Unusual tonal rendition giving creative and dramatic images… PDF: Dramatic
information for all kinds of studio work from all studio areas at the Slade School of Fine Art
information for all kinds of studio work from all studio areas at the Slade School of Fine Art
Unusual tonal rendition giving creative and dramatic images… PDF: Dramatic
Negative 1 Under red lighting best quality writing paper is dipped in weak silver nitrate solution, followed by potassium iodide solution, and wiped dry. 2 One side is coated with an ‘exciting’ solution of gallic acid and silver nitrate, applied with a brush. The sensitised paper is then dried in front of the fire, and placed in a light-proof holder to take to the camera. 3 Exposure in the camera for about 1-3 min. 4 Development, in the same exciting solution as 2 but diluted to half strength. 5 Fixing in hyposulphite of soda, washing and drying. Positive print 6 Another sheet Read more
Cyanotype Process The cyanotype process or blue printing was discovered by Sir John Herschel in 1842. Ifs first extensive use was in a book of botanical photograms of British algae by Anna Atkins. Around the turn of the century prepared blueprint paper was available to photographers for making proofs. The process was also used to produce postcards and stereographs of the period. The process never gained any real popularity and so was primarily used as a copying process (as engineers and architects do now). … PDF: Cyanotype Process Cyanotype Printing Process The cyanotype printing process , commonly known as ‘Blue Print’, was invented in 1842 by the English astronomer Sir Read more
There are a number of photographic processes which enjoyed great popularity in the early year of the century. In some the actual photographic print formed only an intermediate stage in the production of the final image. Typical examples are carbon processes, the carbo process, and the bromoil processes. Of these three, the bromoil process is probably easiest to master, in terms of technique and availability of suitable materials. … PDF: The Bromoil Process
Albumen print The first glossy coated photographic print. In general use c. 1855-1890. Thin paper was first coated with a mixture of whisked egg white and salt, then sensitized with silver nitrate. It was usually printed-out in sunlight under the negative in a printing frame. C-type print Photographic colour print made from a colour negative: the most widely-used form of colour photograph today. … PDF: Photographic Processes and Terms
Chronology of historical development of photography. PDF: Chronology
Although far more people could now take photographs, for most of the first half of the twentieth century photography really meant pictures in black and white. Everyone now expects to have colour prints from their holiday a few hours after returning home, but 60 years ago a skilled photographer would take several days, at great expense, to get one colour image on to paper. Reaching today’s position called for tremendous research – firstly to establish the best principle on which to base a system of colour photography, and secondly (even more difficult) how to put it into practice so that it was simple, inexpensive and gave Read more
The term high and low key refer to the dominant prevailing tones – light or dark – used in a picture. A high key photograph consist mostly of white and light tones and some middle tones, whereas a low key photograph is composed predominately of black and dark tones. … PDF: High and Low Key
Pinhole photography is photography at it’s most basic. In terms of equipment, materials and the physics of light it couldn’t be simpler. It is the grounding for all photography. Materials Required: Cardboard box or any blacked out container that you can fix a pinhole to and hold light sensitive material i.e. film or paper. Thin sheet of shim or soft drinks can to make pinhole aperture out of. Pin and light emery paper. Black and white photographic paper and or sheet film. Other materials required may be black paper or black paint, gafa tape and masking tape, knife, scissors … PDF: Pinhole Camera Read more
A photogram is a picture made without using a camera; it records not the image of an object produced by a lens but the shadow cast by the object itself i. e. using the photographic printing process but without using a negative. They tend to be strong-silhouetted images. With experimenting you can create a fairly intricate image using marks, shapes and textures. … PDF: Photograms The only real limit to this technique is your imagination. With photograms you have total control over all the elements and you aren’t dependent on the weather. … PDF: Technique File It’s pants! Using the age-old technique of photograms, Kirsty Mackay creates Read more
Dry mounting provides a good-looking, stable support for a print. Shown here is a mount with a wide border around the print. The mounting materials, the print, and the inner surfaces of the press should be clean; even a small particle of dirt can create a bump or dent when the print is put under pressure in the press. … PDF: Dry Mounting a Print Step by Step
