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Color photography for amateurs
Short history
Photography is extremely popular and it is used for people all around the world, people of all ages, the
most enthusiastic being the photo amateurs. Today the photography is perhaps the best friend of scientistsbecause it reveals the micro and macro universe. About 30 years ago this
industry has developed a photosensitive material which regained object in
color and detail. The arrival of the color photography in !3" didn#t force the
disappearance of the blac$ and white photograph because between them there
could have been a technical and esthetical connection. Technical, there is a big
difference between the two photographs% at the blac$ and white photography
the screen accepts a standard light exposure regardless of its &ualities. The
technical difference between these two isn#t the photographic camera' it is just
the photosensitive material. (rom an esthetical point of
view the blac$ and white photography reveals an artificial
picture, while the color one shows a more natural
perspective.(rom the appearance of the color photography
)!3"* until our days the industry has accomplished many
progresses% the appearance of the color paper, the &uality
improvement and color restoration and the rise of sensitive
materials. The cost of a color film developed in special
laboratories, an amateur gives approximately 3"+3 slides
which cost the same as 30 white and blac$ pictures. The
expensive thing in color photography is the special paper,
because the process is complicated it re&uires material and
especially time. Anyway with some experience an amateur can reach a medium cost in material and time.
The image appearance
The subject#s placement isn#t random. -t is done after fundamental principles. /nli$e the other arts
)drawing for example* where the artist can intervene as he desires in his creation, in photography, the
photographic camera replies in exact detail everything it sees1 )&uality and flaw at the same time*.
a). The image in screen set up
/nli$e a picture, the set up of a photo is standard and it is characteri2ed by the rapport of the edges.
The rectangular shape and the edges 3+34 give an esthetical form and that is why it is very
fre&uently used. The s&uare shape )* is the same on all the edges, and it is harder to wor$ with at the
subject picture set up, even thought it is very used in the color photography ma$ing.5ecently, there were a lot of exhibitions and maga2ines with a longer shape, having one side longer
than the others. /sing good taste, they can find their meaning )panoramic cards, decorative photos etc.*.
The placement in a bigger screen, especially of small si2e subject, without any directive rule is not a simple
problem as it seems to be at a first loo$.
6e#ll present the setting up of the image screen.
7oining the middle of the screen edges we obtain the symmetry axels, and their crossing means the
symmetry center of the screen. -f we are watching for a few moments this point, we#ll notice we won#t see
anything except it, larger than the rest of the screen field is, decreases to disappearing.
This is the reason the subject can#t be placed in the symmetry centre of the screen% the excess of
symmetry decreases the importance of the other components of the image' that#s why it $nown as a lower
point of the screen )as an effect*. -f the subject is just the rosette with the concentric circles of the target, on
the contrary, its placement in the symmetry center is the best move89ividing each edge of the screen in three e&ual parts and joining the homogeneous points of the
opposite edges, we#ll obtain a grid of the four axles and four points, the important points and axles of the
screen. They offer the best placement positions of a main compositional element within the image. Thus, if a
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tree or a tower, for example, placed in a field landscape is overlapped of the symmetry axles or is in the
center of the image it will reduce more the effect, especially if the shape is a s&uare, because the symmetry
divides the attention and also the view, which is led toward a half or the other half of the image, tending to
avoid just the main element of the subject.
:n the contrary, placing it on
one of the forte axles of the image,
the effect increases because the view
is sliding to the subject and remainson it, so we avoid the symmetry
using the lines and the forte points
of the screen.
This way of doing it is also a
natural and a logic way, not only an
esthetic one.
;et us suppose you have to
ta$e a photo of the balcony scene in
5omeo and 7uliet1.
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c). The skyline
(or avoiding the symmetry, the s$yline of a sea or of a field landscape never superposes itself over the
hori2ontal symmetry axe of the frame, so that you will not oblige the eye to loo$ either up or down, in stead
of watching both up and down, that means the whole range of the image. -t has to be superposed over the
forte hori2ontal line that is the lowest in the frame. -n this case, the absence of the details, li$e clouds in the
upper frame from above the hori2on, produces a sad effect of emptiness that ruins the image.
-ts superposition on the forte hori2ontal line produces the impression that the details that are down the
frame are crushed' an
example could be a sea
landscape with a boat in the
foreground, at the inferior
line of the frame, which can
seam rather overcome by
the water from above. -f we
place some buildings on the
superior forte hori2ontal
line it would give the
impression of instability,because they tend to be
driven to the foot of the
frame by the sense of the
gravitational e&uilibrium.
Things are the same when
an object is thrown up or
when a dancer ma$es a
jump and the picture is
ta$en exactly when he is at
the highest point of the
trajectory. The same sense
of e&uilibrium ma$es us continue their trajectories up to the foot of the image#s frame, suggesting themovement through this gravitational effect.
The subject or its primary elements are never placed at the edge or in the corner of the image#s frame.
Thus, a car or a runner that moves from left to right will not be placed nearer the right edge of the frame
because it would appear empty, since our mind tends to continue the movement of the car, drawing it out of
the frame. esides this, the edge of the frame ma$es the effect of a wall in which the car in its movement
will be crushed.
Placing the car near the left edge of the frame, the wall1 remains in the bac$ and the car has free rode
in front of it.
The natural light, the artificial light and the existent light
Although they do not have great differences from the photometry point of view, these three types ofillumination are very different from the point of view of the photographic techni&ues application.
There is not a general agreement in the delimitation of the three types of illumination. =ome people
say that the natural light includes only the light that is sent by the sun, the moon or the stares. :thers say that
this notion includes any normal illumination of a place, li$e the light in a room, on the street, from a
campfire etc. -n this way the differences between the natural and the existent light seam to disappear.
Eevertheless, the existent light is a different notion, which is more about the photographic conception than
about the natural sources of illumination. ecause of the sensibility increase of the photosensitive materials
and of the objects# luminosity, today we can ta$e pictures in any light conditions, no matter how faint. The
people that go with the realistic style in the photography do not use any type of supplementary light in these
conditions and it is said that they wor$ in the existent light. Therefore the natural light is the light that comes
from any normal source in a certain place, including the light of the sun, moon and stars' and ta$ing pictures
at the existent light is a style of photography.
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Sun position
(or reali2ing some successful photos, sun position is very important besides ta$ing photos position.
There are three situations%
+when the sun is behind the camera, practically lights and shadow games will completely miss. All
subject elements will be lightened uniformly and they#ll appear simple in photos, the lightening doesn#t
encourage the emphasi2e of landscape and space. As a result, photos ta$en in frontal solar light, in the most
of cases are monotones and uninteresting.
+if the sun position is a lateral one compared to the photographing direction, different lightened areas
and the brilliances encourage the appearance of some light games with special plastic effect for the subject.
This $ind of illumination is successfully used in photographing insects, caterpillars for underlining their
beautiful pictures and their hairiness and especially the flower portraits made in the morning dew.
+the most interesting natural lightening form is the one against the visual direction of the camera. -n
this situation the objects are lightened by the sun from their bac$. The image is full of own shadows and
worn shadows, the lightened parts representing only small areas.
-f this $ind of illumination is used precautiously it creates the most beautiful and interesting photos,
especially from the flower world. Hontrary the heavy shadows of the subjects destroy their structure and
shape, creating dar$ and non valuable shadows.
