Why analog photography 6 Body of the camera 12 Getting started 28 Darkroom set-up 50 Glossary 56 Enjoying the process 8 SLR and compact cameras 16 Single exposure 30 Exposure times 52 References 58 to an image is very costly when the Aperture & shutter speed 21 Multiple exposure 32 book is set to be translated to another Types of 35mm film 23 Flash photography 36 Lenses 25 Cross processing 40 language. Flash photography 44

Using the self-timer 46

4 5

18 Home reference manual Second iteration Contents Figure 21 I removed the full-size image approach and instead added a small image for Introduction 5 Equipment 9 Taking pictures 21 Developing process 35 Specifications 41 each chapter column. I tried to play Why analog photography 6 Body of the camera 10 Getting started 22 Darkroom set-up 36 Glossary 42 Enjoying the process 8 SLR and compact cameras 12 Single exposure 24 Exposure times 38 References 44 with colours and alignments. Aperture, shutter speed & ISO 14 Multiple exposure 26

Types of 35mm film 16 Flash photography 28 The feedback received was that the Lenses 18 Cross processing 30 Flash photography 32 contents page does not really reflect Using the self-timer 34 the treatment of the other pages of the book. As such, I decided that I should connect them more and apply the First published 2017 their individual chapters, has been asserted in accordance from the publishers. by MIT Press, 2 Park Square, Milton Park, Abingdon, Oxon with sections 77 and 78 of the Copyright, Designs and British Library Cataloging in Publication Data same typographic styles. OX14 4RN Patents Act 1988. A catalogue record for this book is available from the British All rights reserved. No part of this book may be reprinted or Library © 2017 selection and editorial matter, Alison White and reproduced or utilised in any form or by any electronic, me- Paul Moon chanical, or other means, now known or hereafter invented, ISBN: 978-0-415-78623-5 (pbk) The right of Alison White and Paul Moon to be identified as including photocopying and recording, or in any information Publisher's note: Typeset in Trade Gothic produced by Lino- the authors of the editorial material, and of the authors for storage or retrieval system, without permission in writing type. Printed in Singapore

Third iteration

Contents

Introduction 5 Equipment 9 Taking pictures 21 Developing stage 35 Specifications 41

Why analog photography 6 Body of the camera 10 Getting started 22 Darkroom set-up 36 Glossary 42

Enjoying the process 8 SLR and compact cameras 12 Single exposure 24 Exposure times 38 References 44

Aperture, shutter speed & ISO 14 Multiple exposure 26

Types of 35mm film 16 Flash photography 28

Lenses 18 Cross processing 30

Flash photography 32

Using the self-timer 34

First published 2017 their individual chapters, has been asserted in accordance from the publishers. by MIT Press, 2 Park Square, Milton Park, Abingdon, Oxon with sections 77 and 78 of the Copyright, Designs and British Library Cataloging in Publication Data OX14 4RN Patents Act 1988. A catalogue record for this book is available from the British All rights reserved. No part of this book may be reprinted or Library © 2017 selection and editorial matter, Alison White and reproduced or utilised in any form or by any electronic, me- Paul Moon chanical, or other means, now known or hereafter invented, ISBN: 978-0-415-78623-5 (pbk) The right of Alison White and Paul Moon to be identified as including photocopying and recording, or in any information Publisher's note: Typeset in Trade Gothic produced by Lino- the authors of the editorial material, and of the authors for storage or retrieval system, without permission in writing type. Printed in Singapore

Figure 22 Connecting the contents page with the structure of the book could be done by employing the same system used for the running heads. Colour and background tints which correlate to each chapter were used, although the feedback was that the page still failed to sufficiently relate to the other spreads.

19 Home reference manual Chapters dividers

Visual aspects The introduction to each chapter should be bold and should speak to the users with images and colour. The introduction pages contain a little description of the chapter along with a list of the sub-chapters included in the section. The user is introduced to an icon system; each chapter contains a representative icon that connects the contents page with the dividers and with the running heads of the spreads.

First iteration Chapter title Sub chapter title Equipment Figures 23, 24 Body of the camera 12 SLR and compact cameras 16 I wanted to select bold dividers with Aperture & shutter speed 21 Types of 35mm film 23 full-size photos that reveal the charac- Lenses 25

The equipment section goes over everything one will need to take some great teristics of analog photography. The pictures and develop them their selves. The shooting section covers camera setting from film speeds to f-stops everything one needs to know. Lastly the developing + scanning section involves getting your pictures developed and into feedback received was that the use of a digital format that can be shared with all. images was good, but the choice of ap- plying type over an image is not a good solution for cases when the book is set to be translated to another language.

6 7

Chapter title Sub chapter title

Introduction

Why analog photography 6

Enjoying the process 8

Pop-art icon Andy Warhol was once quoted as saying, “The idea of waiting for something makes it more exciting” and it perfectly applies to analog photog- raphy. There is no LCD screen to check your photos and you’ll only see what you have captured after the film roll has been processed, scanned and printed. Ask any analog photography devotee and they’ll tell you that the wait is part of the thrill! Once you get into analog photography, you’re sure to find it creative- ly fulfilling. Colors are richer, the saturation is more dramatic (or ‘wild’ if you wish), and the film grain adds soul and character to your images, they seem to evoke nostalgic and dream-like memories. Experimentation and the thrill of the unknown drive us in our love for analogue.

8 9

20 Home reference manual Second iteration

Figure 25 Equipment 9 Body of the camera 10

I wanted to continue using the full-size SLR and compact cameras 12 image for impact, but resolve the prob- Aperture, shutter speed & ISO 14 Types of 35mm film 16 lem with the overlying text. I added a Lenses 18 The equipment section goes over every- thing one will need to take some great white background rectangle behind the pictures and develop them their selves. The shooting section covers camera setting from film speeds to f-stops everything one text and this use of layers created an needs to know. Lastly the developing + scanning section involves getting your pic- tures developed and into a digital format illusion of space. Some colour from the that can be shared with all. specific chapter was introduced to set the mood for the section. The feedback received suggested a bigger typeface size and, perhaps, an image that relates more to the contents.

Third iteration

Equipment

Body of the camera 10

SLR and compact cameras 12

Aperture, shutter speed & ISO 14

Types of 35mm film 16

Lenses 18

The equipment section goes over everything one will need to take some great pictures and develop them their selves. The shooting section covers camera setting from film speeds to f-stops everything one needs to know. Lastly the developing + scanning section involves getting your pictures developed and into a digital format that can be shared with all.

Figure 26 I correlated the text part more with the book structure. I also used the same styles that are used inside the chapters and chose to make the typeface size bigger to create more of an impact. The image was changed to one that manages to sum up basic tools needed for analog photography practice.

