Photo Lab Manual (PDF) - Richland College

Table of ContentsIntroduction.............................................................................................. 1Associates In Arts Degree / Emphasis in Photographic/imaging............ 2Photo Lab Rules and Regulations ........................................................... 5Photo Lab Hours...................................................................................... 7Lockers .................................................................................................... 7Lab Safety................................................................................................ 8Hazardous Materials Training Session Overview .......................... 9Notice to Employees and Students................................................. 13Darkroom Etiquette................................................................................. 15A Guide to Writing in your Journal ........................................................ 17Film Development................................................................................... 18Loading Film .................................................................................. 19Development................................................................................... 19Film Development Sequence Chart................................................ 22Kodak T-Max 100 and 400 Film Developing Chart....................... 23Kodak Tri-X and Plus-X Film Developing Chart .......................... 24Kodak High Speed Infrared and Technical Pan Film..................... 25Push-Processing Times T-Max 100 and 400.................................. 26Push-Processing Times Plus-X and Tri-X...................................... 27Kodak T-Max 3200 Processing Times............................................ 28lford Film Developing Chart .......................................................... 29Chromogenic Black and White Film.............................................. 30The Enlarger ............................................................................................ 31The Timer ................................................................................................ 34Printing .................................................................................................... 36Making a Contact Sheet ................................................................. 38Making an Enlargement ................................................................. 40Resin-Coated (RC) Paper-Print Developing Sequence .................. 42Fiber Paper-Print Developing Sequence......................................... 43Enlarging Station Checklist............................................................ 44Washing and Drying RC Prints............................................................... 45

Washing and Drying Fiber Prints..................................................................... 46Printing with Contrast Filters............................................................................ 48Retouching Prints................................................................................................. 50Using a Gray Card............................................................................................... 52Toning..................................................................................................................... 54Sepia Toning............................................................................................... 54Selenium Toning........................................................................................ 55Blue Toning................................................................................................. 56Selective Toning......................................................................................... 57Roy's Guide to Infrared Photography.............................................................. 58Dry Mounting....................................................................................................... 61Cutting Window Mats......................................................................................... 64Ethical and Legal Aspects of Photography.................................................... 69Model Release...................................................................................................... 73Student Photo/Imaging Exhibition................................................................... 74Slide Resource Library of Photography......................................................... 75Richland College Library - Photography Book List.................................... 77

IntroductionThe Richland College Photo Lab Manual was created in order to provide guidelines and instructionfor those students taking photography classes that involve lab use. This manual is designedto discuss these procedures as they apply to our particular lab, and to be used as a supplement toyour textbook. If you are a beginning student and have never worked in a darkroom, this manualwill familiarize you with basic information about darkroom procedures as they are carried outin this lab. If you are a more advanced student, you will find this manual to be a valuable referencefor more advanced processes and techniques.It is suggested that you keep this manual with you when you come to class, since your instructormay refer to it during lectures or demonstrations. It is also recommended that after a demonstrationof a specific process, you review the pertinent material in this manual before attempting todo the process on your own.At Richland we have several instructors teaching photography classes that include darkroom use.Because of this, it is not unusual that students in different class will learn photographic processesin slightly different ways. It is suggested that you follow your own instructor's advice and usehim/her as your primary resource for information on photo techniques. As you become moreexperienced as a photographer, you will develop particular ways of doing things that work bestfor you. The photo lab manual is a quick reference guide to help you access information that isnecessary to know, and most commonly utilized, in this lab.1

Associate in Arts DegreeEmphasis in Photographic / ImagingDegree PlanThePhotographic/ImagingDegree Planis an academic program designedfor students who are interested inbeginning an in-depth study in theareas of photography and digitalimaging. This plan will preparestudents for a career in professionalphotographic/imaging in thefine art or commercial field.Technical proficiency and creativeexpression are emphasized toproduce a “whole” and meaningfulexperience.Visit our Photographic/Imaging Web Site:www.richlandcollege.edu/photoimaging.htmFor More information, contact the Photography Departmentin the Sabine Building, room S293, or call:Wayne Loucas, Head of Photographic/Imaging 972-238-6078Roy Cirigliana, Instructional Associate 972-238-69852

IN ORDER TO BE ELIGIBLE TO RECEIVE AN ASSOCIATE IN ARTS DEGREE WITH AN EMPHASIS INPHOTOGRAPHIC / IMAGING, A STUDENT MUST:(1) Complete the total of 66 credit hours for this emphasis;*(2) Receive GPA (2) of at least 2.00 (“C”); and(3) Meet all TASP requirements.Students who plan to transfer must work closely with an advisor.Select one course:Math 1314Math 1324Math 1332Math 1333Math 1342Math 1414Math 2412Or higher levelCREDIT HOURSTO BE COMPLETEDCOMMUNICATIONSelect each of the following:English 1301English 1302* Speech 1311 OR any Foreign LanguageCourse 1311 or higherMATHEMATICSAssociate in Arts DegreeEmphasis in Photographic/ImagingStudents must select Speech 1311 if seekingan AA or AS degree.3CREDIT HOURSTO BE COMPLETED9 SOCIAL/BEHAVIORAL SCIENCES15History 1301, 1302Government 2301, 2302Select one course from the Following:Anthropology 2346, 2351;Economics 1303, 2301, 2302, 2311;Psychology 2301, 2314, 2316;Sociology 1301, 1306, 2319HUMANITIES/VISUAL ANDPERFORMING ARTS 9Select one course from each of thethree groupings:I. Arts 1301, 1303, 1304; Dance 2303;Drama 1310, 2366; Humanities 1301;Music 1306, 1308, 1309II. English 2321, 2322, 2323, 2326,2327, 2328, 2331, 2332, 2333III. Cultural Studies 2370;History 2321, 2322, 2380, 2381;Philosophy 1301, 2306, 2307, 2316,2317; Religion 1304LAB SCIENCESelect two courses:Biology 1406, 1407, 1408, 1409;Chemistry 1405, 1407, 1411, 1412;Geology 1401, 1403, 1404, 1445;Physics 1401, 1402, 1405, 1407,1411, 1412, 1415, 1417, 1425, 14268INSTITUTIONAL OPTIONS 4Physical Education 1164 andComputer Science 1300 or higherPHOTOGRAPHIC / IMAGINGIntro To Digital Photography PHOT 1316Photography I PHOT 1318 or ARTS 2356Photography II PHOT 1319 or ARTS 2357Introduction to Photoshop PHOT 2325Special Photographic Topics ARTS 2389STRONGLY RECOMMENDEDAdvanced Photoshop PHOT 2326Academic Cooperative COMM 238918*61 Credit hours are required for the Associate in ArtsDegree without the Photographic / Imaging emphasis.3TOTAL CREDITS 63

Photo Lab Rules and RegulationsBecause there are hundreds of students who enroll into the photography programeach year, it is extremely important that the rules of the area be understood. Eachstudent is responsible for helping to maintain the photo lab facility in order to keepa clean and safe working environment.1. To have access to the darkroom you must be enrolled in one of the creditphotography lab courses at Richland College listed in the front of this manualduring the current semester.2. Visitors are not allowed in the photo lab. Have all friends, spouses, andsignificant others meet you outside the area.3. No food or drinks are allowed in the photo lab area.4. The supply room is off limits to all students.5. Students are not allowed to work in the darkroom when their class is in sessionwithout the permission of the instructor.6. Studio use is only for advanced photography students.7. You must see the instructional associate in the lab first before a locker assignmentcan be given. Beginning students will need a combination lock for their locker.Give your combination to the lab associate to record.8. Students whose classes are in session will have priority to work in the lab.Sometimes instructors and lab associates will conduct demonstrations withclasses and they may ask you to wait or leave during that session.9. All "Dry Areas" must be kept clean and dry at all times. Dry areas include: enlargingstations, negative cutting and negative viewing table, and print finishing room (exceptin the tray where prints feed into the RC dryer).10. Chemical or water spills must be cleaned up immediately.5

Hazardous Materials Training Session OverviewI. Location and Identification of ChemicalsA. In the film developing area there are the following containers of chemistry:Kodak HC-110 DeveloperKodak Indicator Stop BathKodak Rapid FixerFixer ReserveTKO Orbit Bath (Hypo Eliminator)Kodak Photo-Flo 200 solutionB. In the printing area there are the following chemicals:In containers: (Back of Lab)Kodak Dektol DeveloperKodak Rapid FixerKodak Indicator Stop BathIn trays:Kodak Dektol DeveloperKodak Indicator Stop BathKodak Rapid FixerC. In Loading Room A are the following containers of chemicals used:Kodak Sepia Toner AKodak Sepia Toner BKodak Rapid Selenium Toner (1:4)Kodak Kodalith Developer AKodak Kodalith Developer BBerg Blue TonerAll of these containers have safety labels attached for quick reference. See sample onthe next page.9

Safety LabelHEALTH HAZARD (Blue)4--Deadly3--Extreme Danger2--Hazardous1--Slightly Hazardous0--Normal MaterialFIRE HAZARD (Red)Flash Points4--Below 73°F3--Below 100°F2--Below 200°F1--Above 200°F0--Will Not BurnCHEMICAL NAMEFire HazardREDDATE RECEIVEDHealth HazardBLUEMANUFACTURERSPECIFIC HAZARD (White)OxidizerOXYAcidACIDAlkaliALKCorrosiveCORUse No Water WRadiation HazardSpecific HazardWHITEReactivityYELLOWEMERGENCY PHONE NUMBERSUnited States/Chemtrec Canada/Canutec800-424-9300 613-996-6666REACTIVITY (Yellow)4--May Detonate3--Shock and Heat May Detonate2--Violent Chemical Change1--Unstable if Heated0--StableThe label is divided into four color coded boxes. Blue for Health Hazard, Red forFire Hazard, Yellow for Reactivity, and White for Specific Hazard. The Health, Fire,and Reactivity boxes are rated from numbers 0-4 with zero being the least hazardousand four being the most hazardous. The specific Hazard box will identify particularprecautions.10

II.Handling of ChemicalsA. Protective EquipmentBecause the chemicals students have contact with are fairly diluted, it is usuallynot necessary to wear protective equipment. There are some people whose skinis very sensitive to some of the solutions, and therefore, it is recommended thatgloves be worn to prevent rashes or itching.B. First Aid TreatmentWe strongly impress upon students not to put their hands in any of the chemicals.Some of the solutions, specifically the fixer and stop bath, are mild acids and cansting you if there are any cuts on your hands. If this happens, rinse with water.If you get any of the chemicals in your eyes, there are two eyewash stationslocated in the lab. One is in the film developing area by Loading Room C, andthe other is in the printing room next to the storage room door. Place eye downinto the wash cup and squeeze the bottle to rinse out your eye. Report anyaccidents to the lab associate or your instructor as soon as possible. If necessaryyou will be taken to the Health Center or the College Police will be notified.The Health Center is located in Room T110. Hours: Mon.-Thurs. 8:30 a.m. - 8:00p.m. and Friday 8:30 a.m. - 3:00 p.m.C. Clean-up of spillsAny spills should be reported to the lab associate or instructor immediately.11

