فن التصوير .. المباديء والمنهاج الدرس -٢٢- المعضلات اسبابها وطرق معالجتها

**Ali Abbass** · 05-17-2023, 11:56 PM

art of photography . . Principles and Curriculum Lesson -22 - Dilemmas, their causes and ways to address them

To always practice good endorsement, it is necessary first to reach sound standards, and this is the reliable way to reach the best results. And the beginning is to work with one film and one appearance as a standard mix. After that, you, as a photographer, must display in the same form, and you must appear with the same accuracy every time.
When you become accustomed to the combination of one film and one appearance, you are guaranteed to get consistently good quality results.

Keep records of exposures and endorsements for each film and study the quality of your negatives and prints. Then when you feel you have understood them, you may come to a decision confirming that your negatives are always too dense, too thin, too faded or too contrasting.
If so, experiment with specific modifications you make to your standard curricula. If you think that increasing your exposure a bit might lead to better results, try working with an aza number.

Smaller for your film - for example, 200 instead of 400, or 64 instead of 125 - and if success is achieved in this way, adopt this new number as a standard to adhere to, and if you are not satisfied with what we produce, try 100 instead of 400: 32 instead of 125. And if you want to produce negatives with more light contrast, try increasing your endorsement time a bit. Persevere in testing until you get the quality you like the most. Don't randomly change your standard curriculum just because you think the new one should work - test and see what happens, and only then make up your mind.

- reciprocal failure ( * )
The word reciprocity refers to the interrelationship between shutter speed - time - and aperture - the amount of light - you know, for example, that you get the same exposure with each of the following combinations: 1/125 at / 16 or 1/250 at f / 11 Or 1/500th at f/8 or 1/1000th at f/5.6.
Unfortunately, this correlation wears off while shutter speeds are either too fast or too slow. Typically, with black-and-white films, this commutation—called commutation failure—occurs at exposure speeds greater than 1/1000 or smaller than 1/2 of a second. Either way, the resulting negative is an underexposure when you shoot based on the normal exposure meter reading.

An example of this is if the appropriate exposure is 1/1000 at f/5.6, and you decide to shoot at f/4 to get more optional focus, if you shoot at 1/2000 at f/4 you get insufficient exposure.

On the other extreme if the appropriate exposure is 1/2 of a second at f/11. And I decided to shoot at f / 16 to get a greater depth of field, if I shot for one second at f / 16, you get again insufficient exposure.
Another effect of reciprocal failure is a change in luminous contrast. During each long exposure, you will get more contrast than usual.

Eventually, cross-failure becomes increasingly noticeable the more you deviate from normal exposure times. . What we mean by other words is that underexposure and reduced contrast are almost imperceptible at 1/2000th of a second, but if you use a strobe, it produces an exposure of 1/10,000th of a second. The effect becomes significant, then becomes extreme at 1/50,000, and the opposite is that at 1 second, the reciprocal failure is below. As for ten seconds, it is prominent; And at 100 seconds it's an adult.

The easiest way to deal with crossfire is to vary your exposure when possible, to shoot within the normal range of shutter speeds. For example, if you were shooting in 1 second at f/4, could you instead shoot in 1/2 of a second at f/2.8? ..or if you shoot at 1/2000th of a second at f/8, can you shoot at 1/1000th at f/11 or better yet 1/500th at f/16? This is the best way when possible.
In the opposite case, you have to compensate for the reciprocal failure by adjusting the exposure period - to compensate for the insufficient exposure - and the endorsement period - to compensate for the change in light contrast - as for the amount of adjustment needed, it conflicts between one film and another. This is because each film has its own interchangeable features, and since these are not listed in the instruction sheets that accompany the film, you can write to the production company inquiring if you need information, or consult technical manuals such as (Photo Lab Index) by Morgan and Morgan.

Common endorsement dilemmas:
If you work step by step with the methods that we preferred over your negative ones, you will end up being trouble-free. However, making mistakes is easy, and these can spoil your disadvantages. From here, we will examine some common disadvantages, determine their causes, and tell you how to avoid them.
1- Fog from a worn-out appearance or an expired film.
The reason: If your negative comes with a gray tinge that fades to your image and extends outward to the areas of the reel or the edges - it is called fog - then the cause is a manifestation of weariness, or a film that has outgrown age.
Prevention: Work with a fresh film. Do not use the primer for a number of rolls of film more than the number recommended by the producing company. If you store your primer for any period of time, adhere to the recommendations about storing chemical compounds. If the date you wrote on the bottles exceeds the recommended storage life, get rid of the appearance and mix a new, fresh quantity. Don't try to save money by extending the shelf life of your chemicals: it ruins the pictures, and costs you more in the end.

