Lesson Notes By Weeks and Term v3 - Senior Secondary 1
Printing process
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Printing process
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Subject: Photography
Class: Senior Secondary 1
Term: 2nd Term
Week: 3
Theme: Printing
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This topic introduces students to the crucial final stage of traditional photographic image creation: the printing process. Understanding how to print photographs from negatives is fundamental for anyone interested in photography, as it transforms a latent image into a tangible, visible print. This skill is vital for professional photographers, photojournalists, artists, and even for personal use in preserving memories and historical documentation.
The printing process in traditional photography involves chemically transforming a negative image into a positive image on light-sensitive photographic paper. This process typically occurs in a darkroom environment.
A. The Darkroom Environment: A darkroom is a light-tight space where photographic paper, which is sensitive to light, can be handled and processed without being exposed to unwanted light. - Safelight: A darkroom is illuminated by a special safelight (usually red or amber) which emits light that photographic paper is insensitive to, allowing for visibility without fogging the paper. - Wet Area: For chemical processing (developer, stop bath, fixer, wash). - Dry Area: For handling negatives, paper, and the enlarger. Cross-contamination between wet and dry areas must be avoided.
B. Essential Materials:
1. Negatives: The processed film containing the latent image (reversed tones from the original scene). These are the source material for printing.
2. Photographic Paper: Light-sensitive paper coated with silver halides. - Types: Resin-Coated (RC) paper (plastic-coated, quicker processing/drying) and Fibre-Based (FB) paper (paper base, archival quality, longer processing/drying). - Grades/Contrast: Papers come in different contrast grades (e.g., 0-5, where 0 is soft/low contrast and 5 is hard/high contrast) or as variable contrast paper (used with multigrade filters to adjust contrast).
3. Photographic Chemicals: - Developer: Reacts with exposed silver halides on the paper to convert them into metallic silver, forming the visible image. (e.g., Dektol, ID-76) - Function: Reveals the image. - Stop Bath: An acidic solution (typically diluted acetic acid) used to neutralize the developer and halt its action. This prevents over-development and prolongs the life of the fixer. - Function: Stops development, prevents contamination. - Fixer: A chemical solution (e.g., sodium thiosulfate) that dissolves unexposed silver halides, making the image permanent and light-safe. - Function: Makes the image permanent and prevents fading. - Wash: Thorough rinsing with running water to remove all residual chemicals (especially fixer), which can cause prints to stain, fade, or degrade over time. - Function: Ensures archival stability of the print. - Hypo-Clearing Agent (Optional for FB paper): Accelerates the removal of fixer from fibre-based papers, reducing wash times and improving archival permanence.
C. Essential Equipment:
1. Enlarger: (for enlargement printing) A projector-like device that shines light through a negative, projecting an enlarged image onto the photographic paper. - Components: Light source, condenser/diffuser, negative carrier, lens, focusing mechanism, baseboard.
2. Contact Printer/Contact Frame: (for contact printing) A simple device consisting of a glass plate and a base, used to hold the negative and photographic paper in direct contact during exposure.
3. Easel: (for enlargement printing) A flat frame with adjustable borders, used to hold the photographic paper flat on the enlarger baseboard and create clean white borders around the print.
4. Developing Trays: Shallow, flat trays (typically three or four, one for each chemical and one for initial rinse) for holding the processing chemicals.
5. Tongs: Separate tongs (plastic) for each chemical solution to avoid cross-contamination and protect hands.
6. Timers: Accurate timers for controlling exposure duration under the enlarger and processing times in each chemical bath.
7. Measuring Cylinders/Beakers: For accurate dilution and measurement of chemicals.
8. Thermometer: To monitor and maintain the correct temperature of the chemical solutions for consistent results.
9. Running Water Source: Essential for washing prints.
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0. Print Dryer/Drying Racks: For drying processed prints.
D. Two Methods of Printing Photographs from Negatives: Method 1: Contact Printing This method involves placing the negative directly onto the photographic paper, creating a print that is the exact same size as the negative (1:1 ratio). It is commonly used for creating proof sheets (contact sheets) of multiple negatives, allowing a photographer to quickly review all images on a roll of film.
Procedure for Contact Printing:
1. Darkroom Setup: Ensure the darkroom is light-tight and the safelight is on. Arrange developing trays with developer, stop bath, and fixer, ensuring they are at the correct temperature (usually 20°C / 68°F). Have running water ready for washing.
2. Paper and Negative Placement: Place a sheet of photographic paper, emulsion side up (shiny side), on a clean, dry surface within the darkroom (e.g., on the base of a contact printer).