III.Material Safety Data Sheets (MSDS) and Chemical InventoryA. What the MSDS tell youThe MSDS are detailed reference publications on chemicals used in the Photo Lab.Each chemical listed is comprised of about twelve sections.They are as follows:IdentificationProduct and Component Hazard DataPhysical DataFire and Explosive Hazard DataReactivity DataToxicity and Health Hazard DataPersonal Protection and ControlsSpecial Storage and Handling PrecautionsSpill, Leak, and Disposal ProceduresEnvironment EffectsTransportationReferencesB. Where to find the MSDSAll the sheets are kept in a green 3-ring binder on the green Safety Boardby the student lockers in the print finishing room.C. What the Chemical Inventory Sheets tell youThese sheets list all the chemicals used in the lab and each manufacturers name,address and telephone number. The CAS Number refers to individual componentswhich are considered hazardous will have numbers listed.D. Where to find the Chemical Inventory SheetsThese sheets are kept in the green 3-ring binder with the MSDS on the SafetyBoard in the finishing room.12

Notice to Employees and StudentsThe Texas Hazard Communication Act of 1985, Texas Civil Statutes,Article 518b, requires certain employers to:provide employees, local fire departments, the Texas Department of Health, and otherinterested persons with specific information on the hazards of chemicals in use. Asrequired by law, your employer must provide you with certain information and training,starting January 1, 1986. A brief summary of the law follows:1. Employers must develop a list of hazardous chemicals used or stored in thework place, each in excess of 55 gallons or 500 pounds. Smaller quantities may bereported. This list shall be updated by the employer as necessary, but at least annually.The list must be sent to the Texas Department of Health at least annually, to be madeavailable to the general public on request.2. Employees who may be exposed to hazardous chemicals shall be informed of theexposure by the employer and shall have ready access to the work place chemicallist and to the most current material safety data sheets, which detail physical andhealth hazards and other pertinent information. The list must state which chemicalsare present in each work area.3. Employees shall receive training by the employer on the hazards of the chemicalsand on measures they can take to protect themselves from those hazards, and shallbe provided with appropriate personal protective equipment. This training shallbe provided at least annually and must be reported by the non-manufacturingemployer to the Texas Department of Health within 30 days of completion.4. Employees shall not be required to work with hazardous chemicals fromunlabeled containers, except portable containers for immediate use, the contentsof which are known to the user.5. Employers must provide the names and telephone numbers of knowledgeablecompany representatives to the local fire department, as well as otherinformation if the fire department requests it.13

Darkroom EtiquetteThe photo lab area is an environment that is shared by many students each semester. Because ofthis, you cannot afford to be selfish. The dripping of chemicals, contamination of solutions, andnot cleaning up your work area, cannot only ruin your negatives and prints, but also those of others.This is why attention to certain points of darkroom etiquette area emphasized with respectto specific procedures that are described in this manual. For now, please take note of the followinggeneral rules for cleanliness and decorum:1. If in Doubt, Rinse it Out!To safeguard your work from chemical contamination, rinse out with hotwater any tanks, reels, beakers, thermometers, or tongs that might be lefton the sinks before using. Never assume that any piece of equipment lyingaround has been cleaned. Check carefully equipment that has been putback into its proper place for stains (dark or white residue) before using.Rinse clean if necessary.2. Don't Drip!When developing your film, keep your tank over the sink at all times.When taking prints out of the darkroom to view or to dry, make sure theyare in a tray to catch any water.3. Keep Your Hands Clean!A cotton towel is mandatory for every student to have in the photo lab.Some students have attached a clip through their towel and fastened it totheir belt loop to as¬sure its always available for drying hands. Rinse yourhands immediately after contact with chemicals. Special care should betaken to make sure that your hands are clean before handling photo paperwhile printing.4. Clean Your Workspace!Before leaving the film developing area, rinse out all equipment used andreturn them to their proper place. Before leaving the printing area, cleanup your station. Any scraps of paper or tape should be disposed of in thegarbage. See: Enlarging Station Checklist on page 42.15

5. No Food or Drink!Keep all food and drinks outside of the photo lab area.6. Knock and Lock!Always knock before entering any of the film loading rooms. Once inside,lock the door.7. Non-Cooperation with Darkroom EtiquetteAny student who fails to comply with the basic points of darkroometiquette as requested by his/her instructor or lab associate will be expelledfrom the lab.16

A Guide to Writing in Your JournalThe journal or diary is used to record thoughts and impressions of your photographicexperiences during this semester. Technical information (f/stops, shutter speeds, lenses,etc.) should be listed separately in the back of the journal. We are more interested inhow you respond to the picture-taking process and the subjects you photograph.Writing should be done freely as you will not be graded on how well you write. We arenot necessarily looking for writing which is lengthy, as quality and depth of expressioncan be concise. Writing is best done after a shooting session, after rolls are exposed, orafter prints are made. It is advised not to wait until several assignments have gone by tobegin writing as the immediacy of the experiences may be forgotten.Photography is a powerful medium for communication and self-expression. The factthat you have to be where your subject is to photograph it establishes some degree ofinteraction between you and your environment. We want you to be conscious of this,as well as your reactions to the process of taking pictures. You might consider thesequestions to respond to in your journal:• How did you feel about the shooting of this assignment?• What was it about some or all of the subject matter which compelled youto photograph it?• Are the resulting photographs from the picture-taking process what youanticipated them to be?• If you photographed people, how did they respond to you? How did youfeel about photographing them?• Are you having fun taking pictures? Why? If not, why?• What have you learned from shooting the assignment?• Does the picture-taking process or the resulting photographs have any othersignificance beyond the physical act or the surface appearance of the print?17

Film DevelopmentThe quality of your print is in a direct relationship to the quality of your negative. Oneof the most important steps in producing a photographic image is the development ofthe film. If a good negative is not properly processed, no amount of "darkroom magic"is going to produce a satisfactory print. Each step in the development process should befollowed to the letter, exact measurements made, and uniform handling of the film followed.Film must be loaded in total darkness. After entering the film-loading room, makesure that you lock the door. Never enter a film-loading room without first knocking.There are two light switches in each of the rooms. The white light switch has a protective metalstrip over it to avoid turning the lights on by accident. When loading film, alllights must be off.In the photo lab we have three film loading rooms, A, B and C. Room A is also used by advancedstudents for toning and print washing. Each room has a pair of scissors and acan opener on a chain attached to a wall. You will also see a plastic recycling box forthe plastic film containers that the film comes in and the plastic spools located at the endof the film. Please discard metal pieces of the cassette.18

Loading FilmYou will need your film, a metal tank with enough reels to fill your tank, and a plastic lid witha cap. Lay these out on the counter top in the loading room so you have some ideawhere they are in the dark. In your class you will have a demonstration on how to loadthe film onto the reels. There is film in the photo-lab to use to practice with before rolling yourown. When you're ready:1. Lock the door, turn off the light, pry off the flat end of the film cassette.2. Take the film out and cut the narrow lead of the film.3. Begin rolling onto the reel.4. When complete, place rolled film into the tank and cover with the lid.NOTE: If you have a difficult time rolling the film, do not turn the light on or open the door.Place film, as is, into a tank and cover with the lid. Find an instructor or lab associate and askthem to help you. If you have rolled the film onto the reels but would like it checked, the staffwill do this for you.1. Development:For each roll of film, mix 1 oz. of HC-110 developer with 7 oz. of water. First, bring the watertemperature to what you've selected on the Time/Temperature developing chart (ideally between68° - 72°). Fill the measuring beaker with the amount of water needed for the number of rollsyou're developing. Go to the HC-110 container and pour the amount you need directly into thewater. Stir this working solution. Start the timer and pour into the top of the lid while holdingthe tank on an angle so liquid will not block up.Carefully watch when pouring all chemicals into your tank to prevent spills and overflows.Place the cap on the lid, hold the tank top and bottom and agitate the first 15 seconds. After anyagitation, rap the tank down once or twice to dislodge any air bubbles on the film. Let thefilm sit and agitate 5 seconds of every 30 seconds until the development time is complete.Remove the cap only and dump the solution down the drain.Notes:19

2. Stop Bath:Fill the tank with the stop bath solution and agitate continuously for 30 seconds.Pour back into the stop bath container.Notes:3. Fixer:Fill the tank with fixer and agitate the first 15 seconds and 5 seconds every minute of fixingtime. Six (6) minutes is recommended. Pour back into the fixer container.Notes:4. Rinse:Fill the tank with water and pour out 3 times with cold waters.Notes:5. Orbit Bath:Fill the tank with this solution and agitate continuously for 30 seconds.Pour back into the Orbit Bath container.Notes:6. Wash:Remove the reels from the tank and place onto the film holder. Put film into awasher and wash for 5 minutes.Notes:20

7. Photo-Flo:Place film into the photo-flo container for 1 minute. Remove the film from the reel and holddiagonally over the sink to drain. Note: No sponges, squeegees, or fingers are needed to drainfilm. The less contact with the surface of the film the better.Notes:8. Dry:Make sure the dryer is turned off. If it isn't, turn it off and wait 10 seconds before opening thedoor to avoid dust being sucked in. Hang the film towards the back of the cabinet and clip itwith a clothes pin at the bottom to hang straight. Check to see that your film is not touchingany other film. Dry for 15 minutes. Check the bottom of the film to feel if dry.Notes:9. Wash and return all reels, tanks, thermometers, and measuring beakers to their properplace.Notes:10. Storage:Cut film into strips of 5 frames (35mm) and place into negative sleeves. Negatives should beplaced into the page with letters and numbers on the edges readable and in numerical order.Do not leave negatives hanging in the film drying cabinet overnight.Notes:21

Film Developing SequenceDeveloperStop BathFixerHC-110(See DevelopingChart for times andtemperatures)Agitate the first 15seconds, then 5seconds every30 secondsDump down drain30 seconds withcontinuousagitationPour back into thesame container6 minutesAgitate the first 15seconds, then 5seconds everyminutePour back into thesame containerFinal Wash5 minutesHypo Eliminator(Orbit Bath)30 seconds withcontinuousagitationPour back intosame containerRinse3 changes of waterFill the tank withwater and agitatefor a few secondsRepeat thisprocedure twomore timesPhoto-flo1 minuteDry15 minutes22

Kodak FilmT-Max 100ProfessionalSmall tankprocessing(8 or 16-once tank)Rolls (agitate onceper 30 seconds)Tray ProcessingSheets (continuousagitation)T-Max 400ProfessionalSmall tankprocessing(8 or 16-once tank)Rolls (agitate onceper 30 seconds)Tray ProcessingSheets (continuousagitation)Processing Kodak T-Max Black & White FilmKodak DeveloperTemperature HC-110(Dil B)D-76(1:1)T-Max(1:4)Microdol-X Microdol-X(1:3)D-7668°F (20°C)70°F (21°C)72°F (22°C)75°F (24°C)76 1/2651211108 1/287 1/276 1/213 1/21210 1/28 1/2NR2018 1/216987668°F (20°C)75°F (24°C)7 1/25 1/27568°F (20°C)70°F (21°C)72°F (22°C)75°F (24°C)65 1/254 1/212 1/21110976 1/26 1/2610 1/298 1/27 1/2NR2018 1/216876 1/25 1/268°F (20°C)75°F (24°C)7 1/2675 1/2T-Max(1:7)101023

