12.01.2013 Views

1 The Director of Photography – an overview

1 The Director of Photography – an overview

1 The Director of Photography – an overview

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

Film stock 67<br />

Figure 6.5 After<br />

development<br />

1<br />

7<br />

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 />

3<br />

4<br />

2

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!