21 Home reference manual Reference spread

First iteration The intent was for the reference spread to contain different types of information and to use various voice tones in order to suggest different things. The pages should be crowded, but in a systematic way. The hierarchy of the information is meant to guide the user and to help him/her navigate and easily scan the pages. Figures 27, 28

The reference spreads try to use the Chapter title Sub chapter title multi column grid in an efficient way. SLR and compact cameras Aperture & shutter speed

Certain types of information are spread This first section of the book introduces the You will see how models range from the totally This first section of the book introduces the You will see how models range from the totally 35mm camera and its main controls. A look automatic to types that bristle with controls all 35mm camera and its main controls. A look automatic to types that bristle with controls all at the features needed in any 35mm camera requiring user attention. Each camera type has at the features needed in any 35mm camera requiring user attention. Each camera type has across six columns, while some are leads on to the differences between the com- its advantages and limitations, and choice is leads on to the differences between the com- its advantages and limitations, and choice is pact and the single lens reflex (SLR) - the two not simply a matter of price. Depending on the pact and the single lens reflex (SLR) - the two not simply a matter of price. Depending on the most popular analog film camera designs that type of camera you use, exposure can be either most popular analog film camera designs that type of camera you use, exposure can be either assigned to only two columns. exist today and that could easily be found. fully automatic or completely manual. exist today and that could easily be found. fully automatic or completely manual.

Canon QL17 (SLR) Olympus XA2 (compact) Aperture (depth of field)

SLR cameras have a mirror between the lens and film that Compact cameras have a separate optical viewfinder, recog- The feedback session suggested that reflects the image so that it appears the right way up on a nizable by its window on the front of the body near the lens. translucent focusing screen. They permit upright and laterally Shooting with a point and shoot should feel like an effortless correct viewing through use of a roof pentaprism situated in extension of your very existence.The key is to find a camera green be changed to a more saturated the optical path between the reflex mirror and viewfinder. that speaks to you on a personal level. ƒ/1.4 ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22

Aperture ring Hot shoe Film rewind Viewfinder Autofocusing Sliding cover collects more light depth of field collects less light and vivid colour and that the use of knob 75 blurry background objects are in focus mm 65 needs faster shutter speed needs slower shutter speed so many rules should be eliminated. mm

Everything appears too linear and Shutter speed (exposure time) structured. Indeed, certain elements fast moderate slow very slow actions hand holding movement blur tripod needed that break the grid should be integrat-

120mm 100mm 1/ 1/ 1/ 1/ 1/ 1/ 1/ 1/ 1/ 1/ 1/ 12 48 2000 1000 500 250 125 60 30 15 8 4 2 1 stop ed. The icons tend to float in the year. I Action The direct vision viewfinder of the compact camera is often clearer to use photography than the viewfinder of a SLR camera, especially in dim subject lighting. And page 23 if you have eyesight problems, many compacts offer an autofocus facility. The less light exposure time more light feel that I should perhaps correlate the viewfinder design is also suited to action photography – moving subjects can freeze motion show motion be seen before they enter the marked-out picture zone. less noise more noise icon with the running head in a unified 10 11 system.

Chapter title Sub chapter title

Cross Types of 35mm films normal cross processing process C-41 process page 31 colour negative colour negative This first section of the book introduces the You will see how models range from the totally 35mm camera and its main controls. A look automatic to types that bristle with controls all at the features needed in any 35mm camera requiring user attention. Each camera type has leads on to the differences between the com- its advantages and limitations, and choice is E-6 pact and the single lens reflex (SLR) - the two not simply a matter of price. Depending on the most popular analog film camera designs that type of camera you use, exposure can be either colour slide colour slide exist today and that could easily be found. fully automatic or completely manual. Cross-processing (also known as ‘x-pro’) is the procedure of deliberately processing one type of film in a chemical solution intended for another type of film. As particular chemical solutions are optimized for specific kinds of film, you will get unpredictable and interesting results when they are combined differently. For more importation, go to Chapter 4 in this book.

How to choose film speed

Film speed is the measure of a photographic film. Highly sensitive films are correspondingly film’s sensitivity to light, determined by sen- termed fast films. In both digital and film sitometry and measured on various numerical photography, the reduction of exposure corre- negative positive black and white scales, the most recent being the ISO system. sponding to use of higher sensitivities general- Relatively insensitive film, with a lower speed ly leads to reduced image quality. In short, the C-41 processing E-6 processing C-41 / E-6 processing index, requires more exposure to light to pro- higher the sensitivity, the grainier the image good films:Kodak Portra, Ektar 100 good films:Agfa CT Precisa, Velvia 50 good films:Ilford, Kodak, Fujichrome duce the same image density as a more sensi- will be. Ultimately sensitivity is limited by the tive film, and is thus commonly termed a slow quantum efficiency of the film or sensor. In the case of color negatives, the colors Color reversal film produces positive Conventional black-and-white negative are also reversed into their respective transparencies, also known as diapos- film can be reversal-processed to complementary colors. Typical color itives. Transparencies can be reviewed produce black-and-white slides, as by negatives have an overall dull orange with the aid of a magnifying loupe and Chrome. Although kits of chemicals for 100 200 400 600 800 1600 3200 tint due to a color-masking feature that a lightbox. If mounted in small metal, black-and-white reversal process- ultimately results in improved color plastic or cardboard frames for use in ing may no longer be available to reproduction. Negatives are normally a slide projector or slide viewer they are amateur darkroom enthusiasts, an acid used to make positive prints on photo- commonly called slides. Photographic bleaching solution, the only unusual graphic paper by projecting the nega- prints can be produced from reversal component which is essential, is easily tive onto the paper with a photographic film transparencies, but this process prepared from scratch. Black-and-white enlarger or making a contact print. requires the use of an internegative to transparencies may also be produced Color negatives incorporate an orange convert the positive transparency image by printing negatives onto special posi- color correction mask that compensates into a negative transparency, which is tive print film, still available from some bright light required/smooth image less light require/has noise,grain for unwanted dye absorptions and then printed as a positive print. specialty photographic supply dealers. less sensitive to light more sensitive to light improves color accuracy in the prints.

12 13

22 Home reference manual Second iteration 16 / Equipment Types of 35mm film / 17 Types of 35mm film

135 is photographic film in a film format used for still photography. It is a cartridge film with a film gauge of 35 mm, typically used for hand-held photography in 35 mm film cameras. Its Figures 29, 30 engineering standard for the film is controlled by ISO 1007. The term 135 (ISO 1007) was introduced by Kodak in 1934 as a designation for the cassette for 35 mm film, specifically for still photography. It quickly grew in popularity, surpassing 120 film by the late 1960s to become I selected a specific colour for each the most popular photographic film size. Despite competition from formats such as 828, 126, 110, and APS, it remains so today. 135 camera film always comes perforated with Kodak Stan- dard perforations. The size of the 135 film frame has been adopted by many high-end digital single-lens reflex and digital mirrorless cameras, commonly referred to as full frame. Individual chapter. The reference spreads I rolls of 135 film are enclosed in single-spool, light-tight, metal cassettes to allow cameras to be color negative film: Fujifilm Superia 200 black & white negative film: Ilford HP5 400 loaded in daylight. decided to show in bold are part of negative positive black and white the chapter dedicated to equipment and have a blue tone throughout the chapter. I integrated more pictures into the spreads to create more dynamics color positive film: Agfa CT Precisa 200 cross-process of color positive film: Agfa CT Precisa 200 C-41 processing E-6 processing C-41 / E-6 processing LOOK and I also developed some schematic good films: Kodak Portra, Ektar 100 good films: Agfa CT Precisa, Velvia 50 good films: Ilford, Kodak, Fujichrome normal cross process C-41 process INSIDE In the case of color negatives, Color reversal film produces Conventional black-and-white colour negative colour negative illustrations that join the technical the colors are also reversed positive transparencies, also negative film can be rever- into their respective comple- known as diapositives. Trans- sal-processed to produce mentary colors. Typical color parencies can be reviewed black-and-white slides, as by normal E-6 information pertaining to aperture, negatives have an overall with the aid of a magnify- Chrome. An acid bleaching process dull orange tint due to a ing loupe and a lightbox. If solution, the only unusual colour slide colour slide color-masking feature that mounted in small metal, or component which is essen- ultimately results in improved cardboard frames for use in a tial, is easily prepared from Cross-processing (also known as ‘x-pro’) is the procedure shutter speed and film speed, because color reproduction. slide projector they are com- scratch. of processing one type of film in a chemical solution monly called slides. intended for another film. You will get unpredictable and they are easier to understand in a interesting results. For more information go to page 30. visual way.