Kodak FilmTri-X 400ProfessionalSmall tankprocessing(8 or 16-once tank)Rolls (agitate onceper 30 seconds)Tri-X 320ProfrssionalPlus-X 125ProfessionalSmall tankprocessing(8 or 16-once tank)Rolls (agitate onceper 30 seconds)Processing Kodak Tri-X and Plus-XBlack & White FilmKodak DeveloperTemperature HC-110(Dil B)D-76(1:1)T-Max(1:4)Microdol-X Microdol-X(1:3)68°F (20°C)70°F (21°C)72°F (22°C)75°F (24°C)3 3/43 1/232 1/29 3/498 1/27 3/4NR9 1/48 3/48 1/47 1/217161513 1/368°F (20°C)75°F (24°C)4 3/43 1/212 3/49 1/410 1/47 1/268°F (20°C)70°F (21°C)72°F (22°C)75°F (24°C)3 1/232 3/42 1/28 1/27 3/47 1/46NR87 1/46 3/45 3/41311 3/410 3/49 1/4D-766 3/46 1/45 1/24 3/496 1/25 1/254 1/24T-Max(1:7)NRNR24

Kodak FilmHigh SpeedInfrared(HIE)TechnicalPan241544156415Processing Kodak High Speed Infraredand Technical Pan FilmKodak DeveloperTemperature HC-110(Dil B)D-76(1:1)TechnidolLiquidMicrodol-X(1:3)D-19 D-76 T-Max68°F (20°C)70°F (21°C)72°F (22°C)75°F (24°C)554 1/24NR65 1/254NRNR8 1/27 1/276668°F (20°C)77°F (25°C)86°F (30°C}NRNRNR97 1/26 1/2NRNRNR25

Kodak Push-Processing TimesKodak T-Max 100 Professional FilmDeveloping TimesKodakDeveloperIE 200(Normal Processing)IE 400(2-Stop PushProcessing)IE 800(3-Stop PushProcessing)68°F(20°C)75°F(24°C)68°F(20°C)75°F(24°C)75°F(24°C)T-MaxD-76HC-110 (Dil B)8976 1/26512119 1/297 1/26 1/210 1/2NRNRKodak T-Max 400 Professional FilmDeveloping TimesKodakDeveloperIE 800(NormalProcessing)IE 1600(2-Stop PushProcessing)IE 3200(3-Stop PushProcessing)68°F(20°C)75°F(24°C)68°F(20°C)75°F(24°C)75°F(24°C)T-MaxD-76HC-110 (Dil B)78665 1/24 1/21010 1/28 1/28769 1/2NRNR26

Kodak Push-Processing TimesKodak Plus-X Professional FilmDeveloping TimesKodakDeveloperIE 250(Normal Processing)IE 500(2-Stop PushProcessing)68°F(20°C)75°F(24°C)68°F(20°C)75°F(24°C)T-MaxD-76HC-110 (Dil B)6 1/2774 1/2458 3/499 1/26 1/45 1/26 1/2Kodak Tri-X Professional FilmDeveloping TimesKodakDeveloperIE 800(NormalProcessing)IE 1600(2-Stop PushProcessing)IE 3200(3-Stop PushProcessing)68°F(20°C)75°F(24°C)68°F(20°C)75°F(24°C)75°F(24°C)T-MaxD-76HC-110 (Dil B)76 3/43 3/465 1/24 1/28 3/49 1/2676 1/24 1/48 1/4NRNR27

KodakDeveloperHC-110(Dil B)EI 400EI 800EI 1600EI 3200EI 6400T-MaxEI 400EI 800EI 1600EI 3200EI 6400EI 12,500EI 25,000D-76EI 400EI 800EI 1600EI 3200EI 6400Processing Kodak T-Max 3200 FilmKodak Developer68°F(20°C)70°F(21°C)72°F(22°C)75°F(24°C)80°F(27°C)7 1/28911 1/2146 1/277 1/210125 1/266 1/28 1/210 1/255 1/267 1/29 1/244 1/256 1/287 1/288 1/211 1/21416NR77 1/28111315 1/217 1/26 1/277 1/210 1/21214 1/21666 1/279 1/21112 1/21455 1/2689 1/210 1/21210 1/21111 1/21517 1/29 1/21010 1/213 1/2168 1/299 1/212 1/214 1/27 1/288 1/21112 1/266 1/278 1/210 1/285°F(29°C)3 1/244 1/25 3/46 3/444 1/256 1/289104 1/255 1/27 1/2928

Chromogenic Black and White FilmIlford XP 2 Film / Kodak T-Max T400 CNThese are films that employ a dye to form the image similar to the dyes used in color negativefilm. It must be processed in color C-41 chemistry. Although these are excellent films, it is notrecommended for a first semester's works. Many express color labs carry these Black and Whitefilms, as these may be the only Black and White films they can process. Ask specifically for thefilm recommended on your syllabus.Do not process these films in our lab.30

The EnlargersThe Beseler 45MXT enlarger will accept negative sizes up to 4" x 5." We have Cold-LightHead enlargers in the darkroom. The Cold-Light Head uses Narrow Fluorescent tubing as a lightsource that is directed through a diffuser to scatter the light. This avoids pronounced grain andsharp contrast of condenser enlargers. This dif¬fused light will also de-emphasize dust, scratchesand other flaws in the negative. We have noticed that contrast will vary depending on the typeof paper used. The head generates relatively little heat, which reduces the likelihood of negativesbuckling and throwing part of the print image out of focus. The light projected is somewhatdim, and thus more difficult to view the image. Here are some basic functions that will behighlighted for your use:• When placing the negative carrier into the enlarger make sure the enlarging light isoff so light won't spill out to the rest of the lab. Move the Negative Stage Lever(#16) to open a space for the carrier. Place the negative carrier inside with the fourpins facing down. It should drop down into place. Close the Negative StageLever to close the space.• To raise or lower the enlarger, up or down, move the Elevation Switch (#4) untilthe enlarger is at the height you wish it to be. The higher up the enlarger is raised,the larger the projected image is going to be. The Elevation Switch (#4) also is anindicator for the Elevation Scale (#6). (Set the height to number 9 before leavingyour station).31

Beseler 45MXT Enlarger32

The LensThe lens has an aperture which opens and closes like your camera lens. There are f/stop numberson the lens which you can't always see in the darkroom, so it is impor¬tant to know thef/stops in order. If you're using a 35mm negative, you should have on a 50mm lens. Theselenses have an f/stop range from f/2.8 (wide open) to f16 (closed down). If you know thesequence (f/2.8, f/4, f/5.6, f/8, f/11, f/16) you can always find the setting you want to use. Forexample: If you want to use f/8, close down all the way (least amount of light) and open uptwo stops to f/8. When the enlarging light is on you can see it get brighter and darker as youturn the aperture ring.To Focus the ImageTo Focus, open the lens aperture to f/2.8 to project the brightest amount of light and place theGrain Focuser on top of the easel. While looking through the eye piece, turn the FocusingKnob slowly on the left or right side until you see what looks like fine sand granules. This isthe grain of the negative. The image is now in sharp focus. Don't forget to stop the lens downto the f/stop you're going to use for the exposure. Make your exposure as soon after focusing aspossible because focus will shift due to enlarger movement or negative buckling. Always refocusbefore making an exposure.33

The TimerModel 545 TimerAs you will notice on the timer, there are parts of the face of it that have been taped off.Please leave the tape on as it pertains to functions you will not be using.This timer will give you up to 59 minutes, 59.9 seconds. The On/Off Power Switch (#2)must be turned on to bring up the Digital Time Display (#6). The minutes, sec¬onds andtenths of a second can be displayed by pushing the corresponding buttons (#7). TheClear/Reset Button (#12) will reset the display to zeros.To project the image for focusing, enlarger elevating and easel settings, press the On Button(#11). To turn off the enlarger light, press the Time Button (also #11). Place a fresh sheet ofpaper in the easel and press the Start/Hold Button (#13) to time your exposure.Push the Start/Hold Button at any point to stop the exposure. Push again to resume the exposurefor the time remaining.Before leaving your station, make sure the On/Off Power Switch (#2) is in the "Off"position.34

PrintingThese instructions are a guide to help reinforce your instructor's lessons on makingcontact sheets and enlargements. If you have any darkroom and lab experience,you might find that these procedures may vary from what you know. Please follow thesesteps as they will apply to our specific photo-lab system. Here are some general guidelinesfor printing in the darkroom.1. You must have a towel when working in the lab for spills that can occur or forwiping wet hands.2. Dress down for lab work as chemicals being used can stain clothing.3. Do not put your hands into the printing solutions for several reasons:A) Your skin will absorb the chemicals.B) This can cause contamination of the chemistry.C) This can create stains on the prints.So always use the tongs to handle prints in the trays.4. When you pick up a print with the tongs, let it drain for a few seconds over the tray.Do not shake the print because this could spray chemistry.5. Agitation of prints in the tray is crucial to image quality. Rock trays by lifting onecorner up and down slightly. This will give a fresh flow of solution to the prints.(This is important because solutions can exhaust in one area if not moving.) Airpockets can block out chemistry, and prints can stick together. All these can causean uneven distribution of solution to the print, which can cause discoloration andweak image quality.Do Not Leave a Print Unattended in the Chemistry!6. Always process your print going from Developer to Stop Bath to Fixer toto Wash Cycle.Never go back the opposite way - this will contaminate the solutions.7. Leave your prints in the solution for the recommended times. If your print comesup too fast and too dark in the developer, don't try to save it! The resulting printwill be flat and muddy with uneven development. Go back to your enlarger andrecheck your aperture setting (It could have been left wide open) and/or decreaseyour exposure time.36

8. If the print develops too light, adjust the aperture to allow more light through(open up) and/or increase exposure time. Note: Your test strip should be a goodindicator of approximate exposure times. Remember: The more light that strikesthe paper, the darker the print will be.9. Viewing prints to judge exposure or overall quality of the print should always bedone under the viewing light by the external door. Do not try to judge a printunder safelight conditions because this will not give you an accurate assessment ofyour image, i.e., exposure, sharpness, scratches or dust marks, burning, dodging,and contrast decisions, etc.10. Whenever you take a wet print away from the sink for viewing, rinse the print inwater for a few seconds to remove some of the chemistry. Place wet prints in atray and drain to avoid getting the floor wet.11. The enlarging stations are dry areas. Any wet materials (trays, prints, etc.) mustbe kept away from these stations.12. Open your box of paper only under safelight conditions.13. Process your prints on the side of the sink that is nearest to the enlarger youworking at.37

Making a Contact SheetThe contact sheet allows you to see in print form all of the images on a roll of film, andto evaluate how well you are judging exposure when taking pictures. There is oneenlarger in the darkroom set up for making contact sheets. Do not change the elevationof the head. It is already set up to project light to cover the contact area on the baseboard.1. Make sure the Power Switch is ON to the timer (see Timers). Start by setting theaperture at f/5.6 and setting the timer to 3 seconds.2. With no light being projected, lift up the glass and place one 2" strip of paper,emulsion side (shiny) up, on the baseboard. Place one strip of your negative in thenegative sleeve emulsion side (dull) down onto the paper strip. Place the glass ontop of the negatives and paper strip.3. Take a piece of cardboard which is hanging up on the right side of the station.With the black side down, cover up all but 1/2" of the first frame and expose for 3seconds. After 3 seconds, move the board to the middle of the next frame andexpose for 3 more seconds. Keep doing this until you've exposed the entire strip.4. Remove the strip, watch the clock, and slide the strip (emulsion up) into theDeveloper face up and agitate constantly for 1 1/2 minutes for RC Paper and 2-3minutes for Fiber paper. Place into the Stop Bath face down for 30 seconds withagitation, then into the Fixer face down for 1 minute.Note: This time is only for strips not to be saved. For prints to be washed anddried, 3 minutes for RC Paper and 7 to 10 minutes for Fiber Paper with agitationis manda¬tory for fixing.5. Rinse the strip in water to remove Fixer and put into a tray. Come out to theviewing light to look at the exposures.38