2- Small transparent spots on the negative.
Reason: If you see small circular spots on the negative, this will produce black spots on the print, usually because air bubbles stuck to the film page during the endorsement, and thus prevented the appearance from affecting the film evenly.
Prevention: You can get rid of these bubbles by hitting the basin on the sink, or on a table. Once you have finished pouring the appearance into it, you should also simulate the basin while pouring out the chemical compounds - the appearance, in particular - and pour regularly and continuously.

3 - black spots.
Reason: If there are transparent areas on the negative, these will produce parallel black areas in the print. Your film stuck together during the endorsement bath in these areas. The appearance could not reach these areas.
But if the spot on the negative is creamy or gray, this means that the film was sticking to each other during the fixation bath.
Prevention: Adopt more accuracy and care during the installation of the film on the reel so that it overlaps along its entire length in its grooves, and that no two surfaces come into contact with each other. Practice well until you master this step. What we are talking about is perhaps the most common dilemma in the entire endorsement process. And the easiest way to avoid it is if you train to install the film until you are able to install it easily and properly with your eyes closed.

4- Finger prints.
Reason: Sometimes, while installing or drying the film, you place the pads of your fingers on the film page. The result is a clear fingerprint on the print.
Precaution: Always hold the film by its edges, never by its surfaces.
Correction: If a fingerprint was left during the installation of the film, the oil on your skin left a layer on the film that the applicator could not work through, and when that happened, you could not correct it.

But if you left the fingerprint after the endorsement, you may be able to clean the film. There are special solutions to clean the film, which you can buy from the photographic store. And the probability of your success in removing the fingerprint will be greater if this is on the glossy base page of the film instead of the sensitive layer page.

**Ali Abbass** · 05-17-2023, 11:58 PM

E - water spots.
Reason: If small spots or water smudges remain on the negative while it is drying, unsightly marks may result.
Prevention: Use a wetting agent and work to remove all water from the surfaces.
Correction: Wash the film again, provided that you use the wetting agent to wipe the water points off the film - these stains will disappear sometimes, but not always.

6- Small white dots on the print.
The reason: usually the cause of the fine white spots on the positive print is the presence of dust on the negative.
Prevention: Dry your film in a dusty place.
Correction: Before printing, get rid of the dust on the negative with a brush or by blowing if the dust is sticky to its page. Use a film cleaning solution.

7- Stirring splashes.
The reason: You see the moving smudges here as wide vertical lines, light and dark, that seem to flow from the buildings towards the sky. Prevention: Be gentle when you move and that's enough.

8- Marks in the shape of a crescent on the print.
The reason is that these marks, which are called half-moons, are the result of cracks in the film caused by twisting the film while it is installed on the reel. Prevention Once again, we invite you to practice installing the film while your eyes are closed until you are able to carry out this process correctly every time, quickly and easily, without twisting the film.

Once again, you have to adhere to the stirring methods described by the company that produces the basin, as long as the methods differ to some extent from those preferred for endorsement when using flasks. We note here that this is the least desirable of the methods, as long as the basin of this type tends to trap air. Inside, the air can thus produce marks, air bubbles. They are transparent circular areas on the film in which no endorsement has occurred.

- Endorsement with disclosure.
Although the method of endorsement based on time and temperature becomes very reliable after a little training, you may go through occasions during which you feel the need to reveal the film as it appears. Occasions like this can occur when the exposures are unknown for some reason, or when you suspect an overexposure or insufficient exposure either because of the photographer's negligence or the automatic exposure device's poor performance of its function. Such occasions may also arise when the photographer has to He chooses to take the picture in less than ideal conditions, or he won't get the picture at all!