The cross-reference box was person- alised more through the addition of a 14 / Equipment Aperture, shutter speed & ISO / 15 different message and the integration Aperture, shutter speed & ISO Shutter speed (exposure time) of images. The main header descrip- Shutter speed refers to the length of time a Examples of shutter speeds: 1/15 (1/15th of It is difficult to take good pictures without having a solid understanding of aperture, shutter camera shutter is open to expose light into the a second), 1/30, 1/60, 1/125. Once the light speed and ISO – the three kings of photography, also known as the ‘exposure triangle’. While camera sensor. Shutter speeds are typically goes past the lens aperture, it then hits the tion contains keywords in the same most new DSLRs have ‘Auto’ modes that automatically pick the right shutter speed, aperture and measured in fractions of a second, when they shutter curtain, which is like a window that is even ISO for your exposure, using an auto mode puts limits on what you can achieve with your are under a second. Slow shutter speeds allow closed at all times, but opens when needed. camera. In many cases, the camera has to guess what the right exposure should be by evaluat- more light into the camera sensor and are The shutter then opens in a matter of millisec- colour in order to summarise the main ing the amount of light that passes through the lens. Thoroughly understanding how aperture, used for low-light and night photography, while onds, letting the light hit the camera sensor shutter speed and ISO work together allows photographers to fully take charge of the situation by fast shutter speeds help to freeze motion. for a specified amount of time. manually controlling the camera. Knowing how to adjust the settings of the camera when need- elements that will be discussed in the ed, helps to get the best out of your camera and push it to its limits to take great photographs. specific section. Aperture (depth of field)

Aperture is a hole within a lens, through which ‘f’ numbers (also known as ‘focal ratio’, since 1 / 2000 1 / 500 1 / 125 1 / 30 1 / 8 1 / 2 light travels into the camera body. The larger the f-number is the ratio of the diameter of the hole, the more light passes to the cam- the lens aperture to the length of the lens). fast moderate slow era sensor. Aperture also controls the depth Examples of f-numbers are: f/1.4, f/2.0, f/2.8, of field, which is the portion of a scene that f/4.0, f/5.6, f/8.0. To have a good understand- The feedback suggested giving up on appears to be sharp. If the aperture is very ing about exposure and how shutter speed, ISO (film speed) small, the depth of field is large, while if the aperture and ISO affect it, we need to under- aperture is large, the depth of field is small. In stand what happens within the camera when a Film speed is the measure of a photographic film. Highly sensitive films are correspondingly the dotted rules because they do not photography, aperture is typically expressed in picture is taken. film’ssensitivity to light, determined by sen- termed fast films. In both digital and film sitometry and measured on various numerical photography, the reduction of exposure corre- scales, the most recent being the ISO system. sponding to use of higher sensitivities general- appear in other elements of the book. Relatively insensitive film, with a lower speed ly leads to reduced image quality. In short, the index, requires more exposure to light to pro- higher the sensitivity, the grainier the image duce the same image density as a more sensi- will be. Ultimately sensitivity is limited by the Moreover, the coloured keywords tive film, and is thus commonly termed a slow quantum efficiency of the film or sensor. seemed a bit too much. The running head was better than the first one, ƒ / 1.4 ƒ / 2.8 ƒ / 5.6 ƒ / 8 ƒ / 16 ƒ / 22

the camera collects more light depth the camera collects less light 100 200 400 640 800 1600 although it should be bigger and more of photos have a blurry background field photos have all objects in focus united. The navigation should have needs faster shutter speed needs slower shutter speed the same typographic style for easy recognition.

Third iteration 16 / Equipment Types of 35mm film / 17 16 / Equipment Types of 35mm film

135 is the photographic film in a film format used for still photography. It is a cartridge film with a film gauge of 35 mm, typically used for hand-held photography in 35 mm film cameras. Figure 31 Its engineering standard for the film is controlled by ISO 1007. The term 135 (ISO 1007) was introduced by Kodak in 1934 as a designation for the cassette for 35 mm film, specifically for still photography. It quickly grew in popularity, surpassing 120 film by the late 1960s to The running heads became more become the most popular photographic film size. Despite competition from formats such as 828, 126, 110, and APS, it remains so today. 135 camera film always comes perforated with Kodak Standard perforations. The size of the 135 film frame has been adopted by many high- visible and the navigation now works end digital single-lens reflex and digital mirrorless cameras, commonly referred to as full frame. Individual rolls of 135 film are enclosed in single-spool, light-tight, metal cassettes to allow color negative film: Fujifilm Superia 200 black & white negative film: Ilford HP5 400 much better. The difference between cameras to be loaded in daylight. You can store your films in the refrigerator for the best quality. Negative Positive Black & white chapter and sub-chapter is created through the use of colour and typo- graphic style. The secondary headings color positive film: Agfa CT Precisa 200 cross-process of color positive film: Agfa CT Precisa 200 were changed and an attempt was normal cross C-41 processing E-6 processing C-41 / E-6 processing FIND process C-41 process made to simulate the same treatment good films: Kodak Portra, Ektar 100 good films: Agfa CT Precisa, Velvia 50 good films: Ilford, Kodak, Fujichrome OUT colour negative colour negative In the case of color negatives, Color reversal film produces Conventional black-and-white MORE the colors are also reversed positive transparencies, also negative film can be rever- as the divider page with the blue over into their respective comple- known as diapositives. Trans- sal-processed to produce normal E-6 mentary colors. Typical color parencies can be reviewed black-and-white slides, as by process negatives have an overall with the aid of a magnify- Chrome. An acid bleaching colour slide colour slide a tint of the same colour. The feedback dull orange tint due to a ing loupe and a lightbox. If solution, the only unusual color-masking feature that mounted in small metal, or component which is essen- Cross-processing (also known as ‘x-pro’) is the procedure ultimately results in improved cardboard frames for use in a tial, is easily prepared from of processing one type of film in a chemical solution was that a secondary colour should color reproduction. slide projector they are com- scratch. intended for another film. You will get unpredictable and monly called slides. interesting results. For more information go to page 30. perhaps be introduced because the blue is currently too dominant.