The analy2e of the three forms of natural lightening met at the same time of a day reveals that thepicture of image depends on the photographing direction related by the incident direction of the solar rays.
The solar light spectrum
A solar light beam )white* passing through a transparent glass prism decomposes itself in a coned
beam, named spectrum, colored in the colors of the rainbow% violet+indigo+blue+green+yellow+orange+red.
The spectral colors are different because of their wavelength' the lower is the one of the violet
radiation, and the higher is the one of the red radiation' the passing from
a colour to another is not net, it is made by a series of intermediate colour
tones, from which the human eye discerns a great number )30+C0*.
The colored light, which consists from a fluctuation of only one
wavelength, is named monochromatic radiation' it is homogeneous and itcan not be decomposed in constituent colours.
-t is interesting to observe that the proportion of the extreme light
vibrations is redviolet G just li$e the one of the octave in music.
6hen the combination of the monochromatic spectral radiation is
made again it has as a result the initial white light. This is made with the help of some converging lens,
through which the obtained spectrum passes.
(rom the seven colors, red, yellow and blue )the colors of the 5omanian flag* are primary colors
because they can not be obtained through mixture' they are given as such by the spectrum. The other four
colors% violet, indigo, green and orange are binary colors because they can be obtained from the mixture of
the primary colors.
The white light can also be obtained through the superposition of only two spectral colors. ecause of
this, the pairs of colors that can recompose the white light were named complementary colors. These are thepairs%
red with green+blue,
orange with blue+greenish,
yellow with blue,
green with red+purple,
blue with yellow,
violet with yellow+greenish.
Iach spectral color is complementary with the mixture of the others.
This way of obtaining the white light by addition of the monochromatic radiations that compose it
represents the additive synthesis )which means by addition* of light.
The colors of solid objects have a physical carrier% pigments' usually, they are colours by subtractions
as the glass filters. (or example, a body appears red because it absorbs every color except the red one that is
reflected.
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A coloured filter absorbs all the colors except his own, which lets it pass. =o, it is transparent for its
own color and mat for all the others that will be absorbed.
All the mixtures of the painter are pigmentation colors, by absorption, their mixture submits to the
substraction laws. -f we mix complementary colours or colour mixtures that contain a certain proportion of
the primary colors )red, yellow and blue* we obtain the colour dar$ grey )almost blac$* as a substractive
mixture )substractive synthesis*. The prismatic colors, non+physical )luminous radiation*, mixed up, give the
white color as an additive mixture )additive synthesis*.
The colour, as an absorption phenomenon, respects the following fundamental principles formulatedby Eewton%
a* a transparent body appears coloured in the complementary colour of the one absorbed and for
which it is mat' if the absorption does not ta$e place, the body is colourless'
b* a mat body appears colored in the color that is reflected by it and that is complementary with the
one that is absorbed'
c* a body that reflects entirely all the radiations appears mat, of white color'
d* a body that absorbs entirely all the radiations appears mat, of blac$ color.
-n the cases of c and d, because a total )white*, partial )gray* and null )blac$* homogeneous reflection
ta$es place, the colors are named non+chromatic colours )uncoloured*, unli$e the other colours that are
chromatics )colored*.
etween the two extremes% blac$ and white, an entire variety of grey tones exist, that result from the
partial and homogeneous reflection of all radiations.
eans of correcting the luminous flux
Bany times, when we ta$e pictures of small bodies in the nature, the light that falls on the subject does
not correspond with the re&uirements because of its great intensity, because of the spots of light etc. -n these
cases we must intervene through some procedures, so that we can correct them.
6hen the elements do not have sufficient light and the objects have intense shadow 2ones of their own
or received from another object surrounding, the supplementary illumination can be done with the help of
some reflecting blinds made from a plywood sheet of small si2e C0 x F0 cm, painted in white or covered with
aluminum foil.
ut, if the &uantity of supplementary light received by the object is still insufficient, it will benecessary to use the electronic flash.
There are some situations when the &uantity of light fallen on the object is too high and it has to
reduced. This can be solved by using the shadowing devices made with different wire frames over which was
placed a piece of gau2e, tulle or another semitransparent cloth. These devices that are placed in the way of
the solar beams attenuate the intensity of the light, producing in the same time a general spreading of
illumination that is favorable especially for the details of the subjects with big intervals of brightness.
(or reducing the light )even the artificial one* we can also use gray filters that are placed on the focus
lens of the camera. >owever, these have a disadvantage' in some situations they produce a much too big
leveling of the light, so that the photography becomes too smooth and the artistic effect is ruined.
-n what the artificial light is concerned, there are fewer discussions. The special illumination is in this
category' it was conceived and created for the reali2ation of the photographic images. -n most of the cases
there is electric light from different shaped illumination bodies with a large variety of intensities, includingthe electronic flash. -f at the existent natural light the photographer has to adept the light because he does not
have the possibility to modify it after his needs, in the case of the artificial light, the photographer creates,
chooses and adepts the light how he wants to, distributing the light and the shadows after his wish, using any
type of illumination composition, from the most diffused light to the most powerful contrasts. >e becomes
the $ing of the world, the creator of the illumines environs that he thin$s is the best.
The intensity and the !uality of light
The intensity and the &uality of light are very variable. There are considerable differences between the
light at noon, in the middle of the summer and the one in the afternoon, in the dull winter, between the bright
light of a reception room and the one from an usual room. The &uality of the light in a morning in spring is
totally different from a foggy morning at the end of the autumn. The combinations between the very big
differences of intensity and the &uality of light a large variety of environments that can suggest a great
number of mind frames and environs characteristic for a season, an hour in a day or a geographic region.
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The photographer has the possibility of maintaining this environment, to amplify it or to destroy it.
ecause of this it is better if he does alone all the procedures, from ta$ing pictures to the finished image,
because he is the only one that $nows
if his artistic intentions obtain the
form that he wished for.
6hat is very important to observe at
the intensity of the light is the fact
that it is produced in certainconditions and intense shadows. ut
there, where reflecting blinds
surround the subject, the reflected
light is much produced and very
intense because of the big intensity
light. This reflecting light falls in the
shadows and illuminates them,
contributing to the reducing of the
contrasts. Honse&uently, the effect of the intensity of the light must always be calculated by ta$ing into
consideration the environment where the subject is placed.
-n fact, at the majority of the static subject or those in slow motion the luminous intensity is not very
important, because a lower illumination can be compensated by a longer time of exposure. ecause of this it
is not necessary such a waste of light for any picture. 6hat is really important it is the care for the &uality of
the light, for the illumines environment that creates itself through the choosing of light, for the level of
contrast that appears in the image, for the right distribution of the luminous sections and of the dar$ ones on
the surface of the shot.
The direction of the light
The direction of the light is maybe the most important element that contributes at the illumines
environment. :nly one example can be given% most
of the light comes from above, from the sun or from
lamps that hang from the middle of the ceiling.ecause of this, a photography in which the light
comes from another place than above loo$s a little
strange, unnatural.