A bleed-mounted print is even with the edges of the mount. … An overmatted print has a raised border around the print. It consists of an overmat (a piece of mount board with a hole cut in it) placed over a print that is attached to another piece of mount board (the backing board). The overmat helps protect the print and can be easily replaced if it becomes soiled or damaged. After overmatting, the print can be framed or displayed as is. … PDF: Bleed Mounting/Overmatting
Magnification of subject height will increase exposure by … PDF: Magnification of Subject and Exposure Increase
A continuous light such as a torch or candle can be mixed with flash light to create a composite negative with two exposures. How to get this effect: 1. Set the camera to multiple exposure. 2. Use the camera on a tripod with a cable release. 3. Meter for the flash light (or overhead/daylight in the case of the Picasso or Dance Hall images) and make the 1st exposure. 4. Then in a darkened space where the torch is the only light source use a long exposure to record the movement of the torch (this could be about 20 seconds for example). 5. The torch Read more
Documentation is not the work. You need to plan your photo shot in away that it records a sense of your artwork. This may mean you need to do a number of different things. A general installation shot to give an idea of scale and contextualising the work within the space. A cropped shot of a piece to display it clearly. A close shot to show materials and texture. A clear and straightforward recording of the work is what you should be after. Decide which material you wish to record your work in, i.e. colour slide film (transparencies), colour prints, black & white or digital. … Read more
Effects of exposure and development on normal contrast, silver-image monochrome film. … PDF: Effects of Exposure
Scenes that are light overall, such as a snow scene, can look too dark in the final photograph if you make just an overall reading or let an automatic camera make one for you. The reason is that the meter will make its usual assumption that it is pointed at a scene consisting of light, medium, and dark tones, and it will expose the film accordingly. But this will underexpose a scene that consists mostly of light tones, resulting in a too-dark final photograph. Try giving one or two stops extra exposure to such scenes. PDF: Exposing Scenes that are Lighter or Darker than Average
Colour Film consists of three light sensitive layers. Each of which responds to about one-third of the colours in the light spectrum. Each layer is matched to a primary colour dye that is built into the emulsion or added during processing, and every colour in the spectrum can be produced by mixing varying proportions of the colour primaries. … PDF: How Colour Films Produce Colours
How do you utilise mixed lighting indoors? What problem arise and how can you solve them? This article by David Askham will give some of the answers, based on the author’s experience in a wide range of commercial assigments in work places, stately homes and domestic interiors. … PDF: Mixed Lighting Indoors
This chapter discusses how our light-sensitive camera materials work, especially colour films. It traces the way that ingenious principles have been put into practice and compares how films record relative to the way our eyes see subjects directly. So the chapter begins by describing how eyes and brain receive and interpret the sensation of colours and comparing this with the far more fixed chemical response of colour films. Differences between seeing and photographing are important to grasp in order to control results. … PDF: How Camera Materials Work
Color theory encompasses a multitude of definitions, concepts and design applications. All the information would fill several encyclopaedias. As an introduction, here are a few basic concepts. PDF: Color Theory
The following table shows the correlated colour temperature of common light sources: Color Temperature Light Source 1000-2000 K Candlelight 2500-3500 K Tungsten Bulb (household variety) 3000-4000 K Sunrise/Sunset (clear sky) 4000-5000 K Fluorescent Lamps 5000-5500 K Electronic Flash 5000-6500 K Daylight with Clear Sky (sun overhead) 6500-8000 K Moderately Overcast Sky 9000-10000 K Shade or Heavily Overcast Sky Here is a visual representation of the Kelvin temperature scale. Notice how lower temperatures are very warm, and following the color spectrum, increase in numeric value as they become cooler. PDF: The Kelvin Temperature Scale
White light, such as that from the sun, contains all the colours of the spectrum. Pass light throught the prism and it will brake into the rainbows of colours. … PDF: White Light
Light consists of wave and particles as part of the Electromagnetic Spectrum. Light + Wavelength = Colour. The human eyes are sensitive to 400-700nm. Film is sensitive to infra red (250nm). … PDF: Colour and Light
Visible light is a stream of energy radiating from a light source (the sun or a lamp). There are four main characteristics of light: … PDF: Light
PDF: Health and Safety in the Studio
PDF: Studio Lighting Record