6. Looking at the sprockets you will notice divisions of exposures. Starting at 3seconds (the lightest section) find the point where the sprockets go to black andthere is no separation between exposures. Count from light to dark by threes tofind this point. For example, 3, 6, 9, 12, with 12 seconds the last exposure wheredivisions can be seen. Do not judge the time to use by the images in the frames.How those images look (there relative lightness and darkness) can vary because ofbracketing or miscalculating lighting conditions during the picture-taking process.7. Once you find your time, set the timer for that time. Place the negative sleeve withall of the negatives on top of a fresh sheet of paper under the glass and expose forthe time selected.8. Process in trays for times given for the test strip, except Fix the full time. Use theresults of the contact sheet to judge how well your picture-taking exposures areworking, as well as any film processing problems that need to be addressed.9. You need to use the "sprocket test strip method" only once if the variable remainsthe same. In other words, if you use the same film, paper, chemistry, dilution ratioand temperatures for film and paper processing, and the same enlarger, then youneed not retest. But if any of these variables change, you must retest.If your images on the contact sheet look too dark, then (given proper film developmentand the camera is functioning correctly) you are underexposing the film. Try cuttingthe ASA/ISO rating in half (400 to 200, 100 to 50) and bracket in full stops whenexposing the next roll of film.If your images come out too light on the contact sheet, try doubling the ASA/ISO rating (400 to800, 50 to 100, etc.) and bracket in full stops for the next roll you shoot.If you have many images that are too light and too dark, this is more of a problem.Assuming again, that your camera is functioning properly, this is usually due to notmaking the correct exposure settings under various lighting conditions. Your instructorwill help you correct this. See: Using a Gray Card on page 50.39

Making An EnlargementOn your contact sheet find an image you want to enlarge. Look at the number un¬derneath theimage and find that frame number on your negatives. Remove the entire strip of negatives (5frames) that includes the frame you want to enlarge. Find the negative carrier that holds the negativein place at your enlarging stations. The negative carrier should have the letters FF writtenon the plate. This means, Full Frame and allows you to print with a black border around the picture.You are required to print with the black border for most of your initial assignments. If youare not getting a black bor¬der ask your instructor or lab associate for help. Bring the carrier andyour negatives out into the front room where film developing is done. Place both on the lighttable.1. Open the negative carrier and place the strip inside with the frame you chose inthe rectangular space for a 35mm negative. Note: the emulsion of the film(dull side) should be facing down. Position the negative in the carrier so clear filmspace is visible around the image. Use a small piece of tape on the sprockets to secure it.2. Place the negative carrier in the enlarger with the carrier's 4 metal pins facing down.3. Lift the easel arms up to adjust the size and set your easel for 6" x 9". Take outone 8" x 10" sheet of paper and write Focus on the back.4. Place this sheet under the red lip slot on the easel for 8" x 10" (middle) and slide thepaper about 1/8" to the left. This focus sheet will be reused and will give you a brightsurface to view the projection on.5. Make sure the power is on to the timer (See Timer). Press the On button to focus andproject the image down to the easel. Raise or lower the elevation of theenlarger so that the projection is within the 6" by 9" frame on the focus sheet.Focus the image with the lens aperture wide open (most amount of light) at f/2.8.There should be clear space around the projected image that will look black after theprint is developed.6. Use the grain focuser for sharp focusing. (Note: Always recheck focus beforemaking an exposure. The enlargers can shift focus and negatives can buckle. The4" x 5" enlargers have a Focusing Lock (#8 on 4" x 5" diagram) to lock focus inplace. It is located between focusing knobs.40

7. Stop down the lens (smaller openings) to f/11 and set the timer for 3 seconds.Press the Time button and the enlarger light will turn off.8. Remove the focus sheet from the easel and put it aside. Take out a test strip andplace it in the easel emulsion side (shiny) up in an area of the image you considerto have the most important light and dark areas.9. Cover up all but about 1/2 inch of the strip the long way using one of the boardshanging up at your station. Hold the Board with the black side down.10. Push the Start button. This will time for 3 seconds. Expose another 1/2 inch andexpose for 3 seconds. Continue to do this until you have exposed the full strip. Becareful not to move the strip between exposures as this will cause a blurred image.Hold the board to block light just above the strip to avoid this.11. Process in tray for the same time as your test for making a contact sheet. Rinseand view the strip in a tray out front by the viewing light.12. You should see a variety of exposures from light to dark. (Remember, thelightest exposure has the least amount of time, and the darkest the most.)Select the best time, which can also be between the test times. For example, if 6seconds is too light and 9 seconds is too dark, 7.5 seconds could be used. If thestrip is overall too dark, reduce exposure time and/or close down lens aperture tof/16 and redo the strip. If the strip is overall too light, increase exposure timeand/or open up the aperture to f8 and redo the strip. (Note: the exposure timeand aperture settings are only guides, they can change according to negativedensity, enlargement size, paper used, etc.)13. Once you've decided on a timea. throw away the strip;b. reset the timer for the time selected;c. press the On button to turn the enlarging light on;d. refocus wide open on your focusing sheet;e. stop down the lens and press the Time button to turn the light off;f. take out a full sheet of paper and place it in the easel;g. press the Start button to begin the exposure;h. process the print the same way as with your contact sheet.41

Developer1 1/2 minutesContinuous AgitationDryingBring prints out in a trayto the RC dryer in theprint finishing roomResin-Coated (RC) PaperDeveloping SequenceStop Bath30 secondsContinuous AgitationFinal Wash(Spin)Leave prints in the spinwasher for 5 minutesFixer3 minutesAgitationHolding Tray(Rinse)Leave prints in this trayuntil ready for washing42

Fiber PaperPrint Developing SequenceDeveloperStop BathFixer2-3 minutes withcontinuous agitation30 seconds withcontinuous agitation10 minuteswith agitationHypo Eliminator(Orbit Bath)5 minutes in a tray withcontinuous rotation andagitationWash(Archival Washer)Leave Prints in the washerfor 10 minutesHolding Tray(Rinse)Leave prints in this tray ofwater until ready for washFinal WashDrying(Archival Washer)Load prints into archivalwasher and wash againfor 10 minutesSqueegee prints and placein blotter book or on dryingracks in the finishing room43

Enlarging Station ChecklistBefore you go to work• Log in: Print NameClass SectionTime InBefore you leave• Turn off your enlarging light.• Take your negative out of the negative carrier.• Hang up the negative carrier by the handle on the left side of your station.• Set enlarger at elevation #9.• Turn off power switch on the timer.• Set the easel to 6" X 9".• Return any contrast filters to the filter box in the proper order.• Hang up any burning and dodging boards used on the right side of your station.Note: Narrow board should be in front of the 8 X 10 inch black board, with thestation number showing.• Hand up dodging tool (lollipop shape) on the left side of your station.• Place the grain focuser in the center of the easel.• Clean up any scraps of paper or tape used.• Log out: Time outInitial44

Washing And Drying RC PrintsAll the prints you are going to make must go through a complete washing. Prints beingheld in the rinse tray are not washed. The spin washer works in 5 minute cycles. Whenyou are ready to wash:1. Take your prints and any others in the rinse tray. Open the cage and place theminto the spin washer for 5 minutes (RC paper only). Note: The person who putsthe prints into the washer is responsible for timing the wash, taking theprints out of the washer, and drying them.2. Once this cycle begins, do not stop the washer to place more prints in; this willcontaminate the wash. Wait until the 5 minute cycle is complete and the prints areremoved before putting more prints in the washer.3. Place prints into a tray and bring them out to the RC dryer. When the RC dryeris turned on it takes about 3 minutes to warm up. The thermostat light will go offwhen ready. The setting for the temperature should be at number 9, and the motorspeed should be set at number 5. Do Not change these settings.4. Place prints into the dryer face up. They will feed in slowly. Make sure prints donot overlap. Test strips to be saved should not go into the dryer because they canget caught up in the mechanism. Air-dry strips you wish to save.5. Keep all wet material in the big tray where paper feeds into the dryer. All the othertabletops are Dry areas.6. Dried prints which do not belong to you, should be placed into the print storagebin just to the right of the RC dryer.7. Return wet trays to the enlarging areas.45

Washing and Drying Fiber PrintsThe fiber paper used by advanced students has a different washing cycle than Resin-CoatedPaper. Because solutions soak through fiber paper, it takes longer to clear the chemicals out.Make sure you allow at least 1 hour from the time you finish printing for the completion of thisprocess. Insufficient washing will result in discoloration, so follow these steps carefully: UseArchival Print Washers only! We have two of them. One is located in the film developing sink,the other is located in Loading Room A. Both work by just turning on the water, but the washerin Loading Room A needs the water started and then the flow set so the water stays consistentlyon the red water line located near the top of the washer.1. Place prints from the Holding Tray (rinse) into a tray approximately two (2) timesthe size of the largest size paper used. For example, if you are using 8" x 10"paper, then place prints into an 11" x 14" tray. If you are using 11" x 14" paper,then place prints into a 16" x 20" tray.2. Place prints into one of the archival washers. Place either 2 - 8" x 10"s vertically or1 - 11" x 14" horizontally into each slot and wash for 10 minutes.3. Place prints back into the tray and pour enough Orbit Bath into the tray tocover the prints. Rotate the prints continuously for 5 minutes by taking the oneon the bottom and bringing it to the top of the pile. Push it down under the solution.4. Pour the Orbit Bath back into its container.5. Place prints back into the Archival Washer.6. Wash prints again for 10 minutes and squeegee when done.7. Place prints in your blotter book or bring prints out to the finishing room for drying.8. To air dry, place prints face down on the drying racks located under the largedry mount press. Prints will usually need to dry overnight.46

Note: Fiber paper prints will curl…its just their nature. The degree of curl is basedon the paper manufacturer, the size of the paper, and the amount of humidity in whichthey are stored.To reduce the amount of curl in the prints there are a few things you can do.* Let prints dry completely and place under weight for several hours. This will helpto stretch out the fibers in the paper. I use books for 8 X 10 inch paper, but any flatobject with some weight will do.* Use a print flattening solution such as Edwal's Super-Flat. These solutions help thefibers to relax and flatten the image. There are mixed reviews on how wellthis works, but if you are determined, it might be an option to try.* Dry mounting and window matting prints. Dry mounting will flatten the entire printonto a board. Window matting will hold down the edges of a print, which for smallerimages won't show much waviness.47