(or avoiding the unusual aspect, when we
wor$ with artificial light we must have in mind this
psychological element and loo$ for a luminous
diagram that has the primary light direction coming
from above, in an angle of approximate 4"o in
relation with the subject which we are ta$ing pictures
to.
The relative position between luminous source
);*, the subject )=* and the camera )A* producesparticular effects. -f the A= direction remains
constant, and ; moves on a circle with the center in
=, then the aspect of the subject suffers substantial
changes. -n the ; position, when ; is exactly on the
A= optic arbor, there are not any shadows, the light is
flat, there is not a sharp relief. After a shifting of 4"o
on the circle, in the ; position, there is a
harmonious distribution between the luminous
sections that represent approximately 3 and the
shadow sections 3' the subject has obtained relief. -t continues shifting on the circle with 4" o and it gets to
;3 position that forms an angle of !0owith the optic arbor. The distribution between the luminous sections
and the shadow sections are e&ual, too rigorous symmetrical for it to be li$ed. (rom here forward ; passes in
the bac$ of plan =, right on the A= arbor and starts the range of the contrary light effect )contrejour* that is
represented through the reducing of the luminous 2one, the increasing of the dar$ 2one and to orientate the
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shadow of the subject to the A plan. -n the ;4 position 3 of the subject are dar$ and 3 luminous' again a
harmonious section is resulted, a sharp relief, pointed out through the subject#s shadow that advances in the
shot. Homparing the position ; with ;4 we can see that the first produces an impression much more
optimistic than the second, which is much somber. -n the position ;" the luminous sections disappear' here
we have the silhouette effect. :n some cases the subject appears surrounded by a luminous hem that
underlines the outline and produces a very beautiful graphic effect.
-n the open air, at the sunlight, the photographer must shift around the subject so that he can obtain the
right environment of angles between the ;= and A= axels. -f the vertical position between A, ; and = is alsomodified, a great variety of luminance directions can be created and they correspond with all $inds of
re&uirements% technical and esthetical. The photographer will choose from all of them, the luminous
environment that will suggest in the most proper way the idea of the image.
The black and "hite photography
(or ta$ing a picture it is necessary a camera and a proper photosensitive material. The blac$ and white
photography has two conditional elements% the photography techni&ue itself and the laboratory processes of
the negatives and the print. The elements that condition the techni&ue aspect of the future images are%
arranging the distance with the help of a telemeter and the
exposure of light that falls on the surface of the film in themoment of the release. 6hen we choose the film we must
have in mind the si2e of the film )depending on the camera*,
but also the fact that the blac$ and white films are different
because of the sensibility and the sensiti2ation. The
orthochromatic films are recorded by approximately half of
the visible spectrum radiations )400+""0 mJ*. >owever, the
panchromatic and the orthopanchromatic films have an
imperfection% the transposition of the colors is not very
rigorous proportionate with the response curve of the human
eye. This can be ameliorated, but with the help of a filter, if
the
peoplethat
want this
$ind of
change
in the photography are not us. -n the blac$ and white
photographs an abstract visuali2ation1 of the subject
ta$es place, because of the color removal. This passing
of the color in a gray shade is exclusively the action of
the photographically emulsion.
:nce the camera is released, on the film is
recorded a latent picture. The picture is not visible' the
film is not presenting any apparently change. >owever,where the light beams have fallen on the silver bromide
from the film emulsion, a wea$ening of the crystal
networ$ Ag+r is produced, namely a brea$ing of the
networ$. y developing, the silver bromide crystals
influenced by the light will turn into silver granules' that
means the invisible latent image became visible, the
negative image will appear K the blac$ and white
negative. The film processing is the second step and has
a great importance because the method of developing is
influencing the granulation and the contrast of the film.
Through developing the producing of the latent image it
becomes the negative, which is due to the action of a
certain &uantity of light energy on the photographic emulsion. eside the &uantity of light, the most
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important factor in the process of image forming is the &uality of light which impress the photo+sensitive
film depending on the its sensitivity.
Thus, the energy of the light is &uantitatively dosed at the moment of the releasing of the camera, but
the &uality of light is acting different on the emulsions with different sensiti2ation, even if they have the
same sensibility. -f in the blac$ and white photography the &uantity and the &uality of the light are relatively
elastic elements, namely the films have rather large tolerance of exposure, and their sensitivity can be
improved by filters' in case of the color photography these
factors are more rigid.
The basic principles of the color photography
At the basis of the modern proceedings of the colour
image reali2ation it is the principle of the visible spectrum
dividing in three primary colors, which in the ma$ing of the
film have three photosensitive layers correspondents. At the
decomposing of the spectrum two methods can be used. The
substractive method, which is an analytic method that
decomposes the white light in different colors of the visible
spectrum with the help of three filters that correspond to thethree primary colors% purple, yellow and green+blue. The
additive method, which is a method of synthesis is the opposite
of the substractive method, it composes the colours by
gathering the radiations.
The sensiti#e photographic material
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The blac$ and white film is usually made of a support, a sensitive photographic stratum and an
antihalo stratum, placed either on the
bac$ of the film, either between the
support and the emulsion. The basic of
the emulsion is the silver halogenure' by
developing you get the silver particles
that ma$e the drawing of the clichL. The
construction of the colour film isdifferent from two points of view% first,
because a triple image is needed, the film
will have three emulsion stratums, and
second,
the
clichL#s
drawing
won#t
be made
of blac$ silver particles, but of colour
pigments. The three stratums are arranged
on a support li$e in the blac$ and white
film situation. The antihalo stratum is
again situated either on the bac$ of the
film, either between the support and the
emulsion. -n the ma$ing of colour films
with three stratums there are two
principles referring to producing the
colour on the three stratums. The first one
refers to the fact that the film with three
emulsion stratums will ma$e the colour in that stratum. This is the Agfa+
color, :56:+color, (erania+color, Deva+color, I$tachrome+color and others procedure. The second
principle refers to the three emulsion stratums films that don#t contain the producing of the colour substance,but have according to the developing process every stratum#s needed colorant' this is the Modachrom
procedure. The laboratory processing of the two $inds of films is completely different. Processing Agfa+
color film is &uite simple, and the developing can be made by amateurs as well, without any special
installations or tools re&uired. Processing Modachrom film is different because it needs special installations
for fastidious wor$ conditions. That $ind of films can#t be processed by amateur, but only in special
laboratories. The :56: film with three stratums it#s a film that has the capacity of registrating the
photographical objects colours with the help of the three different stratums. They are applied on a transparent
and flexible support. Iach stratum is made of a gelatin emulsion containing a silver halogenure. Among this,
in every stratum exists a substance that by developing will give birth to a coloured pigment in one of the
three fundamental colours. The colour photography allows the amateur photographer to ma$e two $inds of
photos% lantern slides for projection, and colour photographies on the paper. (or this, the industry ma$es
several types of sensitive photographic material, such as% reversible colour films, used for the directobtaining of lantern slides without the needing of a copying process' negative colour films that through
developing creates negative clichLs in complementary colours considering the photographical object' colour
positive films that are used for the obtaining of the lantern slides through copying the negative colour films'
colour paper K on this are obtained by copying or enlarging using colour clichLs, colour photographies.
