Chapter 5 For1l
Chapter 5 For1l
Chapter 5 For1l
The tank and the reel can be a stainless steel or made of hard
plastic. These tanks usually have a light tight lid with provision
for pouring solutions in and out while covered so that only one
tank is required for the entire process.
have a center clip or hook to hold one end of the film, the
remaining length slips into the grooves created by the spiral. Metal reels
comes in a fixed size.
is loaded by simply the film into the spiral from the outer
end. It has a flange that moves with back and forth rachet action after the film
had been engaged on the outside guide slots, the rachet movement feeds it
smoothly into the grooves. Plastic reel can be adjusted to accommodate
different film size.
Turn the reel with the other hand to pull the film onto the reel. Do not apply excessive
pressure with the hand holding and squeezing the film. Let the film pass freely, it will
straighten out full width in the spiral space of the reel.
It is advised for beginners to practice with unwanted film several times, first with the lights
on to make sure that the film will not buckle or one side of the film touching another in the
reel. In such case, the portion of the image where the layer touched will not be developed
because the solution cannot get to it. Once you get the feel of it, start the practice with eyes
closed to simulate darkness until the exercise is perfected.
e) Pour in the stop-bath, agitate the tank some more and after 15-20 seconds drain out stop-bath.
Next is to pour in the fixing bath. Agitation should also be done every so often and after 15 to
20 minutes drain the fixer from the tank.
Note: Used developer, stop-bath, and fixer can be used again and
again but instead of pouring them back in the bottles of fresh or
unused solutions, pour them in a separate container so it
will not contaminate the fresh or unused solutions.
Presentation title 213
1. Tank method of film development
f) You now wash the negative for several changes or preferably in running water
for another 15-20 minutes.
g) Remove the negative from the developing reel. Get the sponge and immerse it
in water then squeeze it to remove excess water. Wipe the negative with the
sponge slowly to remove the
water adhering on the negative. This must be done on both sides of the
negative. Water that adheres on the surface of the negative can cause
watermarks if allowed to dry without wiping.
h) Hang the negative to dry at a clean, dust free place or better in a negative drier.
2. Tray method of film development
• With this method of film development, the developer is placed on a tray. In
total darkness, remove the film from the cartridge then hold one end of the
film and immerse the film in the developer in the tray making sure that the
film is thoroughly dipped until the whole length of the film is evenly wet.
Timer will start now. With see-saw or pulling up or down motion, move the
film from one end to the other then back, continuously, until the developing
time of 4-5 minutes is done. Then transfer it to the stop-bath for 10-15 seconds
with the same motion.
2. Tray method of film development
• Thereafter, place the film in the fixer and execute same motion for about 5
minutes then you can now open the white light. Continue the fixing until the
required time is finished. Next will be the washing and drying of the negative.
• This developing procedure is actually not recommended because the film has a
long contact with air during the procedure which can cause aerial fog. Besides it
is more tedious and tiring especially with a 36 exposure film.
A typical components of a black and white developer are:
1. Solvent (water)
2. Developing agent
3. Preservatives
4. Accelerator
5. Restrainer
Various chemicals can serve this function. Chemicals chosen are determined
whether it is slow or fast acting, procedure high, normal, or low contrast, achieves
maximum emulsion speed, creates fine grain or acts in a number of way
D-76 Film developer formula
This is a stock solution. To use take 1 part stock solution and add 2
parts water.
Stop-bath can be plain water only with 28% glacial acetic acid.
This fixing bath is recommended generally for both films and photographic
papers.
1. Contact printing
Contact printer
For a large volume work and a more controlled printing, a contact
printer is most effective and convenient. This is essentially a glass-
top box with an exposing light and a safelight (for proper
arrangement of the negatives and the paper) inside and a hinge
pressure cover on the glass. Switches of the format control the
lights.
Printing Procedure
• Clean the glass from dust, dirt and stains. Place the negative with the base side
against the glass and the emulsion facing the emulsion of the photographic paper.
• If a film rather than a photographic paper is being exposed, it must be backed with a
black paper so reflected lights will not add unwanted exposure, arrange the negatives
to be printed on the photographic paper so every part of it is accommodated with
extra space on all sides.
• To prevent movement of the negatives, the use of transparent tape is advice to hold
the negative in place. Then press tightly together the negative and the paper with the
glass and the pad. Expose it to light. Correct exposure is determined with test strips
just like in enlargement. Process the exposed photographic paper with the same
solutions and processing time as in enlargement procedure. Then wash, then dry.