3. Negative Placement: Carefully place the negative(s), emulsion Final Exposure: Once the optimal exposure time is determined from the test strip, turn off the enlarger light. Place a fresh, full sheet of photographic paper into the easel, emulsion side up. Close the easel and expose the paper to the enlarger light for the determined time. (Dodging and burning techniques can be applied during this stage to lighten or darken specific areas of the image).
5. Processing - Developer: Immediately after exposure, slide the exposed photographic paper into the developer tray, submerging it completely. Agitate gently and continuously for the recommended time (e.g., 60-90 seconds for RC paper).
6. Processing - Stop Bath: Use tongs to transfer the print from the developer to the stop bath. Agitate for 10-30 seconds.
7. Processing - Fixer: Transfer the print from the stop bath to the fixer. Agitate gently for the recommended time (e.g., 2-5 minutes for RC paper). The print can now be safely viewed under white light after about 30 seconds in the fixer.
8. Washing: Transfer the fixed print to a wash bath with running water. Wash thoroughly for the recommended time.
9. Drying: Remove excess water and hang to dry or use a print dryer. Worked
Example: Preparing Developer Solution A teacher plans to prepare 2 litres (2000ml) of working strength developer from a concentrate with a dilution ratio of 1 part concentrate to 9 parts water (1+9).
1. Calculate total parts: 1 (concentrate) + 9 (water) = 10 parts.
2. Calculate volume of each part: 2000ml / 10 parts = 200ml per part.
3. Volume of Concentrate needed: 1 part 200ml/part = 200ml.
4. Volume of Water needed: 9 parts 200ml/part = 1800ml.
5. Procedure: Pour 1800ml of water (at recommended temperature) into a clean container. Carefully add 200ml of developer concentrate to the water while stirring gently. Label the container appropriately. quickly review all images on a roll of film.
Procedure for Contact Printing:
1. Darkroom Setup: Ensure the darkroom is light-tight and the safelight is on. Arrange developing trays with developer, stop bath, and fixer, ensuring they are at the correct temperature (usually 20°C / 68°F). Have running water ready for washing.
2. Paper and Negative Placement: Place a sheet of photographic paper, emulsion side up (shiny side), on a clean, dry surface within the darkroom (e.g., on the base of a contact printer).
3. Negative Placement: Carefully place the negative(s), emulsion side down, directly onto the emulsion side of the photographic paper. If using a contact frame, close the glass plate firmly over the negative and paper to ensure intimate contact. This prevents blurring.
4. Exposure: Turn on the light source (a bare bulb, enlarger lamp, or even a flashlight held at a consistent distance for a fixed time) for a specific duration (e.g., 5-15 seconds). This light passes through the negative and exposes the photographic paper beneath it. A test strip (small piece of paper exposed at varying times) can be used to determine the optimal exposure.
5. Processing - Developer: Immediately after exposure, slide the exposed photographic paper into the developer tray, submerging it completely. Agitate gently and continuously for the recommended time (e.g., 60-90 seconds for RC paper). Watch the image appear.
6. Processing - Stop Bath: Use tongs to transfer the print from the developer to the stop bath. Agitate for 10-30 seconds.
7. Processing - Fixer: Transfer the print from the stop bath to the fixer. Agitate gently for the recommended time (e.g., 2-5 minutes for RC paper). The print can now be safely viewed under white light after about 30 seconds in the fixer.
8. Washing: Transfer the fixed print to a wash bath with running water. Wash thoroughly for the recommended time (e.g., 4 minutes for RC paper, 30-60 minutes for FB paper) to remove all residual chemicals.
9. Drying: Remove excess water from the print (e.g., with a squeegee) and hang it to dry or use a print dryer.
Method 2: Enlargement Printing (Projection Printing) This is the most common method for producing prints larger than the original negative size. An enlarger is used to project the image from the negative onto the photographic paper, allowing for variable print sizes and selective adjustments.
Procedure for Enlargement Printing:
1. Darkroom Setup: Same as contact printing – light-tight, safelight on, chemicals at correct temperature, water ready.
2. Enlarger Setup: Insert Negative: Place the negative into the negative carrier, emulsion side down, and insert the carrier into the enlarger.
Magnification/Size: Adjust the height of the enlarger head or move the enlarger column to achieve the desired print size on the baseboard.
Focus: Open the enlarger lens to its widest aperture (e.g., f/2.8 or f/4) for maximum brightness. Use a focusing aid (grain focuser) to achieve critical sharpness on the projected image. Then, stop down the lens to a working aperture (e.g., f/8 or f/11) to improve sharpness and contrast.