The colour film
The films for the negative and reversible colours of the photography can be classified by the next
criteria% si2e, type, sensitivity. Bost of the producing films deliver the sensitive photographic material in the
next si2es% broad film, plane film and narrow film. The colour films are two $inds% negative and reversible.
7udging from the &uality point of view, the colour films are classified by their sensitivity and not their
sensitiveness, because most of the producing firms ma$e only one sensitiveness at the assortment. -n most of
the situations, the factories produce for the same $ind of film K negative or reversible K two $inds of
emulsions% natural light film and artificial light film. Hhoosing the film by the amateur photographer it#s a
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very important operation at colour photographing, so that this will correspond to the technical exactingness.
The daylight films will be used for the photographies ta$en at sunlight or at the light of the illuminating
bodies of new type% electronic lightening, fluorescents lamps, lamps with mercury vapors. The artificial light
films will be used exclusively at photographies ta$en at artificial light produced by lamps with
incandescence. The most important &uality of colour photography is obviously the delivering of the colours
as correctly as possible. At a very carefully loo$ at the colour photographies, especially when there are
re&uired extremely prLcised results, you can see that the colour photography compared with the
photographical object has two mista$es% the colours don#t have enough brightness and they are not alwaysperfectly naturals.
Types of colour photography
Holouristic spea$ing, the photography must restore the colours as faithfully as possible, meaning it has
to be correctly ta$en. This correct execution technically spea$ing can be made in extremely different light
conditions, creating real colours values, but still unusual for the eye, maybe because of his big capacity of
accepting. Honsidering the intensity of light and the nature of light, you can obtain normal colours, bright
colours, pasteled colours, contrasts of colours, wiped colours, and colours of all shades. All is the creation oflight, and the amateur photographer must $now how to use the situations that are offered to him. ut for this,
he must see, he must discover through the colour and illuminating conditions prism the future image of the
colour photography. The most used film by the photo+amateur is the one reversible for daylight )"C00M*.
(or a long time it has been said that colour photography wor$s better only in the classical illuminating
conditions% strong sun and light from the bac$, at the most lateral. The modern emulsions have proved yet
that in very variate illuminating conditions there are obtained very good results.
$bser#ations and practical ad#ices for the laboratory techni!ue
At the colour reversible films the lantern slides obtained faithfully deliver the natural colours if the
laboratory process is executed carefully. -t#s specially recommended using of original substances sets for
ma$ing the solutions, to observe as exactly as possible the manufacturing schemes, the developing madeonly in the developing do2e with cortex band or with transparent spiral, the washing must be made carefully
between operations for the complete removing of the solutions rests, and $eeping a strict cleaning of the
vessels, of the bottles, of the thermometer, which is very important for avoiding the appearance of the
dominants and stamps on the film. 6hile processing the negative colour film it#s important to respect the
conditions prescribed by the producing factory' not respecting them creates damages to the colours that can
hardly be ta$en off through the filtering. The negative colour films can be developed only one for a do2e,
regardless the si2e' only :56: colour film EH C of 3" mm which can be developed two at the same time,
situated support on a support in the do2e, so that they have the anti+halo stratum between the emulsion and
the support. Ba$ing of the enlargers or the copies on the colour paper is more difficult then in the blac$ and
white process, because of the necessity of ma$ing the correction filtering and of the more complicated paper
processing. (or the amateur photographers that want to wor$ colour photographies on paper it#s
recommendable the using of the original substances sets, fresh colour paper, in a guarantee term, processing
the paper be done in cuvees and on frames, so that any contact between the emulsion and the hand or any
other body be avoided, the correction filtering be executed rationally and not empirically, and in the
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substractive and the additive filtering to be used original filters. At the positive film must be bended the
recommendations made regarding the colour corrections of the colour paper, with the recommendations
made for processing the negative films. As well the positive and the negative films are restored only in the
do2e. Plus, the positive colour films are restored only one in a do2e, because the anti+halo stratum is applied
behind the support.
The mistakes of the colour photographies
The mista$es that appear on the colour films have as main cause incorrect conditions of ta$ing photos
and processing the colour sensitive photographic material. The mista$es that appear on the colour paper
appear because of not respecting the wor$ conditions prescribed in the negative positive process at the colour
paper produce the appearance of the unnatural colours. (inishing the washing can show on different ways
considering the wash. At the paper processing you must have a special care regarding the intermediate
washes. A superficial wash goes to impurifying the solutions, impurifying that changes step by step the
composition of the washes, with the appearance of colours dominants on the photography.
The colour photography re&uires the amateur a small effort in learning the techni&ue, a small moment
of attention during ta$ing the photo, a little of sacrificed time for processing the material K that is of course if
he wants to do it alone and to be sure of optimum results. -n change he gets the priceless gift of some
memories whose colour grows their charm and power of recall. And those amateurs who want to outrun theborder of memories in photography1 can find in the game of colours and in the poetry of shades, new
reuses, which will never end and will bring a lot of satisfactions.
o#ement deli#ered in photography
%hat is the dynamic photography&
-n photography, sports, with all his variated and many aspects, introduced more and more the need of
delivering as elo&uent as possible movement with photographical ways. After delivering the relief in the
three dimensions space, using the perspective effect and the game of light and shadow' after delivering the
colour through the colour itself )in the colour photography* and through the semitones scale from blac$ to
white )in the white and blac$ photography*, the delivering of movement through static ways of expression,
choosed so that the photography will result as truthful and elo&uent as possible, ma$es the third fundamentalissue of photography% the dynamic photography.
The mechanic elements of mo#ement
-n the cinematic K a chapter in mechanic that studies the movement K a body, called body in motion
it#s recogni2ed in movement when his distance to a fixed reference point varies in time. The succession of
the B, B NBn positions of the body in motion at the times t, t Ntn its called trajectory. The slower or
faster variation of the body in motion distance at the point of leaving, called origin, depends of the speed that
this one uses to move on the trajectory so the trajectory and the speed are the two elements that describe the
movement of the body in motion. They are also going to be used for us to deliver photographically the
movement, which ma$es the object of the dynamic photography. -n the photography, li$e in the other plasticarts as well, delivering the movement comes to suggest as clearly and completely as possible that the body in
motion is moving. The suggesting is more satisfactory as it ma$es more obvious the two elements that
describe the movement% trajectory and speed.
The static concept
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According to this concept K old enough, if you as$ K the trajectory, and especially the body in motion,
supposed to loo$ clear, without moving, any obscurity was considered a mista$e, a flaw of the
photographical image made. The result was a stiff image, turned to stone1,
re&uired a special mental effort for her reintegration in the reality. Those $ind of
images were obtained with very short times of exposure, of 300+000 s even
"00+3000 s order in some situations, that were not accessible except for the
devices endowed with special shutter with curtain that made the pride of their
owners. The only bodies in motion with a vertical climbing trajectory, li$e forexample the bodies thrown up, which are photographed in the highest point of the
trajectory )apogee* where the speed becomes null were accessible to the usual
devices easier. (or example% a ball thrown up, the jump above an obstacle etc., in
which the trajectory is suggested clearly, and the speed less, or even at all. The
thing that suggests the movement in these situations is the gravity effect, which
tells us that a heavy body situated in the air must fall down in the next moment, in
this way obliging us to prolong in our mind his trajectory until he reaches the earth. 5egarding the speed, the
tension of the jumper can give us a clue by herself. There are, of course, other situations in which the
absolute clarity is wanted, and even necessary, li$e for example, in the scientific photography.
