1 The Director of Photography – an overview
1 The Director of Photography – an overview
1 The Director of Photography – an overview
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Film stock 67<br />
Figure 6.5 After<br />
development<br />
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Still in total darkness, <strong>an</strong>d after exactly the right amount <strong>of</strong> development<br />
time, we plunge our film into <strong>an</strong> acid stop bath. As its name<br />
suggests, this immediately stops the process <strong>of</strong> development but still<br />
leaves the image vulnerable to more light. After the acid stop bath,<br />
there remain active silver halide grains in the film so, still in complete<br />
darkness, the film must now go into a fix bath, which turns the remaining<br />
silver halide into subst<strong>an</strong>ce (complex sodium argentothiosulphates)<br />
that c<strong>an</strong> then be washed out <strong>of</strong> the emulsion without affecting<br />
the metallic silver.This chemical, the fixer, is the sodium hyposulphate<br />
discovered by Sir John Herschel in 1839, referred to earlier in this<br />
chapter. You will occasionally hear the fixer referred to as ‘hypo’, a<br />
name derived from the chemical name <strong>of</strong> its primary component. So,<br />
if the fixer dissolves out <strong>of</strong> the photographic emulsion all the undeveloped<br />
grains but leaves all the developed grains completely unaffected,<br />
then our little microcosm <strong>of</strong> the film will look like Figure 6.6 <strong>an</strong>d will,<br />
at last, be safe to bring into the light. <strong>The</strong> application <strong>of</strong> all the above<br />
liquid chemicals to the emulsion is referred to as processing that emulsion.<br />
If you compare Figures 6.2 <strong>an</strong>d 6.7 you will see the effect <strong>of</strong> processing<br />
on the whole grain field.<br />
Now the number <strong>of</strong> photons in the above example might be considered<br />
a medium exposure. Were we to consider a higher exposure,<br />
which would be like that found in a much brighter part <strong>of</strong> the overall<br />
scene, then the same four grains we used in the above example would<br />
be attacked by a photon array much like that shown in the left <strong>of</strong><br />
Figure 6.8, but after processing all but one <strong>of</strong> the grains will be black,<br />
as only the smallest grain failed to have four atoms <strong>of</strong> silver halide<br />
turned to metallic silver. In Figure 6.9 we see the reverse, where a dark<br />
part <strong>of</strong> the scene is recorded, <strong>an</strong>d as there are far fewer photons only<br />
the largest grain is fortunate enough to have the requisite four atoms<br />
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