Printing

Printing - Making a photograph on paper

The final step in making a photograph takes us back into the darkroom. Light that reflected off of our subject that passed through the lens and onto our film turned the film black. The whiter our object the more light that is reflected causing the film to be very dark. A negative is called a negative because it is the opposite of a positive or real life. What is black on a negative was white in real. Printing allows the photographer to have one more chance to control what goes onto a print.

Film LATTITUDE is the ability for a film to record an image even under less than ideal lighting. The print process allows us to extend this lattitude with additional processing as we convert from a negative to a positive.

The enlarger is a projector that will take our negative, shine light through it onto a piece of light sensitive paper. The paper only is sensitive to BLUE (orthochromatic) light so it can be used under a red SAFE light. The basic parts of the enlarger are shown here. In our darkroom we have 4 different types and sizes of enlargers.

The lamp house holds the special 75 watt light bulb - this bulb has no label on it and is frosted. It costs over $3 and should be only turned on just for a few seconds to focus or make prints and never just left on to light up the room.

The negative holder holds the film in the enlarger.

The lens adjusts the amount of light falling on our paper. It has a twisting aperture adjustment on the side.

The focus knob moves the enlarger up or down to make prints larger or smaller

The easel holds the photo paper. Each size has a guide that will hold the paper in place when the cover is lifted up.


	Darkroom set up - Sink

MAKING PRINTS AND ENLARGEMENTS

Printing is both a skill and a highly creative activity. The print is the climax in the long chain of events that began when the photographer first visualized the picture. For many photographers, making a fine print is one of the most challenging and satisfying aspects of their hobby or work.

The exposed paper is then developed in chemical solutions in much the same way in which the film was processed. Printmaking can be carried out by the subdued illumination of a darkroom safelight. A yellow-green or red safelight is generally used for most graded printing and enlarging papers because it does not affect their emulsion; a light-amber safelight is generally used for variable-contrast papers. In our lab we use simple red bulbs from the light store to save money, thus variable contrast papers should be avoided.

A contact print is one made by placing the negative in direct contact with the printing paper. Contact prints can be made with a printing frame, which resembles a picture frame with glass. The negative is placed on the glass with its emulsion side up, and the paper is placed on the negative with its emulsion side down. Then a spring-held back is locked into place. The print is exposed by a light held several inches above the frame for five to 15 seconds. The length of time required depends on the density of the negative and the type and grade of paper used. If the print is too dark, the exposure time was too long; if the print is too light, the time was too short. One or two test prints are usually made to determine the correct exposure for the final print. Contact printers are also available that contain their own light source.

The exposed print is then processed in the developer solution. Contact paper is usually left in the solution for about one minute. The tray is gently rocked or the print held by a corner and moved back and forth. The print is then placed in a tray containing a stop bath, where it is agitated continuously for five or ten seconds. Next, it is placed in a fixing bath for about ten minutes, then washed in running water at 65 degrees F to 70 degrees F (18 degrees C to 21 degrees C) for an hour. Finally, the print is dried. Making a print from the enlarger is similar to the contact. First the negative is placed in the enlarger SHINNY side face up. Negatives should be held by their edge or by using special cotton gloves. Never touch the image area with your fingers. Film can be cleaned if it gets dirty by using special film cleaning liquid and soft tissue. DO NOT clean a negative with water. The enlarger lens is set to FULL brightness and the print is focused on the easel under the enlarger. If the print is too small or too large the light house is moved up or down to change the size and the image is refocused.Once the size is set the lens is closed down 4 clicks from full brightness to an aperture of f 11 to allow for a longer exposure time. The enlarger is turned off and a piece of test paper is taken out of the box. This is a strip of cut paper about 1" by 5" in size. It is placed SHINNY side face UP on the print easel. The enlarger is then turned on and time is counted. After 5 seconds about 1 1/2" of the test strip is covered with a piece of cardboard. Time continues to count and at 5 second intervals the paper is coverd up more and more. The final piece of paper will get 5 - 10 -15 and 20 seconds of exposure on the same test strip. This paper is placed in the developer under CONSTANT aggitation for 90 seconds to 2 minutes.....even if the test gets very DARK. If it turns black, then turn the enlarger lens down to f 16 or f22 and repeat the exposure on another test. Process in stop bath and into the fix for at least 1 minute before checking to see which time gave the BEST exposure.

Look for deep rich black shades in the shadows with a hint of texture while having clean, white, textured highlights. Once the test is done and time determined, put in a fresh piece of paper under the enlarger and without changing any setting on the enlarger make a print for the tested exposure time. Additional prints may still need to be made if the print still is not correct.

DOWNLOAD a chart that outlines the printing process.