The dynamic concept
5egarding to this concept, the
obscurity accepted willing and
conscious, and do2ed so that it won#t
harm to the understanding of the image,
suggests the best the two characteristics
of movement. The procedure is very
simple% as the exposing time is longer,
the obscurity is bigger, and reverse.
:btaining the necessary obscurity for the
suggestion of light is accomplished in
two ways. The first method, clear bodyin motion+unclear bac$ground1 is made
by $eeping constant the position of the
body in motion in the frame and it is
indicated when we are especially
interested in the behavior of the body in
motion during the movement. At the devices with a curtain shutter );ei$a type, Ixa$ta type, etc.* following
the body in motion has a disadvantage% if the curtain wal$s in the same direction with the body in motion, his
image will be longer, but if the curtain wal$s the other direction, the image of the body in motion will be
shorter. The second method, unclear body in motion+clear bac$ground1 it#s made by $eeping the device in a
fixed position and suggests the best the trajectory and the speed, still, allowing the most artistic
accomplishments in the dynamic photography.
The clarity of the image
-n reality, a subject isn#t clearly delivered because of some causes that transpose the component points
into diffuse circle% the diffraction of light around the obstacles, the incomplete correction of the objectives,
the granulation of the positive and negative emulsions and the field#s depth of the objectives. The border
from we can distinguish two of that $ind of points it#s called the separating power of the eye. =he has 4
mm, so, if the diffusion circles diameter doesn#t go across that border, our eye will perceive two
distinguished points. y enlarging the negative, this border isn#t enough anymore, being available on the
negative and on the contact+copy from a "cm distance. The clarity condition should be of 30N"0 mm,
meaning f000Nf"00. The obscurity tolerances in private are% 30 mm for small si2e, 0, mm for
contact+copies after the big si2es, f"00 for the big si2es, and f"00 in average for all si2es.
'raming the dynamic picture
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6hen we ta$e close range pictures, the photo object lens with short distance focali2ation
)weitwin$elGwide angle object lens* are very useful, such as fG3." cm, for a 4O3C mm format. The format
of the image is selected according to
the manner of movement% on height for
the vertical movement and on breadth
for the hori2ontal movement )the
movement must occur according to the
long lines of the frame of the image*.As the edge of the frame towards which
the object lens moves is an obstacle to
its movement we must release when the
body of motion is in the frame of the
image, so that we may have enough
space in front of it for following the
trajectory, namely when it reaches the
closest point of the frame. This can be
also corrected by cutting up by
magnifying or copying .6e shall use,
as far as we can the most inferior spot
for ascendant trajectories or for the
ones parallel with the long line of the frame, and the superior spot for descendent trajectories or obli&ue
ones, such as a road heading obli&uely towards us, from the upper left to the lower right of the frame. This
way we can also direct the trajectory following the strong lines of the frame.
The background of the image
The bac$ground upon which the movement is projected should not be short on details because they
ma$e up the reference point of the movement when we follow the body of motion with the camera. -t is this
details that point out the suggestive brush features1 )especially in color photos* of the speed of movement.
-t is better, for obtaining this effect, to use a uniform bac$ground li$e the ground or vegetation.
The perspecti#e of the image
The perspective may emphasi2e on the suggestively of rendering the movement in the following
manner% the bottom to top )frog#s perspective* amplifies the movement, that is why it is recommended for
jumps )obstacles, etc.*' the top to bottom perspective shortens the trajectory and that is why it is not
recommended, and the normal perspective )at the height of the eye* which is appropriate for all movements
on the ground ta$ing place before our eyes.
The title of the image should clearly explain the movement especially in the images with conducted
dimness where the picture, sometimes unclear, can raise doubts and interpretations. The study of the
movement in advance, if possible, helps us to create these principals of focali2ation even in the negative, so
that at magnifying or copying we can easily ma$e the necessary adjustments. :f course, this study in
advance is not always possible, and we have to rely ourselves on our experience and presence of mind.
Setting up
6hen the body in motion draws farther in slow speed, on a linear trajectory, we can achieve precision.
-t is more complicated when the speed rises and when its trajectory is
perpendicular on our visual axis, especially with the unpredictable
trajectories. To solve our problem, we can use the maximum field depth of
the object lens, by close, infinite focali2ation. Almost all modern object
lenses have a field+depth ring that spares us the trouble of calculating if we
do the following% stops are graduated on the field+depth ring, symmetrically
to the reference point of the focali2ation. The ring rotates together with theobject +lens in front of the graduation plate which is placed circularly and
concentrically with the stops. =etting one of the stops on infinite1 in the
plate its symmetry will show us the minimal distance to get a clear image.
3
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6e will also see the distance of focali2ation, near the plate. -f the minimal distance of focali2ation doesn#t
suit us, we repeat the operation by choosing a new value, inferior to the former. :f course, we must also set
the speed of the shutter according to the chosen stop. This way, we used the normal depth+field of the object
lens. -f it is not enough, we set the close, infinite focali2ation.
(hotographing from cars in motion
6hen we spea$ about fix objects, we must ta$e into consideration some rules,
typical of this situation. 6ith the help of the seconds hand of the watch and of the
points of reference of the
road we set the speed of
the vehicles, while it is
$ept constant. 6e must
also give up the subjects in
the foreground, we will
use the close, infinite
focali2ation' we must
ma$e sure that the shutter
of the camera moves in theopposite way of the
movement of the vehicle,
not to lengthen the picture.
9uring the release, the
camera must be held free,
lax. 6ith the subjects in
movement, we apply
Eewton#s laws of
composition of relative
speeds.
(hotographing #ery fast mo#ements
These are phenomena ta$ing place in nature that surpass our perception, due to much greater speed
)the movement of electrons*. The photographical registration of such sudden movement is no longer possible
with common methods because there is no shutter that could allow this mechanism. The problem of the high
fre&uency photo, also called ultra+fast, photo is a great concern of the technicians and of the scientists
because it offers a precious instrument of research of some phenomena otherwise un$nown, as they go
beyond our perception. This problem is the object of discussion of international congresses. The first
congress of this $ind was held in the /.=. in !".
The stroboscopic photo
The fre&uency of the photo can be enlarged by stroboscopic devices )in Dree$ strobosGreel and
scopeinGto loo$* which consisted, mainly, of a dis$ with a window which rotates in front of the object lens
of a camera. The fre&uency of the
photo rises with the speed of the
rotation of the dis$. The mechanism
was created even from by the
(renchman 7.I. Barey, the photo of
this $ind being called a stroboscopic
photo. -n ", Talbot )Ingland* too$
the first stroboscopic photograph and
in !0 the Paris Photography
maga2ine publishes articles about thephotographic analysis of movement. The following are $nown on the
design of stroboscopes% in 3F the Derman :ttomar Anschut2 builds an
electroscope for the stroboscopic synthesis of movement, made up of 4
4
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stroboscopic slides' in F4 astronomer 7anssen photographed on the th9ecembers the passing of @enus in
front of the =un, with a stroboscopic device, obtaining images ta$en at an interval of F0 seconds' in !30
Demershausen and Idgerton improve the multi+flash stroboscopic synthesis.