23 Home reference manual Process spread

Visual aspects The process spread is meant to present a step-by-step process by integrating text into the image. In my case, the process spreads are actually instructional spreads based on technical illustrations with captions that present the information shown visually. The image is the main method of communication, with the text serving as just an aid for the image and not the other way around. While the majority of analog photography instructions contain drawings of hands, I chose to exclude them in order to keep the focus on the small parts of the camera that have to be handled.

First iteration Chapter title Sub chapter title Getting started

This first section of the book introduces the You will see how models range from the totally 35mm camera and its main controls. A look automatic to types that bristle with controls all Figures 32, 33 at the features needed in any 35mm camera requiring user attention. Each camera type has leads on to the differences between the com- its advantages and limitations, and choice is pact and the single lens reflex (SLR) - the two not simply a matter of price. Depending on the most popular analog film camera designs that type of camera you use, exposure can be either Too much green is used in the spreads. exist today and that could easily be found. fully automatic or completely manual.

Rum num ducilitatur maximus ut assequaturis After that, take your new batteries and in- The tools box should be branded more. Inserting batteries and loading film et latiust, quod eos alis quos dolum quidis sert them into the camera in the exact order etusam volesserum es dignatia pera autatur presented in the image. You must always Most of the time, people think that their ana- Difficulty: easy sero in prestia eptium am, se rest apidel int start with the positive end and then align The numbers for the steps are very log camera is not working because it is broken licipsa nducilit fugiae net hiliatur sapides sim them so that the polarities complete each or other similar motif but in fact, cameras do You will need sum doluptas dellabo rupient molum facillu other ( + - )Nam aut enditibus utasit not work for the simple reason that they do not 3 4 big, while I should also think about have charged batteries inside them. The first · analog camera thing to do after you buy a camera is to check · two LR44 batteries the batteries and the exposure settings. You · a coin or something similar the steps that only have two lines of can do that with the help of a coin or some- · a 35mm photographic film thing similar to unscrew the cap. text. Every version of the steps should back of the camera LR44 look good on the same template. The coin batteries use of a photograph at the end of the Rum num ducilitatur maximus ut assequaturis After that, take your new batteries and in- et latiust, quod eos alis quos dolum quidis sert them into the camera in the exact order instruction set as a final result received etusam volesserum es dignatia pera autatur presented in the image. You must always sero in prestia eptium am, se rest apidel int start with the positive end and then align licipsa nducilit fugiae net hiliatur sapides sim them so that the polarities complete each good feedback. sum doluptas dellabo rupient molum facillu other ( + - )Nam aut enditibus utasit Get a coin and unscrew the cap of the battery After that, take your new batteries and 5 6 holder that is found on the back of the insert them into the camera in the exact camera. Hold the camera like in the image so order presented in the image. You must Cross-processing (also known as ‘x-pro’) is the procedure of deliberately To insert that used batteries would not fall on the floor always start with the positive end and then processing one type of film in a chemical solution intended for another type of reversed film and distract your attention. Cameras are very align them so that the polarities complete film. As particular chemical solutions are optimized for specific kinds of film, page 31 1 sensitive! 2 each other ( + - ) 14 15

Chapter title Sub chapter title

Multiple exposure

This first section of the book introduces the You will see how models range from the totally 35mm camera and its main controls. A look automatic to types that bristle with controls all at the features needed in any 35mm camera requiring user attention. Each camera type has leads on to the differences between the com- its advantages and limitations, and choice is pact and the single lens reflex (SLR) - the two not simply a matter of price. Depending on the most popular analog film camera designs that type of camera you use, exposure can be either exist today and that could easily be found. fully automatic or completely manual.

Rum num ducilitatur maximus ut assequa- After that, take your new batteries How it works turis et latiust, quod eos alis quos dolum and insert them into the camera quidis etusam volesserum es dignatia pera in the exact order presented in the Most of the time, people think that their ana- Difficulty: easy autatur sero in prestia eptium am, se rest image. You must log camera is not working because it is broken apidel int licipsa nducilit fugiae net hiliatur or other similar motif but in fact, cameras do You will need sapides sim sum doluptas dellabo rupient not work for the simple reason that they do not 3 have charged batteries inside them. The first · analog camera thing to do after you buy a camera is to check · two LR44 batteries the batteries and the exposure settings. You · a 35mm photographic film can do that with the help of a coin or some- · cool ideas thing similar to unscrew the cap.

Get a coin and unscrew the cap of the battery After that, take your new batteries and Final result holder that is found on the back of the insert them into the camera in the exact camera. Hold the camera like in the image so order presented in the image. You must Theoretically, you can multiple expose the same frame forever but eventually Experiments that used batteries would not fall on the floor always start with the positive end and then the picture will get white from too much light that got into the camera. But with film and distract your attention. Cameras are very align them so that the polarities complete with a low ISO film, you can possibly get up to ten exposures into one frame. page 35 1 sensitive! 2 each other ( + - ) 16 17

24 Home reference manual Second iteration 22 / Taking pictures Getting started / 23 Lift the film Getting started 3rewind knob slowly, so that If you’ve never shot film before, or if you’re working with a camera you don’t really know how to you do not break use, there are shortcuts to help you get to the gratification of shooting without so many calcula- any plastic part Figures 34-36 tions. Obviously, these are shortcuts and do not replace actual learning, but they can definitely and then pull the helpful for trying out a film camera that you have never used before. Maybe not high noon, but cover to insert shoot during the day when there’s plenty of light. Low light situations are tricky, so avoid shad- the film ows and interiors at first or you’ll probably end up with a super underexposed roll, and that does I used a brighter green for this chapter not turn quite well all the time. and highlighted the movement in steps Inserting batteries and loading film

Most of the time, people think that their ana- Difficulty: medium with the use of blue arrows. The feed- log camera is not working because it is broken or other similar motif but in fact, cameras do You will need not work for the simple reason that they do not back session helped me realise that I have charged batteries inside them. The first · analog camera thing to do after you buy a camera is to check · two LR44 batteries the batteries and the exposure settings. You · a 35mm photographic film should use a different colour since this can do that with the help of a coin or some- · cool ideas thing similar to unscrew the cap. one is already assigned to a separate chapter of the same book. I created more variety in steps by showing an Insert the film into the camera and try to fit the tip of the After that, close the door and wind the film slowly to get 4film in the perforated holes of the roll until it remains 5it started. Happy shooting! important step in a larger format. fixed into a still position.

Moreover, the numbers were changed Get a coin and unscrew the cap of the battery holder that Take your batteries and insert them into the camera in Technical problems Sometimes it happens to break the LOOK 1 is found on the back of the camera. Hold the camera so 2 the exact order presented in the image. You must always film into the camera while loading or rewinding it because INSIDE that used batteries would not fall on the floor. start with the positive end and then align them so that the it gets stuck into the plastic roll. Be careful about these to a style that contains drop caps and is polarities complete each other ( + - ) moments and act slowly. For more information go to page 53. more unified, even if there are only two lines of text for a step.