We point out here that developing the film under scrutiny requires the use of a dark room.
The work program is in the following order:
1- Gather the necessary materials for a regular endorsement.
2- Add a strong appearance of energy to nice work for emergency use (Microphen) or (Acufine) are the most famous.
3- Add a safety light filter (1Wratten Green) with a 1/2 7W bult.
4. Lay a handful of newspaper on the darkroom table to catch drips from the look.
E- Before starting to endorse the film, it is extremely necessary for the photographer to return his eyes to the darkness of the work area. This takes between one and five minutes. Turn off the white light and turn on the green safety light. You will be lucky at this point if you can see the safety light. Don't panic! After a minute or so, and you are able to clearly distinguish the back of your palms from seeing and distinguish the place in this way, your eyes will begin to see the contours of the shapes in their interiors, and when you become able to know where your nails begin and the place where they end, you will be able

Strengthening
It can, by a large percentage. Correcting exposed negatives whose exposure or endorsement was a little less than what it should be. This is done by a chemical process called strengthening (*) because this strengthening increases the density of the negative, either by adding more silver to the existing silver deposits, or by precipitating another dense metal such as copper, mercury, or chromium that combines with the existing silver to produce additional density. This means that strengthening is a process that increases the density of the photoexposed areas of the film.
And since the strengthening processes have a softening effect on the sensitive layers of the negative, it is necessary to increase the hardness of the films before curing. If we previously used a fixation and hardening bath in developing the film that we want to strengthen, this may be considered sufficient.

This and strengthening solutions come in two types:
a) One single solution.
b) Two bath solutions, including a bleaching class ( * )
and a transparent class (*).

Examples of ingredients for a single solution are:
1- Kodak Silver Hardener (IN-5).
2- Mercuric chloride hardener.
3 - Chromium tonic - be careful here because single and double solutions are available -
As for the most widely used pigeon hardener, which can be obtained prepackaged, it is the chrome hardener produced by Kodak.
Note: Reinforcing operations can be performed under the normal lights of the room.

- relieve
Dilution (*) can be used to improve negatives that are too dense or too optically contrasting. The dilution process involves converting part of the silver image into a compound that can be dissolved.

.
6- Turn off the safety light and start endorsing in the normal way in complete darkness.

7- After approximately half or three quarters of the endorsement period has passed, you are ready to take your first look at the film.
8- Turn on the green safety light and look at your film. You will see an almost metallic whiteness on the edges and the spaces between the tires. This will serve as a point that guides you to where you should look. This, and hold the film in a way that allows the light from the safety light to pass on the back of the film. Don't look through it! You should see gray-through-black areas on a metallic white background. If this is the case, it indicates a good quality negative density. Here, you can wash the film gently and put it in a fixing bath. If you do not see a proper gradation of gray The direction is towards black, so it restores the film to its appearance and turns off the safety light. Repeat the examination after further endorsement.

However, judging the amount of density in its path requires some experience. From here you have to run the tests on practice laps containing a wide series of exposures.

Improvements: Since the main reason for endorsement with examination is to ensure that a good density is obtained in the negatives whose exposure we have doubts, it becomes necessary to observe and test the following working methods:

a) If a negative in the first detection appears to have obtained sufficient density, cut off this relevant negative from the language and place it in the baths of endowment and fixation.
b) Continue endorsing those negatives that seem to need more. This can be achieved by endorsing for a much longer period of time in the form in use, or by switching to a strong-energy form of work such as (Aculine or Microphen).
We point out here that the endorsement period, which exceeds what it should be in a standard appearance, will produce an unwanted tabana and an undesirable imperfection without adding the required silhouette details.

The types of softeners are:
1- Subtracting or (cutting) thinners, which increase an equal amount of silver from all parts of the negative, and are useful in treating negatives that have been overexposed.
2- Proportional thinners remove from the negative an amount of

to start endorsement
silver directly equal to the total quantity.
This means that these thinners remove more silver from the bright area than they remove from the shadowy area, and thus reduce the light contrast in the negative. It is particularly useful for correcting negatives, and then developing them until they reach a proportion of intrachromatic contrast that exceeds the desired.
3- Su per Proportional thinners that remove from the denser negative parts a rate of silver that increases more and more than it removes from the thin parts.
They are used to correct extreme light contrast caused by exposure that exceeds what it should be for a subject distinguished by its light contrast, and since these thinners remove an amount of silver from dense areas that exceeds what they remove from thin ones, they cause a noticeable decrease in light contrasts of negativity⏹

Next lesson Filters and black and white photography.

فن التصوير .. المباديء والمنهاج الدرس -٢٢- المعضلات اسبابها وطرق معالجتها

فن التصوير .. المباديء والمنهاج الدرس -٢٢- المعضلات اسبابها وطرق معالجتها

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