The stroboscopic de#ices of enhancing the fre!uency of the images
The best curtain shutters of the classical cameras allow 000+000s display similar to electronic
flashes. 9isplay time, shorter than 000s and
fre&uencies longer than 00 imagess belong to the
field of ultra fast photography. The optic compensator
is a modern stroboscopic device of enhancing the
fre&uency of the images which reaches a fre&uency of
000 images on a Cmm film. Another type of optic
compensator is the one reflection which can reach a fre&uency of
"00+0000 imagess. The third device is the one with a rotating
mirror, which reaches up to 3"0000 imagess at 3000 rotationss
of the mirror. -n the Biller device, the real image which forms on
the surface of the rotating mirror is sent to the film with a uses of
a series of object lenses. The cameras based on this principle
have reached fre&uencies of millions of images per second. The
device of the -nstitute of iomechanics of the (aculty of Physical
culture in erlin )5.9.D* consists of a metal dis$ with a window
which rotates in front of the object lens of the camera with the help of an electric motor, being used in the
study of the movement bodies, in sport or iomechanics. The =T5::M-E camera )9r. (rungel* reaches
great performances such as the decrease of the speed of flash, the enhancing of the fre&uency etc. Apart from
stroboscopes, the techni&ue of the in belt photographing is also used. This belt, rebuilt1 thus in successive
stripes reveals all the modifications of the subject during a period of time.
The sources of light
The
body of motion
is sufficiently
lighted to have
its own outline
registered on a
piece of film or
on sensitive
photo paper,
fixed at the
edge of drum
which rotateswith great
speed. ut if
"
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the body of motion is unlighted, it must be lighted with powerful sources of light, of very short length. (or
that there can be used electrical spar$les produced by the discharge of a ;eyda container or an electric
capacitor of great capacity with an extremely short duration+less than a millionth of a second+allowing thus
very short expose. This techni&ue is called photographing with the use of spar$s1.
The shutters
Presently, there are $nown two $inds of shutters% electronic and electric shutters.Ilectric shutters are based on light polarisation obtained by natural passing through a polari2er.
etween two polari2er with crossed axes, two phenomena are produced when the light passes% electro+optic
)Merr* and magneto+optic )(araday*. The first shutter has a few micro+seconds lighting length and the second
are only few macro+seconds.
Ilectronic shutter are based on photon K emission produced by some metals constrained on an electric
field in vacuum.
allistic photography
allistic photography means the photographing of a mobile in a very fast movement. The notion
ballistic1 applied to photography especially reefers to the recording of small missile image )bullets for
example* in their moving on the trajectory.
Ilectronic stroboscopes for scientific purposes are used by the researchers laboratories, they are very
complicated and also expensive, have a maximum precision and they are used for the movement analyse.
They can emit flashes at large intervals and also at a very fast succession. Their light power is decreased,
that#s why they are used at a few decimetres, respective centimetres distance from the subject, with an ultra K
fast film.
C
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(or photographic and cinematographic purpose a 0 flashessec fre&uencies scale is sufficient for
human movie recording and so far objects of common use.
The 4+ flashes sec fre&uencies ma$e the best results. The length of flashes such a lamp is "000+
C000 sec so they are not good for amateurs.
The paper =tudio stroboscope1 points out the new
appearance of a studio stroboscope, due to the director anerdo
from Photo+Ilectronica company in @erona.
=tarting from the arco+xenon flash with permanent light of
this company, it was added in series a power supply which ma$es it
to action with ,3,4+ flashessec, for a non limited number as
seconds, being used in photographic studios.
Stroboscopic techni!ue
(irst stage in the recording of a subject movement is the
lightening of the subject.
-n many flash stroboscopic syntheses, the mobile parts of the
subject will be lightened by many times, but each time in otherplace, while the fixed part of the subject will be lightened in the
same place. After several experiences, the power varies between
0+F0 7oules, corresponding of a 30 guide number of the flash, for
a colour film of ! 9-E degrees )C4 A=A degrees*.
The bac$ground of the image must be a blac$ one, a very
difficult thing to be achieved, ten flash+lamps could transform in
light grey, the most blac$ wall or paper, if its distance wasn#t ta$en
into consideration. < ED number it is calculated the
critic diagram, necessary for a correct way to record
the bac$ground, ta$ing into consideration the number
of lamps used for having a non K corresponding
exposure. (or doing this, the flash must be placed on a30+4" degrees angle with the plan where the subject
will move. The images fre&uencies are based on some
factors, as subject movement, flash+numbers of the
lamps, and the flash length.
The distance that shares a presence from other
one is not related by the image field si2es, but it
depends on the subject speed or lighting fre&uencies
or on both ones.
(or realising true stroboscopic images, the
movement at the subject must be rhythmic, periodic or
repeated. (rom the movement rhythm point of view, it is possible that only a part of the subject to be in
movement, setting al a clear point and better lighting, the mobile parts and having the immobile parts morediffuse and obscure.
F
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Also, only a part of the subject could have a rhythmic movement and the others un untidy one. -n this
case, the part in a rhythmic movement will be harmonious, the other point being vain.
;ast but not least, the subject movement period could not be the same as the stroboscope functioning
period.
(ractical applications of dynamic photography
Ixcepting scientific purposes, dynamic photography )including the stroboscopic one* has alsopractical applications, for example the
creating of suggestive images for
presenting and recommending industrial
products )advertising photography*.
=uch of photographies must show
first the truth, for being convicted. The
movement must be shown in all its faces
and must be $ept the best moment
especially for what we want to suggest,
contrary, the image gives the impression
of a false one, and the felt insatisfaction
reverses on the product. That#s why the launching must be done at the best moment' doing it earlier, the
image will give the impression of a false.
'raming and setting
up the image
-n close range photography
framing must be made very
carefully. =mall objects re&uire very
strict framing, because afterwards inthe positive process, through cutting
up, eliminating the unimportant
2ones is difficult, the subject ta$ing
up the entire picture.
The image perspective is very
important for the composition. The
numerous possibilities that are
available in close range photography
referring to angle, light and the position of the subject can be used to give the picture a sensation of harmony
and relief. (rom this point of view it is interesting to $now that a geometrically correct perspective, obtained
with an object lens with a big focal distance isn#t always satisfying. -n many cases it is convenient to give up
a rigid perspective upon the subject#s plan because the optic axle is perpendicular on it, thru a modificationof the photographing angle.
-n some situations we can
even decentre the object but
in the same time
maintaining the parallelism
between the image#s plan
and the object#s plan.
6e must $eep in
mind that a correction of
perspective cannot be
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obtained unless the depth is damaged and vice versa, a better depth cannot be obtained without damaging the
perspective.
After a good perspective is obtained, the necessary depth is ac&uired and an object lens with an
appropriate focal distance has been chosen, we will proceed to the framing itself, respecting the composition
rules and our own taste of course. Eext we control the light distribution on the whole picture and setting it up
on the mat glass of the camera.
Hontrary to a wrong opinion, image control on the visor lens isn#t the most efficient way to set up the
picture, because no matter how fine it is, because of it#s granulation it always determines diffusionphenomena that prevents a good delimitation of the images most refined details. -n conse&uence it is
preferable to replace the ordinary visor lens with a special one. Among the best it is recommended to use the
(ressnel micro points and rings lenses or the ones who have a clear area in the center.