Once I changed the colour of the 22 / Taking pictures Getting started / 23 arrows, things started to look more Lift the film Getting started 3rewind knob slowly, so that appealing. I decided to do another If you’ve never shot film before, or if you’re working with a camera you don’t really know how to you do not break use, there are shortcuts to help you get to the gratification of shooting without so many calcula- any plastic part tions. Obviously, these are shortcuts and do not replace actual learning, but they can definitely and then pull the process spread to show the structure in helpful for trying out a film camera that you have never used before. Maybe not high noon, but cover to insert shoot during the day when there’s plenty of light. Low light situations are tricky, so avoid shad- the film ows and interiors at first or you’ll probably end up with a super underexposed roll, and that does a much more effective way. The second not turn quite well all the time. spread uses the grid in a different way Inserting batteries and film Most of the time, people think that their ana- log camera is not working because it is broken You will need Difficulty: easy and displays a picture at the end as the or other similar motif but in fact, cameras do not work for the simple reason that they do not · analog camera have charged batteries inside them. The first · two LR44 batteries final step of the process. thing to do after you buy a camera is to check · a 35mm photographic film the batteries and the exposure settings. You · cool ideas can do that with the help of a coin or some- thing similar to unscrew the cap.

Insert the film into the camera and try to fit the tip of the After that, close the door and wind the film slowly to get 4film in the perforated holes of the roll until it remains 5it started. Happy shooting! fixed into a still position.

Get a coin and unscrew the cap of the battery holder that Take your batteries and insert them into the camera in Technical problems Sometimes it happens to break the FIND 1 is found on the back of the camera. Hold the camera so 2 the exact order presented in the image. You must always film into the camera while loading or rewinding it because that used batteries would not fall on the floor. start with the positive end and then align them so that the it gets stuck into the plastic roll. Be careful about these OUT polarities complete each other ( + - ) moments and act slowly. For more information go to page 53. MORE

Thumbnail images are introduced 26 / Taking pictures Multiple exposure / 27 throughout the steps to exemplify the picture that was taken during that Multiple exposure Why are multiple exposures awesome? Because the creative possibilities they open up are PUSH! unlimited! Plus, once you know some basic principles, they are really easy to do too! Whether specific step of the process. Different you choose to plan out your analogue shots or go randomly with your instincts, multiple-exposed images promise endless experimental opportunities and surprising results that will astound you. When doing multiple exposures, the same frame gets repeatedly exposed to the light, so some techniques were used, such as zooming details will come out more prominently than other areas if you’re not careful. You can take more than two exposures but keep in mind the possibility of overexposure if your camera’s ISO settings are not adjusted accordingly. in, seeing through, and verbal aids. The Slowly push the rewind button from the back of the Wind the film, just like you would do in a normal situa- 3 camera in order to keep the frame fixed into place. 4tion but pay attention to the button. It has to be fixed. feedback session helped me improve the drawings as they indicated that I CLICK! should change the colour to a lighter Make a double exposure

Don’t give up if you see some blown-out shots You will need Difficulty: medium grey or even introduce more colours in your first few rolls; it takespatience and lots of experimentation to achieve excellent mul- · analog camera with a rewing button tiple exposure photos. Remember to underex- · a 35mm photographic film into the steps. The tool box still needs pose each single exposure for the best results. · cool ideas Take the second shot for the double exposure but keep in Similar to step 4, wind the film and stop your exposure You can also create more complex double 5 mind the compositional frame of the first one you took. 6 process by not pushing the button again. Watch it pop fine-tuning along with the cross-ref- You can try to rotate a bit the camera to get a movement feel. when you wind and you can continue to your next frame. CLICK! 1 O UIK 1:3 Z .5 D f S = erence box. Moreover, the name, look 3 U

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2 5 5 800 0 100 200 400 This is the final result of the double exposure experiment thing else. 7 done with a roof grid. Just by rotating the camera, a new structure is created and might be continued with another Lower the ISO setting by one stop (for example from 400 Take the shot of the first picture with a compositional exposures. 1 to 200) if you only do a double exposure picture. 2 frame in your mind to interact with the next picture.

25 Home reference manual Glossary

Visual aspects The glossary should be neat, functional and clear. This type of spread should make use of alphabetic order and multi-columns. The dictionary approach is suitable, as in the use of bold letters for the easy identification of a specific word. The spread is contained in the Specification chapter and uses the colour violet and a spe- cific icon. The first and the final chapters of the book use the same colour code because they are, somehow, types of information that are attached to the book, not necessarily integrated into it.

First iteration Chapter title Sub chapter title Glossary

135 - Also called 35mm; the most common Cross Process - There are two types of color Fisheye Lens - An extremely wide-angle lens Redscale - A technique of shooting red-or- Figure 37 film format. film chemistry: C-41 (for color negatives) and which yields hemispherical images on film, the ange photos by turning the film the wrong way E-6 (for color slides). When color slide film is Fisheye lens is named for the field of vision around and loading the film backwards. The 120 - A type of paper-backed film used in cross-processed in C-41 chemistry, the result- which fish are believed to have. color shift can range from red to a range of various medium format cameras. ing images have deeply saturated colors and warm honey tones. The feedback helped to remove the high contrast. Half Frame - A type of 35mm camera in which Aperture - The hole in which light passes the film plane is half its normal width. This Shutter speed - How long your camera’s shut- through to expose the film – the lens opening. Darkroom - Literally, a dark room in which allows you to expose twice as many frames as ter stays open; usually measured in fractions rules and correlate the icon with the Aperture is measured in F numbers, the lower you can chemically process film or print from usual on one roll of 35mm film by taking two of a second. You can adjust your camera’s the number the bigger the aperture. A high negatives without exposing the photo-sensitive portrait-rectangular shots where there would shutter speed via a dial on the camera body aperture number means a smaller zone of film and paper to light. normally only be one landscape-rectangular in order to achieve light-streaked photos, folio and the running head. I realised sharpness within the shot. image. correctly expose a scene, or sharply capture a Double Exposure - A technique in which a fast-moving object. For example: a fast shutter ASA - This little acronym refers to how much piece of film is exposed twice. Double expo- Hot shoe - The electronic contact point on a speed like 1/1000 delivers sharp photos if that I should use the en dash instead of light you’ll need to expose your film correctly. sures can result in a dreamy, layered effect, camera at which you can attach an electronic you’re shooting action photos; a slow shutter It stands for American Standards Association, or an upside-down, mish-mash world of your flash. speed like 1/30 is ideal for shooting photos in whose photographic exposure system became choosing! low-light conditions. the dash when words are defined in the the basis for the more common Internation- ISO speed - Controls film sensitivity; the al Standards Organization (ISO) film speed Expired film - Undeveloped film that has gone higher the ISO speed, the more sensitive the Slide film - A film that yields a positive image system in 1987. past its “sell-by-date” – resulting in crazy color film is to light. For example: ISO 400 is more when processed normally with E6 chemicals. glossary. shifts and unexpected effects. light-sensitive than ISO 50. Auto Exposure - Found in a number of modern Vignetting - The shadowy, dark corners present cameras, this is an exposure system that ex- Electronic Flash - A camera accessory which Light leaks - White or red streaks on film cre- on photographic prints which emphasize the poses the film correctly every time, without the can add a burst of light to a dark subject for ated by stray light that enters a camera body. photo’s subject and create depth in a photo- adjustment of manual settings. proper film exposure. While originally accidental, creating light leaks graph. on images is now a well-known technique B Setting - This “bulb” mode on certain cam- Emulsion - The matte side of a film or paper loved by many photographers. eras allows you to keep the shutter open for as which is light sensitive. When film or photo- long as you want resulting in long exposures graphic paper is exposed and processed, the Long exposure - This is an effect achieved by and light streak photos. emulsion reveals an image. setting a long-duration shutter speed so that stationary objects in the field of view appear Bokeh - Refers to the aesthetic quality of the Exposure - The amount of light which reaches sharp while moving elements will be blurred. out-of-focus part of an image caused by shal- your film when taking a photograph. For best results, practice in low-light condi low depth of field. tions or with a very slow film speed. F-stop - The numbers on the aperture ring that Bulb - Is the shutter setting that keeps the represent the size of the aperture in your lens. Pinhole - a camera without a lens, basically a shutter open for as long as you hold down the A higher f-stop suggests a smaller aperture, lightproof box with a small hole. shutter button. which means that less light is coming through.