Fill light makes shadows less dark by adding light to them. Photographic materials can record detail and texture in either brightly lit areas or deeply shadowed ones but generally not in both at the same time. PDF: Fill Light to Lighten Shadows
ONLY switch the Pack ‘ON’ AFTER the Flash Heads have been correctly connected. Never disconnect the Flash Head cables with out first switching the power off. High voltage goes through these cables and care should always be taken when using them. PDF: Safe Use of the Bowens Duo 2400 Power Pack
Artificial light sources let you bring your own light with you when the sun goes down, when you photograph in a relatively dark room, or when you need just a little more light than is available naturally. Different sources produce light of different colour balances, an important factor if you are using colour films. PDF: Using Artificial Light Photolamp or Flash
Many fine portraits have been made using simple lighting setups. You don’t need a complicated arrangement of lights to make a good portrait. In fact, the simpler the setup, the more comfortable and relaxed your subject is likely to be. PDF: Simple Portrait Lighting
The most realistic and usually most pleasing lighting resembles daylight, the light we see most often: one main source of light from above creating a single set of shadows. Lighting seems unrealistic (though there may be times when you will want that) if it comes from below or if it comes from two or more equally strong sources that produce shadows going in different directions. PDF: The Main Light, The Strongest Source of Light
Naturally the diagrams should only be taken as a guide, as it is impossible to accurately represent the enormous variety of heads, dishes, softboxes, reflectors and so on that are available, while using an accessible range of diagrams, nor is it possible to fully indicate lighting ratios and other such specifics. In practice, however, differences in equipment, and sometimes scale, should be small, and will anyhow at allow you to add your own personal stamp to the arrangement you’ re seeking to replicate. In addition you’ll find technical details about the use of camera, film, exposure, lens etc. along with any useful hints and Read more
1. The Key light or Principal light is the one light which dominates all the others, creating the most noticeable highlights and casting the most important shadows. 2. The Fill-in light is used to illuminate the shadows cast by the Key light, bringing the overall contrast of the subject within the range of the sensitive material. …see full text PDF: Lighting Diagrams
Flash used normally will freeze moving object and if the exposure is correct, will evenly illuminate everything within its range. But, as in every aspect of photography, creating rule braking can produce stunning results; and this is particularly the unorthodox technique of slow sync flash. PDF: Slow Sync Flash
Fill-in flash uses a combination of flash and daylight to make an exposure. It is useful in strong daylight to fill in shadows formed by existing light. The effect is natural rather than harsh. PDF: Combining Flash and Continuous Light
Flash can be used in conjunction with ambient (already existing) light. It can be very useful as a secondary light source to fill in the shadows of natural light, without losing the basic light & shade patterns nor the general atmosphere. PDF: Using Flash with Ambient Light
Light from any source – a window, a continuously burning lamp, a flash – foltows the same general rule: The light falls off (gets dimmer) the farther the light source is from an object. But light from a flash comes and goes so fast that you can’t see the effect of the flash on a scene at the time you are taking the picture. Special exposure meters are designed for use with flash; you can’t use an ordinary exposure meter to meas. PDF: More About Flash, How to Position It
The Inverse square Jaw The Inverse square Jaw is the basis for flash exposure calculations. The farther the light travels, the more the light rays spread out and the dimmer the resulting illumination. …see full text To Calculate your own Flash Exposure To calculate your own flash exposure you need to know two things: the distance that the light travels to the subject and the guide number (a rating given by the manufacturer for the flash when used with a specific film speed) …see full text Bounce Flash Travels an Extra Distance If you are calculating a bounce flash exposure, measure the distance not from flash to subject but Read more
Your files, anywhere Any file you save to Dropbox also instantly saves to your computers, phones, and the Dropbox website. 2GB of Dropbox for free, with subscriptions up to 100GB available. Your files are always available from the secure Dropbox website. Dropbox works with Windows, Mac, Linux, iPad, iPhone, Android and BlackBerry. Works even when offline. You always have your files, whether or not you have a connection. Dropbox transfers just the parts of a file that change (not the whole thing). Manually set bandwidth limits — Dropbox won’t hog your connection. Website: Dropbox Website: Dropbox for ucl.ac.uk email address Read more