-f none of the above is accessible, you can use an ordinary visor glass on which in the center area the
caul$ing effect is eliminated by applying a drop of Hanada balsam.
The image from the visor lens, in the case of big scales, must be regarded thru a magnifying glass
which must enhance the central area and allow a better set up.
=etting up at big scales isn#t reali2ed only thru the objective, but also by moving the camera or the
subject closerfarther from each other. -n these situations the camera is installed on a device that prevents
trepidations and maintains the camera in a fixed position from the subject. The ring objective must be set to
infinite, a position in which the lenses are close and they confer the objective the maximum &ualities
concerning the applying of corrections.
The setting up must be made on distinct and well lighted contours, using especially the accents of light
and the demarcation lines between the surfaces with different tonalities. As closer as the subject is to the
camera, as big the concern to cover him with the clarity 2one of the depth must be. -n macro photography,
depth is a difficult problem when the subject is at a random field depth. -n these situations the setting up plan
is appropriate at the beginning of the second third of the subject.
The definitive set up, if it is possible due to the poor illumination of the image, must be made with the
same diaphragm which will be used when the photo is shot. -t is good to $now that at the variation of the
opening of the diaphragm ta$es place a slight modification of the focal distance between the limits, which in
most cases isn#t favorable to big scales.
*epth
The main problem which arises in short range photography and macro photography is depth' because
it#s very low values resulted from increasing circulation are hard obstacles to beat in the case of maximum
enhancement rapports.
Practically, field depth is evaluated thru direct observations regarding the image and concerning the
distance interval in which all the objects in the picture are reproduced clearly, for a certain setting of the
objective. -n other words, the bigger the interval in which the objects are reproduced clearly, the bigger the
depth.
6hat is interesting and worth
remembering about depth is the fact that
regarding the setting up plan it is
manifested une&ually, being smaller inthe front and bigger in the rear. This
une&ual manifestation of depth has as a
principal action in the case of
photographing subjects with field depth
the fixing of clarity in a plan situated at
the beginning of the second third of the
subject. Thru a proper diaphragmation,
the extension of the clarity for the first
plan is made concomitant with its
extension for the posterior plans.
9epth isn#t conditioned only by
the diaphragm used, but also by these
factors%
!
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+the focal distance of the objective' the smaller it is, the bigger the depth and vice versa depth is
smaller when we use objectives with big focal distances'
+setting the objective for a certain distance% setting the objective for big distances of photographing
favors obtaining photos for a bigger interval of clarity' the smaller the distance from the camera to the
subject, the smaller the depth.
+. Calculating
(or depth calculation it must be ta$en into consideration that the diffusion circle diameter varies
depending on the increasing the negative will support. This diameter is 0. mm for the negatives used in
contact copying and decreases to 0.0 mm for the negatives used for extreme increasings.
The depth could be calculated by the following formulas%
p G a)Qnd)a+f*fR* and pG a)+nd)a+f*fR where%
a K frontal distance'
d K diffusion circle diameter'
n + luminosity of the objective lens'
f K focal distance of the optic system'
p K distance between optic plan and anterior limit of the clean field'
p K distance between optic plan and posterior limit of the clean field'The dept decreases very much when the enlarging of raports increases. (or this, macrophotographies
which decrease the enlarging raports 3% must have a very small thic$ness, less than mm, because how the
diaphragm would be larger, the depth won#t increase.
-t must be ta$en into consideration that in normal objective lens the largest resolution power it will
obtain by closing the maximum diaphragm opening with +3 values.
=pecial objective lens, the microphotographic and apochromatic ones present the largest power for
separation in very closed to maximum opening diaphragms.
9ecreasing the diaphragm opening over these values which give the maximum decreasing efficiency,
the clearness of image decreases, due to the diffraction phenomenon. (rom this point of view it is not
possible to establish some general rules over the imposed limits by the diffraction phenomenon.
ut we can avoid this thing, if we $eep notice of the fact that these limits are influenced by several
factors% the increasing of the negatives, the details and si2es of the subjects, the separation power of the usedemulsion, the focal distance, the type of the objective lens. (or this reason, the chec$ing of the phenomenon
must be done separately for each case.
. The increasing of the depth "ithout diaphragm
6hen the depth can#t be increased by diaphragm, due to the diffraction phenomenon, the increasing of
the depth can be obtained with the aid of special built cameras which permit bending the setting up plan and
the one of the objective beside the optic
axis.
The modifying of the parallelism
between the plans leads to an une&ual
increasing of extension, being bigger for
the closer points of the subject and
smaller for the farther ones. The setting
up plan is not perpendicular on the optic
axis so it confounds itself with the plan
where there are the main elements of the
objective, so it reveals very clear.
All the setting up operations are
made under control with the aid of the
mat window. 6hen the depth increases,
the exposure time decreases due to thenon diaphragming.
0
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-f in this situation the depth is not sufficient, the objective lens will be diaphragmed for the obtaining
of the desired clearness.
Honcluding, the increasing of the depth necessary for the large increasing scales, mustn#t be pushed
over the limit where the diffraction phenomenon starts. Although, if the depth is too small, there is necessary
to use special studio cameras with the possibility for bending the optic plan and the setting up one. 7oining
the advantages of these devices, with the ones of the microphotographic objectives assures the revealing at
the best conditions of the subjects at the large scales of reproducing.
The film
Although many time this $ind of subjects could be approached with a medium sensitivity film )+0
9-E*, the experience of those who wor$ in the existent light proved that it is smarter to load the device from
the beginning with the most sensitive film. :n the one hand, it wins a plus of diaphragm or exposure, by the
other hand these films, having a less contrasting gradation could get through the great contrasts met in the
most of cases.
>aving the camera with a highly sensitive film, the photographer can wor$ freely, not being disturbed
by a micronic setting of the clearness or not being limited at only some compulsory light angles or at some
speed movement in the bac$ground. This freedom in moving always reverses in a favourable way over the
artistic &uality of the image.Eot all the films possess in the same way a reserve of sensitivity, for permitting the calculation of the
exposures on a larger number of 9-E. That#s why the must be they must be also chec$ed from this point of
view. There will be done tests with different $inds of films, chec$ing precisely the reserve of sensibility at
different types of light% day light, incandescent bulb light, neon light, very popular today.
*e#eloping
y ta$ing photographs in difficult conditions, often filled with surprises, the photographer needs to be
prepared for anything upon developing. Timed developing is often excluded. Preferably use the controlled
developing method at the dar$ green filter. esides the regular developer, the photographer will also $eep
handy a paper developer and, if pessimistic, a powerful al$aline developer containing caustic soda )although
the latter will only be needed in cases of serious exposure errors*.-f it is already $nown that the film has been underexposed, it is recommended to start developing with
the developer at a higher temperature% +3SH, thus substantially reducing the developing time.
9ue to the often too long developing times, the film will be developed only in the tan$, so as not to
expose it to oxidation by contact with the air or fogging. Throughout the developing process, one will
alternate the agitation of the film with the pause, the rhythm being of approx. " seconds of agitation for
each minute.