18 19

Second iteration 42 / Specifications Glossary / 43 Glossary

135 - Also called 35mm; the most common Cross process - There are two types of color Fisheye lens - An extremely wide-angle lens Redscale - A technique of shooting red-or- film format. film chemistry: C-41 (for color negatives) and which yields hemispherical images on film, the ange photos by turning the film the wrong way Figure 38 E-6 (for color slides). When color slide film is Fisheye lens is named for the field of vision around and loading the film backwards. The 120 - A type of paper-backed film used in cross-processed in C-41 chemistry, the result- which fish are believed to have. color shift can range from red to a range of various medium format cameras. ing images have deeply saturated colors and warm honey tones. The evolution of the glossary spread high contrast. Half frame - A type of 35mm camera in which Aperture - The hole in which light passes the film plane is half its normal width. This Shutter speed - How long your camera’s shut- through to expose the film – the lens opening. Darkroom - Literally, a dark room in which allows you to expose twice as many frames as ter stays open; usually measured in fractions involved getting rid of the rules and the Aperture is measured in F numbers, the lower you can chemically process film or print from usual on one roll of 35mm film by taking two of a second. You can adjust your camera’s the number the bigger the aperture. A high negatives without exposing the photo-sensitive portrait-rectangular shots where there would shutter speed via a dial on the camera body aperture number means a smaller zone of film and paper to light. normally only be one landscape-rectangular in order to achieve light-streaked photos, sharpness within the shot. image. correctly expose a scene, or sharply capture a vertical spaces. For the final blad I also Double exposure - A technique in which a fast-moving object. For example: a fast shutter ASA - This little acronym refers to how much piece of film is exposed twice. Double expo- Hot shoe - The electronic contact point on a speed like 1/1000 delivers sharp photos if light you’ll need to expose your film correctly. sures can result in a dreamy, layered effect, camera at which you can attach an electronic you’re shooting action photos; a slow shutter got rid of the dashes because I consid- It stands for American Standards Association, or an upside-down, mish-mash world of your flash. speed like 1/30 is ideal for shooting photos in whose photographic exposure system became choosing! low-light conditions. the basis for the more common Internation- ISO speed - Controls film sensitivity; the ered that the weight of type is enough al Standards Organization (ISO) film speed Expired film - Undeveloped film that has gone higher the ISO speed, the more sensitive the Slide film - A film that yields a positive image system in 1987. past its “sell-by-date” – resulting in crazy color film is to light. For example: ISO 400 is more when processed normally with E6 chemicals. shifts and unexpected effects. light-sensitive than ISO 50. to denote the object. Auto exposure - Found in a number of mod- Vignetting - The shadowy, dark corners present ern cameras, this is an exposure system that Electronic flash - A camera accessory which Light leaks - White or red streaks on film cre- on photographic prints which emphasize the exposes the film correctly every time, without can add a burst of light to a dark subject for ated by stray light that enters a camera body. photo’s subject and create depth in a photo- the adjustment of manual settings. proper film exposure. While originally accidental, creating light leaks graph. on images is now a well-known technique B setting - This “bulb” mode on certain cam- Emulsion - The matte side of a film or paper loved by many photographers. eras allows you to keep the shutter open for as which is light sensitive. When film or photo- long as you want resulting in long exposures graphic paper is exposed and processed, the Long exposure - This is an effect achieved by and light streak photos. emulsion reveals an image. setting a long-duration shutter speed so that stationary objects in the field of view appear Bokeh - Refers to the aesthetic quality of the Exposure - The amount of light which reaches sharp while moving elements will be blurred. out-of-focus part of an image caused by shal- your film when taking a photograph. For best results, practice in low-light condi low depth of field. tions or with a very slow film speed. F-stop - The numbers on the aperture ring that Bulb - Is the shutter setting that keeps the represent the size of the aperture in your lens. Pinhole - a camera without a lens, basically a shutter open for as long as you hold down the A higher f-stop suggests a smaller aperture, lightproof box with a small hole. shutter button. which means that less light is coming through.

26 Home reference manual Make

Aims

• Investigate different typographic styles for layouts • Develop high-fidelity spreads at real size • Explain design specifications for the book

Actions

• Create the blad and the book block • Develop final version for the different types of spreads

27 Home reference manual Production specifications

Cover Closed size: 160mm (w) × 220mm (h) Pages: 120 pp Printing: 4C × 4C offset Finishing: flexi-binding and matte cover

Interior pages Closed size: 160mm (w) × 220mm (h) Opened size: 320mm (w) × 220mm (h) Pages: 4pp Printing: 4C × 4C offset Finishing: hardcover, trim to size

Colour scheme

Pantone purple U Pantone 639 U Pantone 360 U Pantone 1495 U

The chapters each use a specific colour, although the text in the whole book is typeset in black or the colour of the specific chapter. The colour selected for each chapter contains additional tints that help to enrich the layers and styles of the layout.

Icons used Each chapter has, besides the specific colour, a particular icon that aids the strategic reading and navigation of the book. The icons used are trying to suggest the main focus of the chapters.

28 Home reference manual Typographic styles

Typographic voices The different voices that speak to the user in the book should have different tones of voice, based on the type of information it presents. Headings should be big and bold while captions should be subtle and correctly aligned to the grid.

Chapter heading Trade Gothic Bold No.2 24/28pt Equipment Reverse white

Chapter introduction The equipment section goes over everything one will need Trade Gothic Regular 11/15pt to take some great pictures and develop them in the ...

Chapter cross-reference Trade Gothic Condensed Oblique For more information go to page 30 No.18 9/12pt

Heading Trade Gothic Bold No.2 22/24pt Types of 35mm film

Introduction 135 is the photographic film in a film format used for still Trade Gothic Bold No.2 11/14pt photography. It is a cartridge film with a film gauge of 35

Subheading Trade Gothic Bold No.2 14/18pt Black & white Text container fill color: Pantone Yellow U (height of baseline grid)

Body text In the case of color negatives, the colors are also reversed into Trade Gothic Regular 11/14pt their respective complementary colors.

Captions C-41 / E-6 processing Trade Gothic Condensed No.18 and good films: Ilford, Kodak, Fujichrome Trade Gothic Condensed Bold No.18 8.5/12pt

Annotation YOU WILL NEED Trade Gothic Regular and Bold No.2 9/12pt · analog camera Text color: Pantone purple U · two LR44 batteries Border effect: rounded corners, same · a 35mm photographic film color as the text and icon. · cool ideas

29 Home reference manual Grid

Visual aspects The home reference manual has a six columns grid, which is flexi- ble enough to allow a big variety of layouts for different types of in- formation presented. For an easy manipulation of the typographic styles, the grid uses a 6 pt increments for easy adjustments.