Printing with Contrast FiltersAll beginning photography students are required to use Variable-Contrast Papers. These paperswill allow you to change contrast (the difference between dark and light tones in a print) withoutchanging to a different paper. Different paper manufacturers use different prefixes to designatea paper as variable-contrast. For example: Ilford - Multigrade; Kodak - Polycontrast, Polymax;Agfa - Multicontrast; and Oriental - Seagull Select VC. All of these papers will allow for the useof these filters to change contrast. The contrast grade of your paper is approximately #2 withoutthe use of a filter. A #2 paper grade is considered to be a normal grade contrast. This means thatwhatever contrast is in your negative will be reproduced in the print. The filter set is located ateach enlarging station and contains twelve (12) filters.Contrast ScaleLowest-------------------------------- Normal ------------------------------------------- Highest00 0 1/2 1 1 1/2 2 2 1/2 3 3 1/2 4 4 1/2 5Note: The use of a #2 filter matches the contrast grade of Variable-Contrast paper and shouldmake no change in the print, but this is usually not the case. The various paper manufacturersproduced different contrast levels for the same contrast grade of paper. In other words, using nofilter on a multigrade Ilford paper and a Polycontrast Kodak paper with the same surface (glossy,matte, pearl/lustre) will not necessarily produce the same contrast level. To compound this, thedifferent brands of filter sets produce different results. Such as a #3 1/2 filter by Kodak and a#3 1/2 filter by Ilford will not produce identical contrast using the same paper.To conclude, the use of a #2 filter can give you a resulting print with slightly more or less contrastthan no filter depending on the variables discussed above.To create more midtones or grays, reduce contrast in the print by using the lower number filtersbelow #2.To create darker shadows and brighter highlights, increase contrast in the print by using highernumbered filters above #2. Remember, a #00 filter will produce the lowest contrast and a #5filter will produce the highest contrast.48

Exposing with FiltrationIt's generally a good idea to make your test strip and first print without a filter. This way youcan fully assess its contrast needs as well as burning and dodging options. The use ofa filter between the lens and paper can obscure some detail depending on its condition, so ifyou don't need one, you're better off.The filter holder swings under the lens to hold the filter, but can cut out some of the image onthe corners if it is not aligned just right. Make sure you're projecting a full image. If youdecide a filter is necessary, focus your image with white light (no filter) because thefilter blocks out some light and can make it difficult to see the image. Place the filter in thefilter holder before exposing. It is suggested to make another test strip to make an accurateexposure evaluation, but if you want to use the filter factor compensations, here they are:• Going from No Filter to a #00 through #3 1/2 filter, double your exposure time (2x).• Going from No Filter to #4, #4 1/2, #5 filter, quadruple your time (4x).• Going from filters #00 through #3 1/2 to a 4, 4 1/2, 5 filter, double your time (2x).Remember:• When first using a filter, increase test time intervals for test strips. For example,No filter . . . 3, 6, 9, 12, 15 sec at f/8. With a #3 filter . . . 6, 12, 18, 24, 30 at f/8or 3, 6, 9, 12, 15 at f/5.6.• Use only one filter at a time.• Hold filters by the handle or on the sides. Do Not put fingers on the acetate filteritself. They smudge and scratch very easily. Do Not attempt to clean them.• Return filters to the filter storage tray in their proper order.49

It is unavoidable that most prints will need to be retouched. Whenever you enlarge an image,any dust, lint or UFO that is sitting on the negative surface hitches a ride and grows with theenlargement size. Even with the most meticulous care of wiping, blowing, or brushing onthe negative, dust can still find its way to your film.Helpful Hints to Avoid Retouching of Prints1. When you make the first print from a negative and bring it out to the viewinglight by the front door, along with your critical analysis of the print, look alsoat the surface of the print to check for dust spots. This way you can remove the dustfrom the negative before making your final print.2. The anti-static cloth on your supply list for the class works best to repel dust.Wipe both sides of the negative with the cloth before placing the negative into thecarrier.3. Compressed air blows dust off but doesn't help repel dust. Important: Do Not tiltthe can of compressed air while using. A gas will spray out and can stain yournegatives. Keep the can upright and tilt the film when using.4. Handle your negatives with care. Scratches on your film will show up on theprint. If the scratch on the negative is showing up black on the print, for all intentsand purposes, there's not much you can do. This is an emulsion scratch. If the scratchshows up white, this can be repaired. The scratch is refracting light away from thesurface of the paper, leaving a white line. By filling in the scratch with Vaseline,Edwals No-Scratch, or nose grease (no kidding), light is redirected back on to thesurface of the print. Make sure these are applied across the scratch and wiped offafterward.To Retouch Your Prints You will need:• Spotone #3• a brush #000 or finer• a small cup of water• a scrap of white paper• patienceRetouching Prints50

ProcedurePlace a few drops of Spotone #3 on a surface that will not absorb it. (A plastic or metalspoon works well.) Let this dry overnight.1. Wet the brush in water and brush the edge of the dried Spotone until some isabsorbed into the brush.2. On a scrap piece of white paper, brush out the Spotone from the brush until itshows up light gray. Important: Always start lighter than the area you needto match. You will build up to the value you need by applying more Spotone to it.3. Apply the Spotone to a white spot of a dry print by using the point of the brushto fill the spot. Do not brush this on. Fill the spot one dab at a time.4. If you are spotting a line, do not brush the length of the line but dab consecutivepoints on the line to fill it in.5. Remember to stay within the borders of the spot, as the surrounding areas can alsoget darker with Spotone.6. Spotone will dry quickly so work carefully. Spotone can be washed out of the printby soaking the paper in a final wash for about 10 minutes. Remember that this willwash out all the Spotone-mistakes or not.51

Using a Gray CardThere is a direct relationship between the quality of your negative and the quality of your print.Exposure (picture-taking) and development (of film) together create the density and contrastyour image will have. Generally, students have very little problems with the film developmentprocess as long as they follow the step by step procedures. But film exposure problems canhaunt some students all semester. It goes like this:Wrong Exposure = Poor Quality Negative = Poor Quality Print =Frustration for Wasting Time, Money, and Energy. Hmmm!This can mostly be avoided by using a Gray Card to measure exposure. Why the GrayCard works will be explained by your instructor, but here is how to use it:1. Place the Gray Card so that the gray surface is facing the camera. Make sure thatthe same light illuminating your subject is also illuminating the Gray Card.2. Try to position the Gray Card as close to the subject as possible. For daylightexposures, exposure readings can be made near the camera as long as it receivesthe same intensity of light as the subject.3. Make sure the Gray Card is positioned at the same angle as the subject.4. It is also important that you read only the Gray Card. In other words, if yourmeter is in the camera, fill the screen with the Gray Card. The Gray Card doesnot have to be in focus. Be careful not to cast your shadow onto the Gray Card.5. Meter as you would normally off the Gray Card and leave that setting. When youremove the Gray Card the meter reading will usually change, but Do Not adjustfor the change. In other words, if your Gray Card reading is f/8 at a 1/125, butthen by removing the Gray Card your camera meter indicates you are now overor underexposed, leave the setting at f/8 at a 1/125.6. If your subject and lighting remain the same, you can bracket your exposure onestop over and one stop under for negative film. Bracket if you are not sure ofexposure and would like to have some variations to choose from. Bracket onlyafter your Gray Card exposure.52

7. If you are in low light conditions and your meter will not give you a reading, youcan use the white side of the Gray Card. Measure light the same way as discussedbut add 2 1/3 stops more to your exposure.8. Remember if lighting conditions change, another Gray Card reading must be taken.In conclusion:The use of a Gray Card is one means for judging exposure. It's a simple tool to give you moreaccurate meter readings, but it must be used to work for you. The result will be a qualitativedifference in the negatives and prints you produce.53

Toning(Advanced Photography Students Only)Toners are used with black and white prints in order to improve permanence, alter the color,or enhance the quality. The toners used in the photo-lab are Sepia, Selenium, and Blue.All toners are harmful. Avoid any contact with skin and wash off immediately with cold waterif contact occurs. All the toners are kept above the sink in Loading Room A, and the toningof prints is done only in this room. This room is ventilated and has a long sink area for theprocess. Use only one toner at a time.Trays and tongs used for toning can be found under the sink in loading Room A. Use onlythose trays which are labeled for specific toners. To prepare a print for toning it must beexposed, developed, fixed and washed. If a print is already dry, you need to soak it in waterfor a few minutes. It is suggested to have an extra untoned print of the same image at handfor a comparison. Log all uses of toners on the log sheet hanging on the wall to the right ofthe sink in Room A. All toned prints should be air dried face-up on the print dryingracks.Sepia ToningSepia toner is used to make prints in sepia or brown colors and slightly increase thepermanence of the print. Sepia toner is a two-bath process consisting of Sepia A solution(bleach) and Sepia B solution (toner). The solutions are stored above the sink in brown containers,labeled Sepia A and Sepia B. After using one of the Sepia solutions, pour it back intoits container and rinse out the tray before using the other. Trays are also labeled for specificso¬lutions and come in two sizes to accommodate up to 8 x 10 prints, or up to 11 x 14 prints.1. Pour Sepia A (bleach) into the tray labeled Sepia A. Place the print, image sideup, into the solution making sure that all of the print is under the solution.2. Agitate continuously until the dark areas of the print begin to look a little faded.Although a time for this is given in the Sepia package instructions (5-8 minutes),the exhaustion of the solution, the temperature at which it is used, and the toningeffect desired, make judging by sight a better criterion. The bleach solution (A) isyellow, so to look at the progress of the bleaching, use a pair of tongs to hold theprint out of the solution.54

3. When ready, remove the print and place it into another tray filled with water.4. Rinse with running water for two minutes to remove all the bleach. If you areusing the larger trays and have finished bleaching the prints you are toning, use afunnel under the sink and pour the A solution back into the container. Rinse outthe Sepia A tray and place the Sepia B tray in the sink and pour the Sepia B(toner) solution into that tray. (Note: Three of the larger trays will not fit in thesink so the Sepia A tray needs to be removed when you have finished bleaching in it.)Warning: This solution smells like rotten eggs, or the result of eating badrefried beans, so don't glare at the person next to you.5. After rinsing the print in running water for two minute, place the print intothe Sepia B solution. The print will redevelop within a few seconds. Agitatecontinuously for one minute.6. Wash fiber prints for 20 minutes and RC prints for 5 minutes. Do Not washprints with other prints which have not been toned. Wash trays, tongs, and funneland return them under the sink.Selenium ToningSelenium toner will help increase the permanence of the print, as well as produce richerblacks and change print color. The degree of change is based on the dilution of the toner,the length of time the print remains in the solution, and the type of paper used. The colorshift will be towards a reddish or purplish-brown. Selenium toner is a one-bath process.For archival toning, 5 minutes in the solution is sufficient. To produce a color change, aminimum of 15 to 20 minutes in the solution is necessary. Warm tone papers require lesstime and will yield a greater color change.1. Place a tray labeled "Selenium Toner" in the sink and pour solution from theSelenium toner container into it.2. Place the print, image side up, into the solution and agitate continuously. Have anuntoned print of the same image at hand to use to check toning results. It is moredifficult to see the degree of changes without a comparison print.3. For a color shift, check the print after the first 10 minutes, and every 5 minutesthereafter by lifting the print out of the solution with tongs and checking to see itsprogress.55

4. When sufficient, wash the print for 20 minutes in the archival washer.5. Use the funnel under the sink to pour the Selenium toner back into the container.6. Wash out trays, tongs, and funnel and return under the sink.Blue ToningBlue toner will change the color of the print to blue very quickly so be prepared. The degreeof color change will depend on how long the print is left in the solution. Pourthe contents intothe tray labeled for Blue toner. Do not wash blue toned prints in the archival washer. Traywash only.1. Place the print, image side up, into the toning solution. Like the Selenium toner,this too is a one-bath process.2. Agitate the print continuously until the desired degree of toning is reached.3. Check the print about every 5-10 seconds with a comparison print to judge effect.4. If a yellow or green cast is observed in the white areas of the print (this can occurif the print is left in the solution too long), rinse in water for 3 minutes and placethe print into a separate tray of salt solution for about 5 minutes with agitation.The salt solution container is located above the sink.5. Wash the print in a separate tray for about 10 to 15 minutes. Do Not let thestream of water fall directly onto the toned image.6. Pour the Blue toner back into the container. Wash out trays, tongs, and funnel andreturn them under the sink.56