There are two general types of photographic printing:
1. negative carrier
2. easel or paper holder
3. timer for consistent and repeatable exposure
There are different sizes of enlargers. The size of the enlarger is dependent
on the size of the negative it is capable of accepting. There is the 8mm for
microfilms, the 35 mm which is now the most common and popular, the
120mm, or the bigger negative sizes like 4"x 5".
Generally, over-exposed and underdeveloped are often mottled and lacks contrast on
shadow areas and good gradation of tone in the highlights. Underexposed and over.
developed prints usually lacks details in the highlights and they often show chemical
fog or yellow stains.
11. Wash the prints in running water for another 20-30 minutes.
1. Three plastic trays - one each for the developer, stop-bath and the
fixer. (The size of the tray is determined by the largest prints size).
2. Metal, plastic, or bamboo tong preferably with rubber ends to hold
the prints.
3. Rubber (surgical) hand gloves. (There are some persons who are
subject to skin allergic reactions with the solutions For precaution,
wear it.)
4. Timers
5. Paper cutter
6. A bigger tray or tank for washing
J. COLOR PRINTING PROCESS
A color negative film is printed on a color photographic r which is
essentially similar to the films used in a camera paper except that the
emulsion layer is coated in a paper base and couplers which are colorless.
Colored couplers are not used because the prints would then be unsuitable
for direct viewing. Printing a color negative in complementary colors in a
non- reversal print material reverses both tone scale and the color of the
negative within the accuracy limit of the photographic process of the tone
and color of the original subject.
Color and density of a photograph taken with a color negative film can be
adjusted quite freely to a certain extent. Raising the density will make the image
darker while lowering it will make the image lighter, and by adding cyan we can
give the image an over-all bluish tinge while removing yellow will emphasize
magenta and cyan giving the image a purplish tinge
1. Color developer
2. Bleach - Fix
3. Stabilizer
1. Enlarger with built dial-in filter or with provision for placing filters
between the light source and the negative. Light source is generally a
tungsten-halogen lamp. The use of fluorescent lamp is not adviced.
3. Filters-Acetate color printing filters (CP) like C229 (always med to absorb
alreviolet rays from the light some CPM, CPZM CPWM CP 80M, CP 05Y,
CP 10Y, CP 20Y, CP 40Y (2 of these) and CC 025M, CC 025Y.
2. Place the negative in the enlarger with the emulsion side toward the lens of
the enlarger. Use 50 M +50 Y filter (40 M + 10 M +40 Y + 40 Y + 10 Y) or
others as specified in the paper instructions to make a test strip of series of
four exposures at the same magnification as will be used in the first print.
Exposure time is 10 seconds each of f4, f5.6, f8 and 11.
4. Then judge the best test strip for color balance. Look at sensitive areas or
at the middle as flesh. tones of persons and decide on what color or colors is
in excess and how much is excess - slight, considerable, great.
5. Based on the above decision, select a filter pack that will control the color
of the exposing light. Add to filter pack, filter of the same color or colors as
those in excess in the test. Add 10 filter for a slight change, 20 for
considerable change and for great change 30 filter (20 filter + 10 filter).
Some casts may require as much as 50 filter addition to the pack.
6. Make another test exposure based on the estimated filter pack
and the corresponding additional exposure time.
b. Subject contrast
Subject contrast of a film depends largely on one factor-lighting contrast -
which is the ratio between the highest and lowest amount of illumination falling
on the principal subject.
Presentation title 252
C. Exposure accuracy
Color films, particularly the reversal type have much less
exposure latitude than black and white films. Exposure setting
must therefore be determined with greater degree of accuracy.
Use of exposure meter is highly adviced in the setting of correct
exposure.
d. Color Perception
Inexperienced observer sometimes cannot recognize subtle tints
mixtures and reflections brought about by the effects of lighting
condition and their surroundings.
Presentation title 253
e. Color Harmony
Color harmony is the systematic arrangement of colors to give a
pleasing effect. This subject is complex because of personal
taste. This is a problem in commercial photography and
illustrative work but seldom in Forensic work.
f. Color Blindness
People with this defective color vision have difficulty in
distinguishing and naming colors. They sometime see part of the
spectrum as gray.
Presentation title 254