150mm 105mm rules running heads

204mm

127mm

divider - chapter page table of contents

Layoutdivider - chapter page variety table of contents

reference spread reference spread

30 Home reference manual Blad submission

Front and back cover

The ultimate STEP-BY-STEP

K! manual for getting CLIC the most out of your 35mm camera! OLYMPUS

g fid o so lm d o

LOOK INSIDE

This guide will help you through some of the oddities of lm cameras that modern point-and-shoot digital cameras have automated away step-by-step tips and techniques

4

31 Home reference manual Contents and imprint spread

Contents

Introduction 5

Why analog photography 6 Enjoying the process 8

Equipment 9

Body of the camera 10 SLR and compact cameras 16 Aperture, shutter speed & ISO 18 Types of 35mm film 22 Lenses 28

Taking pictures 31

First published 2017 Getting started 32 by MIT Press, 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Single exposure 38 © 2017 selection and editorial matter, Paul Moon Multiple exposure 40 46 The right of Paul Moon to be identified as the authors of the editorial material, and Flash photography of the authors for their individual chapters, has been asserted in accordance with Cross processing 48 sections 77 and 78 of the Copyright, Designs and Patents Act 1988. Flash photography 54 All rights reserved. No part of this book may be reprinted or reproduced or utilised Using the self-timer 60 in any form or by any electronic, mechanical, or other means, now known or hereaf- ter invented, including photocopying and recording, or in any information storage or Developing stage 63 retrieval system, without permission in writing from the publishers. Darkroom set-up 64 British Library Cataloging in Publication Data A catalogue record for this book is available from the British Library Exposure times 80

ISBN: 978-0-415-78623-5 (pbk) Specifications 97

Publisher's note: Typeset in Trade Gothic produced by Linotype. Printed in Singapore Glossary 98 References 102

32 Home reference manual Chapter dividers

Equipment

Body of the camera 10 SLR and compact cameras 16 Aperture, shutter speed & ISO 18 Types of 35mm film 22 Lenses 28

The equipment section goes over everything one will need to take some great pictures and develop them their selves. The shooting section covers camera setting from film speeds to f-stops everything one needs to know. Lastly the developing + scanning section involves getting your pictures developed and into a digital format that can be shared with all.

33 Home reference manual Reference spread

22 / Equipment Types of 35mm film / 23

16 / Equipment Types of 35mm film 135 is the photographic film in a film format used for still photography. It is a cartridge film with a film gauge of 35 mm, typically used for hand-held photography in 35 mm film cameras. Its engineering standard for the film is controlled by ISO 1007. The term 135 (ISO 1007) was introduced by Kodak in 1934 as a designation for the cassette for 35 mm film, specifically for still photography. It quickly grew in popularity, surpassing 120 film by the late 1960s to become the most popular photographic film size. Despite competition from formats such as 828, 126, 110, and APS, it remains so color negative film: Fujifilm Superia 200 black & white negative film: Ilford HP5 400 today and might be like this for a long time.

Negative Positive Black & white

color positive film: Agfa CT Precisa 200 cross-process of color positive film: Agfa CT Precisa 200

C-41 processing E-6 processing C-41 / E-6 processing colour negative normal cross colour negative C-41 good films: Kodak Portra, Ektar 100 good films: Agfa CT Precisa, Velvia 50 good films: Ilford, Kodak, Fujichrome process process

In the case of color neg- Color reversal film produc- Conventional black-and- atives, the colors are also es positive transparencies, white negative film can colour slide normal colour slide reversed into their respec- also known as diapositives. be reversal-processed to process E-6 tive complementary colors. Transparencies can be produce black-and-white Typical color negatives reviewed with the aid of slides, as by Chrome. An have an overall dull orange a magnifying loupe and acid bleaching solution, tint due to a color-mask- a lightbox. If mounted in the only unusual compo- Cross-processing (also known as ‘x-pro’) is the procedure ing feature that ultimately small metal, or cardboard nent which is essential, of processing one type of film in a chemical solution results in improved color frames for use in a slide is easily prepared from intended for another film. You will get unpredictable and reproduction. projector they are com- scratch. interesting results. For more information go to page 30. monly called slides.

34 Home reference manual Reference spread

18 / Equipment Aperture, shutter speed & ISO / 19

Aperture, shutter speed & ISO Shutter speed (exposure time)

It is difficult to take good pictures without having a solid understanding Shutter speed refers to the length of time shutter speeds help to freeze motion. of aperture, shutter speed and ISO – the three kings of photography, also a camera shutter is open to expose light Once the light goes past the lens ap- known as the ‘exposure triangle’. While most new DSLRs have ‘Auto’ into the camera sensor. Shutter speeds erture, it then hits the shutter curtain, are typically measured in fractions of a which is like a window that is closed at modes that automatically pick the right shutter speed, aperture and even second, when they are under a second. all times, but opens when needed. ISO for your exposure, using an auto mode puts limits on what you can Slow shutter speeds allow more light into achieve with your camera. In many cases, the camera has to guess what the camera sensor and are used for low- the right exposure should be by evaluating the amount of light that passes. light and night photography, while fast

Aperture (depth of field)

Aperture is a hole within a lens, through tography, aperture is typically expressed which light travels into the camera body. in ‘f’ numbers (also known as ‘focal 1 / 2000 1 / 500 1 / 125 1 / 30 1 / 8 1 / 2 The larger the hole, the more light passes ratio’, since the f-number is the ratio of to the camera sensor. Aperture also con- the diameter of the lens aperture to the fast moderate slow trols the depth of field, which is the por- length of the lens). To have a good under- tion of a scene that appears to be sharp. standing about exposure and how shutter If the aperture is very small, the depth speed, aperture and ISO affect it, we ISO (film speed) of field is large, while if the aperture is need to understand what happens within large, the depth of field is small. In pho- the camera when a picture is taken. Film speed is the measure of a photo- tive film, and is thus commonly termed graphic film’s sensitivity to light, deter- a slow film. Highly sensitive films are mined by sensitometry and measured correspondingly termed fast films. In both on various numerical scales, the most digital and film photography, the reduc- recent being the ISO system. Relatively tion of exposure corresponding to use insensitive film, with a lower speed index, of higher sensitivities generally leads to requires more exposure to light to produce reduced image quality. the same image density as a more sensi-

ƒ / 1.4 ƒ / 2.8 ƒ / 5.6 ƒ / 8 ƒ / 16 ƒ / 22

the camera collects more light depth the camera collects less light 100 200 400 640 800 1600 of photos have a blurry background field photos have all objects in focus needs faster shutter speed needs slower shutter speed

35 Home reference manual Process spread

32 / Taking pictures Getting started / 33

Getting started If you’ve never shot film before, or if you’re working with a camera you don’t really know how to use, there are shortcuts to help you get to the gratification of shooting without so many calculations. Obviously, these are shortcuts and do not replace actual learning, but they can definitely helpful

for trying out a film camera that you have never used before. Maybe not Lift the film high noon, but shoot during the day when there’s plenty of light. 3rewind knob slowly, so that you do not break any plastic Inserting batteries and film part and then pull the cover to insert Most of the time, people think that their the film analog camera is not working because YOU WILL NEED it is broken or other similar motif but in · analog camera fact, cameras do not work for the simple · two LR44 batteries reason that they do not have charged · a 35mm photographic film batteries inside them. The first thing to · cool ideas do after you buy a camera is to check the batteries and the exposure settings. You can do that with the help of a coin or something similar to unscrew the cap.