Processing Your First Black and White Film 1. Your darkroom (kitchen, bathroom or cupboard) needs to be completely blocked out to stop light from entering. For windows use thick card cut to shape and held in place with blade canvas tape. …see full text PDF: Processing Your First Black and White Film Processing a Film Easy Even if you have never developed a film before, you are unlikely to find it very difficult. You do not need a specially-built darkroom, and once you have loaded the film into the developing tank, the rest of the process takes place in daylight. …see full text PDF: Processing a Film Easy Black and Read more
Types and Technical Data It makes good sense to work with a limited range of well-chosen films. You get to know their performance intimately – what each can contribute to your particular style of picture, its response to different subject situations and, when necessary, just how far you can abuse the film before results become unacceptable. … PDF: Films – types and technical data Understanding Film …The Basics Film is, very simply, a light-sensitive emulsion on a plastic base. An easy way to think of film is to compare it with bread and butter. Think of the bread as the base, the butter as the emulsion. When you Read more
The colour processing that we shall be using is the subtractive method. Using the subtractive filters of yellow magenta and cyan. In practise you will only use two filters at any one time, as a third filter will simply reduce the effect of the other two. In practise you will only use the filters magenta and yellow. …see full text PDF: Colour Printing Min Test Strip Print Size Exposure: Aperture – start at f8, First Test Strip: 5,10,20,40 sec, Adjust aperture to target 20 sec exposure… see full text A ring-around chart for neg/pos colour printing Filtration data shows what to subtract from present filter settings Read more
The Chemicals: There are three basic chemicals in the printing process. These are Developer, Stop and Fix. Developer brings out the latent image, the magic part of the process. Stop does what it says, stops the image from coming out any further. Fix prevents any white light from darkening, fogging, fading or otherwise affecting the finished print i.e. fixing it. Printing Equipment and materials you’ll need Making a Contact Print Step by Step Processing a Print Step by Step Development …see full text PDF: Black & White Photographic Printing Photographic Paper Most black and white paper is coated on a base consisting of paper fibre sealed Read more
Cameras and Accessories View cameras come in a variety of sizes, ranging in inches from 2 1/4″ x 3 1/4″ up to 11 x 14 formats. There are larger models, but those are usually used only for special-purpose photography because of the limits imposed by their massive size and weight. The two most popular sizes are 4×5 and 8 x 10. All monorail cameras are modular in design. These can be specifically configured in terms of bellows, monorail length, and type of back and front components to serve a wide variety of photographic needs. … PDF: Cameras and Accessories Definitions The view camera is unique because its lens and back are Read more
Slade has a UCL recycling point for batteries. Located inside the main entrance, the box is orange and black in the shape of a very oversized battery. Please take advantage of this recycling point for any used batteries.
What are camera movements? Essentially, they are controlled independent movements of lens or film plane which enable us to form a more usefull image under a particular set of conditions. They enable us, for instance, to increase depth of field over important parts of the subject, change image shape, and use images of subjects well above, below or to the side of the lens. Camera movements offer us all sorts of image controls, from simple square-on views of mirrors without the camera showing, to a complete change in the apparent perspective of a building. Here, indeed, is valuable ‘professional magic.’ Read more
The 35mm Single Lens Reflex (SLR) camera is fundamentally a 45° hinged mirror set behind a lens which reflects the image up to a focusing screen on the camera top. As the shutter release is pressed the mirror flips up to: i) Form a seal under the focusing screen to prevent light from entering the camera through the viewing lens. ii) Move out of the way of the lens and film. When the mirror reaches the horizontal position it fires a focal plane shutter just in front of the film to make an exposure. Distances are arranged so that the Read more
A introduction and step by step guide to making an exposure on the 5×4 camera PDF: Monorail camera
Format refers to the size of film that you are using. Medium format mostly refers to 120 film which will be 6cm wide but depending on the camera you are using can be 4.5,6, or 7cm long and even longer which would go on to a large format camera. Our cameras produce negative that are 6 X 6cm and 6 X 7cm. We would advice that you do not use 220 film as it doesn’t have a paper back and can rip and is difficult to load, also some of our cameras are not designed for this longer film, So Read more