=tart developing with the 93 developer. The first chec$ will be made after +0 min. -f the developer
has started to act, continue developing in the same developer, by carrying out regular chec$s until the film is
fully developed.
The latent image on film becomes visible through a process $nown as developing K the application of
certain chemical solutions whereby the film is transformed into a negative. The process by which the
negative is turned into a positive image is called printing' the image is called a print. The film is developed
by treating with a reducing al$aline chemical solution, $nown as developing solution o developer. Thissolution reactivates the process commenced by the action of the light when the film is exposed. The effect is
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to continue the reducing of haloids silver crystals wherein the metallic silver has already formed, so that the
large silver particles might form around the minuscule particles that carry out the latent image.
As the large silver particles start forming, a visible image becomes apparent on film. The silver
thic$ness and density stored in each portion depend on the &uantity of light received by such portion during
exposure. -n order to stop the developer#s action, the film is immersed into a light acid solution that
neutrali2es the al$aline developer. After rinsing, the negative image is fixed, the haloids silver crystals
residues are removed and the metallic silver particles are stabili2ed. The chemical solution employed for
fixing is usually sodium trisulphate, but ammonium or potassium trisulphate can also be used. This anti+fixing solution is then used to remove any fixing trace on film. The film must be thoroughly rinsed when the
fixing residues tend to destroy the negatives in time. -n the end, the immersing of the processes film in a
rinsing solution contributes to a uniform drying and prevents the forming of water stains and stripes.
Printing is achieved by any of these two methods% contact or projection. The contact method is
employed when we want prints to be exactly the same si2es as the negative. They are made by putting the
emulsion part of the negative in contact with the printed material and exposing the two together to a light
source.
-n the projection printing, the negative is first of all placed in a type of magnifying projector. The light
passes from the negative through a lens projecting a magnified or reduced image of the negative on the
printed material. The process allows the photographer either to reduce or increase the &uantity of light falling
on certain portions of the printed material. Mnown as a tric$1 or as a burnout1, these techni&ues render the
final print either brighter or dar$er on selected portions.
The printed material employed in the process is a type of photographic paper whose composition is
similar to that for film developing, but much less sensitive to light. After exposure, the print is developed and
fixed through a process &uite similar to that employed for film developing. :n the finished print, the portions
exposed to most light are reproduced as dar$ tones' the portions reproduced as bloc$ed by negative lighting
are reproduced as light tones, while portions exposed to moderate &uantities of light are reproduced as
intermediary tones.
Holor prints and color negatives are made either by the projection method or by the contact method.
The color transparency prints may be carried out directly by projection, using the Hibachrome or Type 5process, such as 5+3 from Moda$ or Type 34 from (uji. Alternatively, color transparencies can be printed by
carrying out an intermediary negative, or inter+negative, which can then be printed by contact or projection.
A third color printing process, called color transfer, is considered more complex and is generally used for
professional wor$.
Positive color transparencies and color negatives are printed on multi+layer emulsion paper containing
color forming agents. Ixamples could be the (ujichrome Type 34 process and Moda$ I$tachrome, which are
used for printing from color transparencies' and I$tacolour, (ujicolour and Agfacolour HE Type A, which
are used for printing from negatives. These papers are developed in color forming solutions without a
reversible process. 6hen carrying out such color prints, exposure errors are minimi2ed by varying the print
exposure time. The color balance is controlled by adjustable filters at the end of the magnifying device, in
between the light source and the negative.
-n the color transfer process for carrying out color prints, a dividing negative is prepared for one of thethree colors% red, green and blue. These color dividing negatives are either produced directly from the subject
in a single+use device, nowadays a relatively out+fashioned techni&ue, or else indirectly from the color
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transparency. Eegatives are then used to produce embossed positive images on a gelatin sheet $nown as a
matrix. Three positive matrices are produced% one is immersed into yellow paint, another one in fuchsine and
the third one in cyan. After absorption, each matrix is printed through a special easel ensuring perfect
alignment or framing so as to form a complete color image.
T-C/S 01* C$2$- 0G3 S(3C'C 3''3CTS
Any tric$ obtained on blac$ and white photo+sensitive materials can also be carried out on color
materials. The color enhances the expressiveness of effects, it
adds value to
them. >owever,
some tric$s
consist of
chromatic
distortion effects
and can only be
perceived bycolor, being
specific to the
color image.
=uch tric$s are usually achieved on special photo+sensitive
color materials. >owever, some can be obtained even on blac$
and white photographic materials through special treatments,
such as toning or chromogene bleaching.
Successi#e photography by changing the color filters
The procedure consists of multiple shooting of the subject at various time intervals, with various
colored filters. The images obtained through this procedure are characteri2ed by a strong chromaticdise&uilibrium among the colors of the moving and static objects. 9ue to this exposure manner, objects in
motion are captured in various places and each time in a different color, while static objects are additively
impressed in the same film spot. The procedure may be carried out on any type of color film and with any
type of colored filters. >owever, in order to create a shoc$ as poignant as possible, we need to use filters
with transmission strips as strict and special as possible. (urthermore, we need to choose a convenient
composition wherein the mobile element should have the main role in the frame and a relatively stronger
brightness. The triggering moment of the exposure must coincide with the climax of modifying the situation
in the frame' it must be anticipated by the photographer. Holor strobo+photography may also be considered a
particular case of this procedure.
Color strobo4photography
The process follows the decomposition of the
subject movement into several distinct phases and their
3
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recording in various taints of color, on the same photogram of the negative. Holor strobo+photography allows
the carrying out of very interesting effects. /nfortunately, &uite a number of photographers, preoccupied by
the solving of the complex technical issues raised by this procedure, ma$e the mista$e of treating the
decomposition of movement from a strictly technical point of view, captivated by the technical performances
of being able to stop1 the fastest movement. -t is often forgotten that the very $eeping of the dynamism
sensation and movement continuity brings an extra expressiveness. =troboscopic photography generally
re&uires the solving of certain very complex technical issues, such as exposure fre&uency, subject obstruction
and elimination systems. Holor strobo+photography as a tric$ procedure renders things even morecomplicated, because it aims at highlighting each moment of movement in another color.
Con#erting the black and "hite images into con#entional colors
Honverting the blac$ and white images into conventional color images may be achieved in several
ways. There are four distinct technical procedures, on the basis of which the most varied and interesting
variants of color tric$s can be achieved. esides the classical procedure of separating and transposing gray
tones on color photo+sensitive materials, two original procedures are also described, representing 5omanian
contributions to the enriching of creation means in photographic art% 9eflectography1, a procedure designed
by eng. Holoman :ndrejcsi$ and the Holor 9B1 procedure, designed by eng. 9umitru Boro2an.
n#ersing colors
y employing a counter+pattern procedure with color separations of the color images, the original
colors can be modified as one wishes, even without introducing any color dominant in the gray tonalities of
the image. Three color selections are extracted from the original color image, with the help of three strict
color filters, namely indigo, green and red on a special blac$ and white panchromatic material.
Chromatic effects achie#ed on black and "hite photographic materials
@arious mono and even polychrome effects may be obtained on regular blac$ and white photographic
materials with the help of special processing treatments K such as toning or chromogene developing.