2

Insert the film into the camera and try to fit the tip of the After that, close the door and wind the film slowly to get 4film in the perforated holes of the roll until it remains 5it started. Happy shooting! fixed into a still position. Get a coin and unscrew the cap of the battery holder that Take your batteries and insert them into the camera in 1 is found on the back of the camera. Hold the camera so 2 the exact order presented in the image. You must always that used batteries would not fall on the floor. start with the positive end and then align them so that the Technical problems Sometimes it happens to break the polarities complete each other ( + - ) film into the camera while loading or rewinding it because it gets stuck into the plastic roll. For more info go to page 93.

36 Home reference manual Process spread

40 / Taking pictures Multiple exposure / 41

Multiple exposure Why are multiple exposures awesome? Because the creative possibilities they open up are unlimited! Plus, once you know some basic principles, they are PUSH! really easy to do too! Whether you choose to plan out your analogue shots or go randomly with your instincts, multiple-exposed images promise endless experimental opportunities and surprising results that will astound you.

Slowly push the rewind button from the back of the Wind the film, just like you would do in a normal situa- 3 camera in order to keep the frame fixed into place. 4tion but pay attention to the button. It has to be fixed.

CLICK! first shot second shot final results

Make a double exposure

Don’t give up if you see some blown- OLYMPUS out shots in your first few rolls; it takes YOU WILL NEED patience and lots of experimentation · analog camera to achieve excellent multiple exposure · a 35mm photographic film photos. Remember to underexpose each · cool ideas Take the second shot for the double exposure but keep in Similar to step 4, wind the film and stop your exposure single exposure for the best results. 5 mind the compositional frame of the first one you took. 6 process by not pushing the button again. Watch it pop You can try to rotate a bit the camera to get a movement feel. when you wind and you can continue to your next frame.

This is the final result of the double O CLICK! UIK 1:3 Z .5 exposure experiment done with a roof D f = 7 S 3 U

5 grid. Just by rotating the camera, a new P m

M m

Y

L

m OLYMPUS structure is created and might be continued

O a

d

e

n

i a n p

J a

2 1st shot 5 5 800 0 100 200 400 OLYMPUS

2nd shot Lower the ISO setting by one stop (for example from 400 Take the shot of the first picture with a compositional 1 to 200) if you only do a double exposure picture. 2 frame in your mind to interact with the next picture.

37 Home reference manual Glossary

98 / Specifications Glossary / 99

Glossary

135 – Also called 35mm; the most common Cross process – There are two types of color Fisheye lens – An extremely wide-angle lens Redscale – A technique of shooting red-or- film format. film chemistry: C-41 (for color negatives) and which yields hemispherical images on film, the ange photos by turning the film the wrong way E-6 (for color slides). When color slide film is Fisheye lens is named for the field of vision around and loading the film backwards. The 120 – A type of paper-backed film used in cross-processed in C-41 chemistry, the result- which fish are believed to have. color shift can range from red to a range of various medium format cameras. ing images have deeply saturated colors and warm honey tones. high contrast. Half frame – A type of 35mm camera in which Aperture – The hole in which light passes the film plane is half its normal width. This Shutter speed – How long your camera’s shut- through to expose the film – the lens opening. Darkroom – Literally, a dark room in which allows you to expose twice as many frames as ter stays open; usually measured in fractions Aperture is measured in F numbers, the lower you can chemically process film or print from usual on one roll of 35mm film by taking two of a second. You can adjust your camera’s the number the bigger the aperture. A high negatives without exposing the photo-sensitive portrait-rectangular shots where there would shutter speed via a dial on the camera body aperture number means a smaller zone of film and paper to light. normally only be one landscape-rectangular in order to achieve light-streaked photos, sharpness within the shot. image. correctly expose a scene, or sharply capture a Double exposure – A technique in which a fast-moving object. For example: a fast shutter ASA – This little acronym refers to how much piece of film is exposed twice. Double expo- Hot shoe – The electronic contact point on a speed like 1/1000 delivers sharp photos if light you’ll need to expose your film correctly. sures can result in a dreamy, layered effect, camera at which you can attach an electronic you’re shooting action photos; a slow shutter It stands for American Standards Association, or an upside-down, mish-mash world of your flash. speed like 1/30 is ideal for shooting photos in whose photographic exposure system became choosing! low-light conditions. the basis for the more common Internation- ISO speed – Controls film sensitivity; the al Standards Organization (ISO) film speed Expired film – Undeveloped film that has gone higher the ISO speed, the more sensitive the Slide film – A film that yields a positive image system in 1987. past its “sell-by-date” – resulting in crazy color film is to light. For example: ISO 400 is more when processed normally with E6 chemicals. shifts and unexpected effects. light-sensitive than ISO 50. Auto exposure - Found in a number of mod- Vignetting – The shadowy, dark corners present ern cameras, this is an exposure system that Electronic flash – A camera accessory which Light leaks – White or red streaks on film cre- on photographic prints which emphasize the exposes the film correctly every time, without can add a burst of light to a dark subject for ated by stray light that enters a camera body. photo’s subject and create depth in a photo- the adjustment of manual settings. proper film exposure. While originally accidental, creating light leaks graph. on images is now a well-known technique B setting – This “bulb” mode on certain cam- Emulsion – The matte side of a film or paper loved by many photographers. eras allows you to keep the shutter open for as which is light sensitive. When film or photo- long as you want resulting in long exposures graphic paper is exposed and processed, the Long exposure – This is an effect achieved by and light streak photos. emulsion reveals an image. setting a long-duration shutter speed so that stationary objects in the field of view appear Bokeh – Refers to the aesthetic quality of the Exposure – The amount of light which reaches sharp while moving elements will be blurred. out-of-focus part of an image caused by shal- your film when taking a photograph. For best results, practice in low-light condi low depth of field. tions or with a very slow film speed. F-stop – The numbers on the aperture ring that Bulb – Is the shutter setting that keeps the represent the size of the aperture in your lens. Pinhole – a camera without a lens, basically a shutter open for as long as you hold down the A higher f-stop suggests a smaller aperture, lightproof box with a small hole. shutter button. which means that less light is coming through.

38 Home reference manual Conclusion

After the final submission, I improved the blad based on the feedback received after we received our grades. I modified and fine-tuned small details that somehow make a difference. The sub-title of the book was transformed; I made it smaller, this way being more memorable. Also I changed the pictures to create more visual appeal. The needed tool box still needs improvements, at the moment is floating in the page.

The whole process was very useful for me, I learned a lot of new things about typographic voices and consistency. Also, details about editorial production were very helpful when I decided as- pect that concern color and text overlays.

39 Home reference manual