Easel Placement: Place the easel on the enlarger baseboard and adjust its blades to frame the desired portion of the image and create borders.
3. Test Strip (Determining Exposure): Turn off the enlarger light. Place a small strip of photographic paper (emulsion side up) on the easel, covering parts of it with opaque card to expose different sections for varying times (e.g., 5s, 10s, 15s, 20s). This helps determine the correct exposure time for the final print. Process the test strip (Developer, Stop, Fix, Wash) to find the best-exposed section.
4. Final Exposure: Once the optimal exposure time is determined from the test strip, turn off the enlarger light. Place a fresh, full sheet of photographic paper into the easel, emulsion side up. Close the easel and expose the paper to the enlarger light for the determined time. (Dodging and burning techniques can be applied during this stage to lighten or darken specific areas of the image).
5. Processing - Developer: Immediately after exposure, slide the exposed photographic paper into the developer tray, submerging it completely. Agitate gently and continuously for the recommended Teacher Activities: Introduction and Safety: Introduce the topic of photographic printing. Emphasize darkroom safety rules, proper handling of chemicals (gloves, ventilation), and the importance of light-tightness.
Equipment and Materials Identification: Present and identify all darkroom equipment and printing chemicals. Explain the function of each item. Use actual equipment if available, or high-quality visual aids (posters, projected images, videos).
Chemical Mixing Demonstration: Demonstrate the correct procedure for mixing photographic chemicals (e.g., developer, fixer) from concentrates, emphasizing accurate measurement and safety.
Contact Printing Demonstration: Provide a step-by-step demonstration of the contact printing process. If an actual darkroom is unavailable, use a simulated setup with a red light, trays, paper, and a negative, narrating each step clearly.
Enlargement Printing Demonstration: Demonstrate the enlargement printing process using an enlarger. Show how to insert a negative, adjust size, focus, determine exposure with a test strip, and make a final print.
Q&A and Reinforcement: Facilitate a question and answer session after each demonstration to clarify doubts and reinforce understanding.
Supervision: Closely supervise any practical activities undertaken by students, ensuring adherence to safety protocols and correct procedures.
Student Activities: Active Observation: Students will observe the teacher's demonstrations attentively, taking notes on equipment, materials, and procedural steps.
Equipment Identification and Handling: Students will identify and describe the function of various darkroom equipment and materials as presented by the teacher. They may handle non-chemical items under supervision. Chemical Preparation (Simulated/Supervised): Under strict supervision and with appropriate safety gear, students may participate in or simulate the preparation of chemical solutions, practicing accurate measurement and mixing.
Practical Printing (If Facilities Permit): Test Strip Creation: Students will prepare and process test strips for both contact and enlargement printing to determine optimal exposure times.
Contact Print Production: Students will perform contact printing of negatives, following the demonstrated steps.
Enlargement Print Production: Students will practice using the enlarger to produce enlarged prints from negatives.
Discussion and Problem-Solving: Students will engage in discussions, asking questions, and collectively identifying potential issues or troubleshooting steps in the printing process.
Record Keeping: Students will document the steps for both printing methods, including chemical times and temperatures, for future reference.
Professional Photography Services in Nigeria: The ability to print photographs from negatives is a foundational skill for anyone aspiring to work in traditional photo studios common across Nigerian cities and towns. This includes creating passport photographs, studio portraits for families and individuals, and event photographs (e.g., weddings, funerals, naming ceremonies). Many clients still prefer physical prints, and understanding the printing process ensures quality and adherence to specific client requests, such as print size and contrast. Artistic Expression and Cultural Documentation: Nigerian photographers often use traditional processes to capture and express cultural narratives, document historical events, or create unique artistic works. Knowledge of printing allows artists to have full control over the final visual aesthetic of their work, enabling them to produce exhibition-quality prints that convey emotion, texture, and detail. For example, a photographer documenting a traditional festival in Kano or Calabar might prefer the tangible quality of a darkroom print over a digital image for its unique look and archival potential.
Archiving and Heritage Preservation: The printing process is critical for preserving historical negatives, many of which contain invaluable records of Nigeria's past. Institutions like national archives, museums, and educational bodies rely on photographic printing expertise to create stable, long-lasting prints from existing negatives, ensuring that historical moments, cultural practices, and significant figures are preserved for future generations. This is particularly relevant for photographs from the colonial era or early post-independence Nigeria.