Selective ToningThis is a technique of toning only selective areas of the print. Begin with a dry print.1. Using rubber cement, apply with a brush onto areas of the print you wish toremain untoned. Overlap areas about 1/16 of an inch and allow to dry for about10-15 minutes.2. Push the overlapped rubber cement back to the edge of the areas you want to cover.Use your fingertip or a toothpick to do this.3. Place the print in water for about 5 minutes and follow steps for toning process.Note: Be careful not to rub off the masking during the toning steps.4. When the print is in the rinse for about 3 minutes after toning, gently rub off therubber cement and discard. Do not let it wash down the drain.5. Complete the final washing cycle.If the rubber cement is too thick, combine in a separate cup, rubber cement and rubber cementthinner and apply to the print. Allow to dry and apply a second coat. It is sometimes difficult tosee where the cement has been applied because it dries clear, so look carefully to cover only theareas you want.57

Roy's Guide to Infrared PhotographyFacts:A. Both color and black and white infrared films have emulsions that are sensitizedto infrared radiation along with a portion of the visible light spectrum. Use of afilter over the camera lens or light source controls the amount of visible lightreaching the film.B. Infrared film can be used with electronic flash, tungsten photo lamps or daylight.C. Infrared films are primarily designed for use in the scientific fields of photography,medicine, plant pathology, ecology, archeology, and laser photography. In additionto these uses, infrared can be used for pictorial and other non-technicalforms of photography (such as fine art). Landscape photography has a highdegree of clarity because infrared film penetrates much of the haze that obscuresphotos of distant scenes taken with ordinary films. Infrared film also shows contrastbetween subject matter where none may exist visually. This is especially truewhen shooting foliage that usually appears light-toned in black and white or redand magenta with color infrared.D. Black and white infrared film alters the reproduction of tones as compared toconventional panchromatic films. Live foliage, which reproduces as dark gray toneson panchromatic films, becomes light tones on infrared. Blue skies and bodies ofwater appear black or dark in infrared photos.Myths:Some people are under the impression that a camera loaded with infrared film can be used totake perfectly exposed pictures in total darkness. This is not the case. Just as with ordinaryfilms, a source of illumination is needed to record a scene with a camera.The energy awareness that has occurred in the past few years has produced public interest inphotos showing heat loss of homes and buildings, called thermograms. Many people are ledto believe that thermograms can be made by using only infrared film and conventional photoequipment. Thermograms are produced by using infrared radiation and sophisticated electronicequipment. Infrared film is no more sensitive to moderate levels of heat than conventionalphotographic films.58

Technical Data:There are several manufacturers of black and white infrared film. Kodak's film is available in35mm and 70mm, but not 120 or 220 rolls or sheet film. MACO's, Konica's, and Ilford's filmsare available in 35mm and 120 roll film sizes, and MACO's in 4x5” sheets as well. Amongthe film manufacturers making infrared film, the Kodak film is more sensitive to infrared light,and thus, reveals more of the "glowing" effect.Development:Conventional black and white developers such as D-76, HC-110 and D 19 are recommended.Following the manufacturers instructions will produce acceptable results, however, for optimumresults experimentation is advised. Since this film is noticeable grainy, closetemperature control of processing solutions and fresh developers are recommended.Film Loading:Since Kodak black and white infrared film is highly sensitive to infrared light, this film mustbe loaded in to the camera in total darkness (not just subdued light) or ambient in¬frared radiationwill fog the film. A changing bag is a must to load film in the field. Plastic developingtanks are not recommended in the darkroom because infrared radia¬tion can penetrate themduring the development. Stainless steel is your best bet.Exposure:Black and white infrared film has less exposure latitude than conventional black and whitefilms. Bracketing the exposure is strongly recommended. The camera's built-in meter cannotread infrared light, so it is not a very accurate guide for exposure. It should only be used as areference point for bracketing the exposure. ISO 100 to 400 is the advised setting, but only asa starting point. The Konica film is less sensitive and should be rated at about ISO 50. Anincident light meter is the best instrument for taking exposure readings. The automatic modeof most of today's cameras is definitely not recommended.Filters:A #25 red filter is most commonly used with black and white infrared film since it effectivelylimits the exposure to the red and infrared portions of the spectrum. For less infrared effect,a yellow or orange filter can be used. Infrared photos taken without a filter don't differ greatlyfrom photos taken with conventional panchromatic films. Remember to allow for thesefilters in your light meter readings, usually opening the lens f-stop from one to three stops.59

Flash:Electronic flash can be used with a visually opaque Kodak 88A, 87 or 87C gelatin filterplaced over the flash head. The filter on the flash will have a dim red glow when fired,but no apparent flash of light, and no filter is required on the camera lens itself using thismethod. Exposure using this method should be arrived at by trial and error. When using the87 or 88A filter, ISO 25, or 87C, ISO 10 should be used as a starting point.Focusing:Infrared rays focus at a different plane than visible light. Most lenses for SLR cameras havean infrared focusing index mark engraved on the lens barrel. Focus normally, then shift thelens barrel to this index mark. Stopping the lens down to f/8 or higher will result in greaterdepth of field, thus rendering the infrared image sharp enough for most purposes.60

Dry MountingDry mount presses are available for your use in the print finishing room. Your instructorwill demonstrate its proper use. There are a number of methods for presenting your work,dry mounting is just one of them. Careless and improper use of the press will result in yourruining your photographs and possibly the press itself.The supplies you will need are: mount board or museum board (untextured, white on oneside), dry mount tissue (Seal Color Mount for resin-coated [RC] paper), Seal MT-5 Plusfor fiber-based paper.Precautions:Never use the dry mount press without a cover sheet both above and below the print!Pressing without a cover sheet may ruin both your prints and the press. Do not use acover sheet that is wrinkled, it will impress the wrinkles right into your print.Never exceed the recommended mounting temperature for the type of paper you aremounting. For RC and fiber based prints, a temperature of 200° F is sufficient andnot to be exceeded; Excessive temperatures can scorch or melt your prints. Leavingthe print in the press for too long a time can also burn it. A time of 30 seconds (oruntil the print is affixed firmly) is recommended.Turn off the press and the tacking iron before leaving the area! Unplug the tackingiron and turn off the switch on the press. Failing to do so can create afire hazard in the lab.Exercise care when using the paper trimmers. When holding the print down, do notapply pressure toward the blade. Do not use the paper trimmers for cutting board.This will dull the blade. Collect all unwanted scraps and throw them in the garbage.(See instructions below.)Procedures:1. Set the temperature on the press. Use 200°F for mounting resin-coated paperand fiber-based prints.2. Plug-in the tacking iron and set its thermostat at a high setting. Wait severalminutes for both the press and the iron to heat up.3. Remove excess moisture from both the print and the mount board. To do so,place each in the heated press separately for about 1 minute. Position the printand board under a protective sheet in the press to keep them from being scorched.61

4. Take a print and place it face down on a clean, flat surface. (The mounting board is agood surface to use.)5. Lay a sheet of dry-mounting tissue on the back of the print. The tissue should equalthe size of the print or larger.6. With a short easy stroke, move the heated tacking iron across the middle of thetissue. Since the tissue becomes sticky when heated, it will adhere to the print atthe spots that are touched. Note: Do not press down too hard with the iron; thiscan cause indentations on the print, and melt the resin-coating on the image side.7. Turn the print over and place it on the paper trimmer with one side of the printflush against the top of the cutter. Since the dry-mounting tissue and the print areattached, they will be cut at the same time, and they will be the same size.8. Slide the print over the cutting edge. If you are going to cut a window mat, leavesome white border around the print. If no window mat is going to be used, cut offthe white border around the image. You might have to shave a little off the image.9. Place the trimmed print (with the attached tissue) on the mount board. Position itso that the sides are equal and the bottom has about 1/2" to 3/4" more space thanthe top. There are variations, but this is the most common positioning used.10. Once the print is positioned, use a weight bag on top to keep it in place. Use aclean piece of paper between the print and the weight bag to protect the printsurface.11. Lift up one corner of the print, leaving the tissue lying flat in place on the board,and apply the tacking iron gently to the corner of the tissue to attach it to themount board. Important: Tack outward toward the corners of the tissue.Tacking inward can cause air to be trapped under the tissue and bubblingunder the print.12. Re-measure all the sides to check that the borders are square. If they are not,remove the tissue at the corners, reposition the print, and tack down the corners again.62

13. Place the print and the attached board in the dry mounting press. Be sure thatthe protective sheet is positioned between the heating plate of the press and theprint. Close the press for about 30 seconds, or until the print is affixed firmly tothe board.14. Take the mounted print out of the press and gently bend the board (sides awayfrom you) to check. If the print begins to lift off, place the print back into thepress for a longer time.15. If dry mount tissue is showing around the edges of the print after mounting,use an x-acto knife to trim it off.63

Cutting Window MatsWindow mats are usually cut for pictures that have some value or importance, so it isrecommended that a high quality, acid-free rag board is used. The board is moreexpensive, but it is archival and has excellent longevity. White and cream colors arestandard for this board, and it can come in cut sizes and full sizes up to 32" x 40".Two-ply and four ply, are standard thicknesses of the board. Two-ply is cheaper andnot as rigid as four-ply. You will be happier with the four-ply board in the long run becauseit offers more stability. Your instructor can recommend places to purchase this board, asmost photography stores do not stock it.Make sure you use a new blade to cut your board. Ask for assistance to install theblade if you don't know how. The cutter will make straight cuts and bevel cuts.What you need to begin• Museum Board• Linen tape or dry mount tissue• A print to mount• A ruler• Weight bag• Logan blades #269 for the wall mounted cutter, and #270 for the portable cutter• Cotton Gloves1. If you are going to dry mount the picture, turn on the dry mount press and plugin the tacking iron to allow them to heat up.2. If you are cutting a board down from a larger size, remember you will need twopieces of board the exact same size for each picture (one board for mounting, thethe other for the window mat).64

Recommended Board SizesIf your image size is: Then your board size should be at least:5" x 7" 11" x 14"6" x 9" 14" x 17"8" x 10" 14" x 17"11" x 14" 16" x 20"16" x 20" 20" x 24"Remember, as a general rule, larger borders give an image more prominence.Cutting the BoardTo cut a board down to size, decide what size you want the cut boards to be. Figure howmany cut boards you can get from the large board. In other words, a 32" x 40" sheet willyield two 20" x 24" sheets, four 16" x 20" sheets, four 14" x 17" sheets, or six 11" x 14"sheets. Of course combinations of sizes can also be figured.3. Make pencil marks on the backside of the board to designate where the cuts will be.4. Lift up the cutting bar and place the sheet under. Slide it along the ruler edge at thebottom of the cutter until you line up the pencil mark with the measurement youneed for your first cut.5. Bringing the cutting bar down will hold the sheet in place. If the cutter is not inthe locking position, it will slide freely up and down the cutting edge. Remember,there are two sides to the wall cutter--the straight cut blade on the right, and thebevel cut blade on the left.6. Slide the cutter up onto the top of the board. If the cutter won't slide, it is in alocking position. There is a small metal pin that slides to lock the blade when inthe cutting (down) position. Slide the pin across to unlock the blade. With the cutterat the top of the board, press the blade down and lock in place with the pin. Hold thecutting bar down with your left hand, and pull the blade down across the board withyour right hand. Repeat these steps to finish your cuts.65

Placement of the Print and Making the Window SizeNote: I recommend you do not mount the print until the window is cut. This will allowfor movement of the print to compensate for any misalignment of the window.1. Place the print on top of the board in the approximate area you want the image tobe. Put a piece of paper under the weight bag and place on top of the print to holdit down. Begin to measure to equalize the sides, and measure to position the imagewith a little more space (1/2" to 3/4") at the bottom than the top.2. Remember to measure to the image, not to the white border around the image. Ifyou want to leave a little space between the image and the window mat, measureaway from the image about 1/4". If you are measuring to the image, measure inpast the image about 1/16" so that any white of the board will not show.3. Write down the measurements from the edge of the board to the image of all thesides. On the back of the board for the window, chart and mark with a pencilwhere the corners of the window will be. For example:TopSidePoint MarksSideBottom4. Once the board is marked with the window points, place the board into the matcutter with the point marks facing out. You are now going to use the bevel cutterto cut the window. Important: When using the wall mounted cutter, always cut66

with the bevel on the left side of the board. This will insure the bevel goes inwardtoward the image when the board is flipped over.5. Slide the cutter up to the top left point on the board. Hold the cutting bar downsecurely and slide the cutter up so that the point of the blade starts to cut into theboard an 1/8" above the left point mark. Push the blade into the board and cutstraight down below the bottom left point mark about 1/8" also.6. Lift up the cutting bar and rotate the board. Continue to cut on the left side ofthe board until all four sides are cut. Remember to start your cut 1/8" higher thanthe point mark at the top, to 1/8" past the point mark at the bottom. File or lightlysand down any rough edges of the cut.Mounting the Print and Securing the Window Mat1. Place the print in the center area on the back mounting board and put the windowmat on top of it. Make sure that all the edges of both boards are aligned. (If theprint is to be dry mounted, attach dry mount tissue to the back of it and trim.See: Dry Mounting on page 59.) Carefully move the print until it is correctlypositioned behind the window. Put a weight bag with a protective sheet underit on top of the print to hold it in place.2. Remove the window mat. Cut two 2" pieces of linen tape and peel the backing(or moisten, if gummed) off one strip and place across one top corner of the printso it adheres to the mounting board and the corner of the print. Repeat on theopposite top corner.3. Place the window mat on top of the print and mounting board and align the boardedges again. If the image sits under the window mat properly, Flip the window matboard as if you were flipping over a page upward. Make sure you do this on a flatsurface. (Flip sideways for a board viewed vertically.) *See the diagram on the nextpage.67

4. Closely align the tops of both boards. Measure a strip of linen tape which will spanacross where the two boards meet. Adhere the tape to the boards to make a hinge.5. Fold the window mat over on to the mounting board and align. Press down acrossthe top to secure the taping.6. Now your work is ready to be signed!68

Ethical and Legal Aspects of PhotographyDuring every semester, in every class, the question of the ethics and legalities of picture-takingis always an issue. It is important for students to know the parameters of these areas fortheir own knowledge and protection. This writing by Arnold Gassan should help to broadlyclarify some of these questions, but remember that there are judgments made due to a varietyof conditions which tend to obscure definitive answers.RestrictionsBy and large, in our society a photographer is free to photograph what he or she wishes, butthere are some limits on what can be photographed, and what can be published. Some ofthese limits are established by law and some by good taste. For example, under the UnitedStates Code, it was formerly considered counterfeiting to photograph American currency.Now, in certain circumstances, for certain uses, it is permitted. You can make pictures ofalmost anybody in a public place, unless that person is protected by the law and the publicplace is not one in which photographs are prohibited, or where a permit is required. Someseemingly public spaces in fact require you to obtain permission to take photographs; e.g., theNew York subway and many museums.PrivacyWe each own our faces, and therefore retain the right to privacy. An amateur photographer isunder fewer constraints than a professional, but either one should have permission from theperson photographed or the owner of property to use photographs for sale, profit, and mostpublic exhibitions.The following have been legally established as violations of privacy:• publishing a photograph of a person's face or likeness or a photograph of theirproperty for advertising or trade, without that person's permission• disclosing embarrassing private facts to the public• using a picture to suggest a falsehood• trespassing to take a photographPermission to reproduce a photograph must be obtained by the photographer, and any¬onecan release the right to privacy; permission to reproduce photographs is easily obtained byhaving subjects sign a model release. A sample model release is shown at the end of this section;this can be photocopied and carried for use when needed.69

Not all uses of pictures require a release. No release is needed if the event is newsworthy,and in general a release is often not sought when the picture is used in an editorial,rather than advertising or trade, context. But this is a legal gray area, and the trouble ofobtaining a release is small when compared to the expenses of protecting yourself ineven one legal suit for invasion of privacy.Many art and commercial photographers do use or exhibit pictures of people and buildingsor other images without a release. At the least, they do so unethically, and they doso at their own financial risk. There have been several recent sizable financial settlementsmade to property owners whose buildings were unwisely used for advertising byphotographers who thought they were photographing public property.Intrusion and TrespassIntrusion is legally similar to trespass: you need not step foot on another's property to beintrusive. The photographer is prohibited from being intrusive in the act of making apicture. Intrusion can be defined as making your presence evident even when you arenot physically on another person's property. Intrusion is more difficult to prove legallythan trespass, but it is usually unethical behavior, at the least. Photographers have beenarrested for going to unreasonable lengths to produce photographs; for example, byhiring boats and using telephoto lenses to photograph someone on a private beach.Publicity and LibelA right of publicity is retained by many people who have created a celebrity value intheir name or features. Commercial use of photographs of pictures of such a person isconsidered subject to license contracts. This is different from being a newsworthy figure,and has been considered as a capital asset by the courts.Libel is defined as damaging a person's reputation by communicating a false statement.For many years, a newsworthy photograph of a public figure was not suitable for liableunless it was shown to be made with reckless disregard for the truth, or was deliberatelyfalse to the reality of the situation. Obviously, a photograph can give a false impressionwhen it is changed by cropping, but powerful distortions of the physical reality ofthe situation can be created by choice of lens and point of view. Libel law is now beingreconsidered in the courts, and definitions of who is subject to libel may change.70

CopyrightThe U.S. Copyright Law was revised in 1978, and now provides protection forphotographs as well as written material. Your unpublished photograph is automaticallypro¬tected in this country under the copyright act if it is original work. To protect it whenit is exhibited or published, the print must bear the copyright symbol ©, your name, andthe year, or the phrase "Copyright (year) by (name)," where it can be seen easily.Under copyright law, you have five exclusive rights, four of which are of concern to photographers:• the right to reproduce the picture• the right to prepare derivative works• the right to distribute the work to the public• the right to exhibit in publicThe definitions of most of these rights are evident, but the second in the list also meansthat others cannot reuse your photographs in modified form without permission.Photographs can be registered with the copyright office of the Library of Congress(Washington, DC., 20559), but whether registered or not, copyright protection for youroriginal photographs extends for the duration of your life, plus 50 years. When photographsare made for hire, the law is a little different: the copyright protection is for 75years from publication or 100 years from creation (whichever is shorter). While the copyrightregistration does not have to be done until the work is published, if publication is considered,copyright should be completed, if only to avoid possible litigation.Who Owns the PictureWhen you make a photograph to order for a client, the client owns the pictures you make,including the negatives and all rights, unless a specific contract defining ownership hasbeen prepared. The photographer may retain the negatives, but cannot make use of themwithout the customer's permission. In other words, the photographer functions as afactory that manufactures and warehouses photographs.When the photographer works on speculation or assumes the expenses and produces thepictures for his or her own profit, however, ownership is generally considered specific tothe photographer. But even then there may be an implied contract, in which ownershipwould revert to the model who was photographed, or to the client who used the photographs.71

Because of this long-standing legal definition of ownership of photographs, it is wise tohave a licensing agreement before beginning work. This kind of contract helps assure thephotographer that only the usage of the pictures has been purchased, not the original photographicmaterials themselves.Obscenity and PornographyThe legal definitions of obscenity and pornography are unclear at present. Our society isvery confused about sex and art and photography. Ultimately, it seems that commu¬nitystandards prevail when defining permissible images. Where the photograph is exhibitedaffects a definition, as much as does the subject matter. An art gallery can show explicitnakedness and sexual relationships that might be cause for arrest if seen elsewhere. Theproof is on the photographer, should the question be raised, to show that the work, takenas a whole, has serious artistic value.SummaryA photographer may photograph freely in most places, but this is limited by rights of privacy,and definitions of trespass and intrusion. Sometimes these are hard to prove legally,and the photographer's own ethical standard prevails. A release is required for the photographto be legally used for profit. All unpublished original photographs are protected bycopyright. Whether a photograph is obscene or not is often decided by community standards,as there is no standard legal definition.From Exploring Black & White Photographyby Arnold Gasson, WCB Publishers, 1989.72

Model Permission formCopy and carry in camera case or wallet.Model ReleaseDate:Photographer:Address:Phone:Description of photographs:For consideration received, I give ______________________ permission to reproduce thephotograph(s) described, and I agree that _____________________________, and alllicensees and assignees, are entitled to use the photograph(s) described above in any manneror form whatsoever, either wholly or in part, in any medium, and in conjunction withany wording or other photographs or drawings, worldwide. I understand that I do not ownthe copyright of the photograph(s). I understand that all negatives and positives, togetherwith the prints shall constitute your property, solely and completely.• I am over the age of majority• I am the parent/guardian of _______________________________and I consent tothese conditions.• (delete whichever does not apply).Model's Name (printed):Signature:AddressWitness:73

Richland College Student Photo/Imaging ExhibitionEvery Spring Semester in the Brazos Gallery at Richland College we have aphoto/Imaging exhibition of work produced by students in the program. All studentsenrolled in credit photography and digital Imaging classes during the Spring Semester arerequired to enter at least one, and up to three, pieces into the show. Students enrolled inthese credit classes at Richland College during the previ¬ous Summer or Fall semesterare also eligible to submit work.The exhibition is juried by individuals in the community whose primary occupation isphotography or art in general. They might be educators, gallery directors, curators orphotographers. The juror is solely responsible for the photographs selected for the show,as well as for all of the prizes awarded except one - the John G. Jimison Award. Theprospectus handed out during the Spring Semester will describe all the details studentsneed to know about the exhibition.We are pleased to be able to offer students this unique opportunity to exhibit their workin such an excellent gallery space to be viewed by many people on the campus74

Slide Resource Library of PhotographyThe Slide Resource Library is located in the back room of the Photo Lab. These slides areavailable for viewing by students currently enrolled in credit photography classes, and withthe permission of the instructor. The instructors or lab associates will pull the slidecarousel for you to view in Room S295 (if the room is available). Slides are not to leavethe photography area. If any problems arise with the slides or the projector, find aninstructor or lab associate for assistance. Students should not handle the slides.When finished viewing, return the slide carousel to the instructor or lab personnel.(At this time we have over 90 photographers represented.)ANSEL ADAMSWILLIAM ADAMSBERENICE ABBOTTDIANE ARBUSEUGENE ATGETRICHARD AVEDONRUTH BERNHARDMARGARET BOURKE-WHITEBILL BRANDTBILL BURKEJULIA MARGARETCAMERONHENRI CARTIER-BRESSONLARRY CLARKMARIE COSINDASIMOGEN CUNNINGHAMROBERT D’ALESSANDRODENNIS DARLINGBRUCE DAVIDSONHAROLD EDGERTONELLIOT ERWITTWALKER EVANSBERNARD FAUCONLARRY FINKROBERT FRANKLEE FRIEDLANDERMARIO GIACOMELLIWYNN BULLOCKRALPH GIBSONJUDITH GOLDENNAN GOLDENEMMET GOWINDAVID GRAHAMERNEST HAAS75CHARLES HARBUTTROBERT HEINECKENLEWIS HINEDAVID HOCKNEYINFRARED SURVEYYOUSUF KARSHANDRE KERTESZBARBARA KRUGERDOROTHEA LANGEANNIE LEIBOVITZHELEN LEVITTJEROME LIEBLINGNATHAN LYONSSALLY MANNROBERT MAPPLETHORPEMARY ELLEN MARKJOHN MARGOLIES

RAY METZKERSHEILA METZNERJOEL MEYEROWITZDUANE MICHALSARNO MINKKINENLAZLO MOHOLY-NAGYSARAH MOONARNOLD NEWMANNICHOLAS NIXONRUTH ORKINOLIVIA PARKERIRVING PENNJOHN PFAHLROSAMOND WOLFF-PERCELLMANN RAYHERB RITTSHOLLY ROBERTSCHRIS STEELE-PERKINSEDWARD STEICHENALFRED STIEGILTZPAUL STRANDJOYCE TENNESONGEORGE TICEARTHUR TRESSJURRY UELSMANNDORIS ULMANNBURK UZZLEWEEGEEWILLIAM WEGMANBRETT WESTONEDWARD WESTONMINOR WHITEGARRY WINOGRANDJOEL-PETER WITKINEVA RUBINSTEINSABASTIAO SALGADOLUCAS SAMARASAUGUST SANDERJAN SAUDEKCINDY SHERMANSTEPHEN SHOREARRON SISKINDW. EUGENE SMITH76

Richland College Library - Photography Book ListThe books listed below are housed in the Richland College Library. Most are on reservebehind the checkout counter. The list is comprised primarily of books that are considered tobe monographs and present a body of work by one photographer. Many will include biographicalinformation on the artist, as well as some historical context for the work. We stronglyencourage students at all levels to study the work of others, especially those who have made asignificant contribu¬tion to the photographic medium.The Library also has a wide range of photography books which address a variety of subjectssuch as: Photographic History and Criticism, Darkroom Techniques, Photojournalism,Commercial Photography, Cinematography, Nature Photography, Travel Photography,Underwater Photography, and more.If you would like some suggestions about which of the photographers' work to look at, pleasefeel free to ask your instructor, or browse through the stacks in the Library.Abbott, Bernice, Berenice Abbott: Documentary Photography of the 1930sAdams, Ansel, Classic ImagesAdams, Ansel, Photographs of the SouthwestAdams, Ansel, Singular ImagesAdams, Ansel, Portfolios of Ansel AdamsAdams, Ansel, Ansel Adams--Images, 1923-1974Adams, Robert, To Make It HomeAdams, Shelby Lee, Appalachian LegacyAdams, William, William AdamsArbus, Diane, Diane Arbus: An Aperture MonographArbus, Diane, RevelationsAtget, Eugene, Eugene Atget, 1857-1927Attie, David, Russian Self-PortraitsAustin, Alice, Alice's World: The Life and Photographs of Alice AustinAvedon, Richard, Evidence, 1944-1994Avedon, Richard, In the American West: 1979-1984Avedon, Richard, PortraitsBarnbaum, Bruce, Tone Poems-Book 2Bartram, Michael, Pre-Raphaelite Camera: Aspects of Victorian PhotographyBeaton, Cecil, Magic Image: The Genius of PhotographyBeaton, Cecil, Cecil Beaton: A RetrospectiveBeahan, Virginia, and McPhee, Laura, No Ordinary Land77

Beaumont, Newhall, History of Photography, from 1839 to the PresentBoubat, Edouard, Edouard BoubatBourke-White, Margaret, Photographs of Margaret Bourke-WhiteBourke-White, Margaret, Portrait of MyselfBrady, Mathew, Mathew Brady and His WorldBrandt, Nick, On This EarthBravo, Manual Alvarez, Manual Alvarez BravoBravo, Manual Alvarez, NudesBridges, Marilyn, Markings, Aerial Views of Sacred LandscapesBruce, David, Sun Pictures: the Hill-Adamson CalotypesBruguiere, Francis Joseph, Bruguiere, His Photographs and His LifeBullock, Wynn, Wynn BullockBullock, Wynn, Wynn Bollock: The Enchanted LandscapeCallahan, Harry M., CallahanCameron, Julia Margaret, Julia Margaret Cameron: Her LifeAnd Photographic WorkCaponigro, Paul, Paul CaponigroCartier-Bresson, Henri, Man and MachineCartier-Bresson, Henri, Henri Cartier-BressonCook, Diane, & Jenshel, Len, AquariumCunningham, Imogen, FloraCunningham, Imogen, Imogen CunninghamCunningham, Imogen, On The BodyDavidson, Bruce, Central ParkDemeyer, Adolf, Baron, DeMeyerEakins, Thomas, Photographs of Thomas EakinsEisenstaedt, Alfred, Eisenstaedt's Celebrity PortraitsEmerson, P. H., P. H. Emerson: Photographer of NorforkErwitt, Elliott, Personal ExposuresEvans, Walker, Walker EvansEvans, Fredrick H., Frederick H. EvansFolberg, Neil, Celestial NightsFerrato, Donna, Living with the EnemyFeinstein, Harold, One Hundred FlowersFranck, Martine, One Day to the Next78

Frank, Robert, Robert Frank: The AmericansFrank, Robert, Robert FrankFrank, Robert, Moving OutFreed, Leonard, Photographs 1954-1990Friedlander, Lee, FriedlanderFriedlander, Lee, Self PortraitGarduno, Flor, Witnesses Of TimeGraham, David, Land of the FreeGernsheim, Helmut, History of Photography From the Camera Obscura to theBeginning of the Modern EraGernsheim, Helmut, Origins of PhotographyGiacomelli, Mario, Mario GiacomelliGibson, Ralph, TropismGilpin, Laura, Laura Gilpin: An Enduring GraceGoldberg, Jim, Raised by WolvesGowin, Emmet, Emmet Gowin PhotographsGreen, Jonathan, Camera Work: A Critical AnthologyGriffiths, Philip Jones, Dark OdysseyHaas, Robert Bartlett, Eadweard Muybridge: Man in MotionHalsman, Philippe, A RetrospectiveHalsman, Philippe, Jump BookHarbutt, Charles, TravelogHeartfield, John, Photomontages of the Nazi PeriodHill, David Octavius, Early Victorian AlbumHine, Lewis, Passionate Journey, Photographs 1905-1937Hockney, David, Hockney on PhotographyHockney, David, David Hockney PhotographsHorst, Salute to the ThirtiesKahn, Nicholas, & Selesnick, Richard, ScotlandfuturebogKarsh, Yousuf, Karsh PortraitsKenna, Michael, Le Notre’s GardensKenna, Michael, Retrospective TwoKenna, Michael, A Twenty Year RetrospectiveKertesz, Andre, Andre KerteszKertesz, Andre, Sixty Years of PhotographyKruger, Barbara, Thinking of YouLange, Dorothea, Dorothea Lange: A Photographer's Life79

Lange, Dorothea, Dorothea LangeLartigue, Jacques-Henri, Jacques-Henri LartigueLeibovitz, Annie, Annie Leibovitz, 1970-1990Lemagny, Jean-Claude, History of Photography: Social and Histoirede la PhotographieLight, Michael, 100 SunsLux, Loretta, Loretta LuxMaddow, Ben, Faces: A Narrative History of the Portrait in PhotographyMaddoz, Chema, Chema MadozMager, Alison, Children of the Past in Photographic PortraitsMann, Sally, Immediate FamilyMapplethorpe, Robert, Robert Mapplethorpe by Richard MarshallMark, Mary Ellen, American OdysseyMark, Mary Ellen, Mary Ellen Mark 25 yearsMark, Mary Ellen, TwinsMartin, Paul, Paul Martin: Victorian PhotographerMcAuley, Skeet, Sign LanguageMenashe, Abraham, Inner GraceMeyer, Pedro, Truths & FictionsMichals, Duane, Now Becoming ThenMinkkinen, Arno, WaterlineMitchell, Margaretta, Recollections: Ten Women of PhotographyNewman, Arnold, One Mind's EyeNixon, Nicholas, Picture of PeopleNorfleet, Barbara, Champion Pig: Great Moments in Everyday LifeOld, Toby, Times SquaredParkeHarrison, Robert, The Architect’s BrotherParks, Gordon, Gordon ParksParks, Gordon, Gordon Parks: Whispers of Intimate ThingsPenn, Irving, Worlds in a Small RoomPfahl, John, Altered LandscapesPlachy, Sylvia, Self Portrait With Cows Going HomePlowden, David, CommonplacePullen, Melanie, High Fashion Crime ScenesRay, Man, Man RayRitts, Herb, Herb Ritts, Two VolumesRoberts, Holly, Works 1989-1999Rosenblum, Naomi, A History of Women Photographers80

Salgado, Sebastiao, An Uncertain GraceSalgado, Sebastiao, WorkersSamaras, Lucas, SamarasSaudek, Jan, SaudekScharf, Aaron, Pioneers of PhotographySexton, John, Quiet LightSherman, Cindy, Cindy Sherman, 1975-1993Singh, Raghubir, The GangesSmith, W. Eugene, Photographs 1934-1975Smith, W. Eugene, Let Truth Be the PrejudiceSmith, W. Eugene, W. Eugene Smith, His Photographs and NotesSobieszek, Robert A., Art of Persuasion: A History of Advertising PhotographyStarn, Mike and Doug, Mike and Doug StarnSteel-Perkins, Chris, Pleasure PrincipleSteichen, Edward, Family of ManStieglitz, Alfred, Alfred StieglitzSturges, Jock, Last Day of SummerSzarkowski, John, Mirrors and Windows: American Photography Since 1960Tenneson, Joyce, IlluminationsTenneson, Joyce, Light WarriorsThoreau, Henry David, In Wildness is the Preservation of the WorldTress, Arthur, Arthur TressTress, Arthur, TalismanUelsmann, Jerry, Jerry N. UelsmannUelsmann, Jerry, Photo SynthesisUelsmann, Jerry, Process and PerceptionUzzle, Burk, Landscapes/PhotographsUzzle, Burk, All AmericanWegman, William, William WegmanWeston, Brett, Voyage of the EyeWeston, Edward, Edward Weston: Fifty YearsWeston, Edward, Forms of PassionWhite, Minor, Rites and PassagesWilson, Laura, Avedon at Work in the American WestWinogrand, Garry, Winogrand: Figments from the Real WorldWitkin, Joel-Peter, Gods of Earth and Heaven81