تويت
التصوير الفوتوغرافي الحديث
معدات الغرفة المظلمة ..
إضاءة الغرفة المظلمة ..
أبيض - إضاءة خفيفة ..
إضاءة آمنة ..
DARKROOM ILLUMINATION
A photographic darkroom is much more than its name implies - it is a combination workroom and laboratory in which some extremely critical and painstaking operations are carried on . Good lighting is absolutely essential for such work .
WHITE - LIGHT ILLUMINATION
The white - light illumination must not only be of a high level , but the lights must be so arranged that they cast no disturbing shadows . You will probably find it best to use two ceiling lights of medium power over each workbench . If the lights are well separated , illumination will be quite even , without any strong shadows to hinder visibility . These lights may be the neat , inexpensive type used in bathrooms or small kitchens . Don't use ordinary fluorescent lights ; white light is turned on and off rather frequently in a darkroom and waiting for the fluorescents to go on can be extremely annoying when working under pressure to complete some enlargements .
Place an auxiliary bright light so that it illuminates the spot where the hypo tray is usually located when making prints . You will often want to examine print very critically just as soon as it reaches the hypo , and this strong white light is ideal for that purpose . At this stage of operations , your hands are generally wet with the developer or hypo , so it isn't wise to use them for turning on lights . Provide this viewing light with a foot switch placed out of the way and never moved from its location , so that under no circumstances can it be turned on accidentally . This is an added safeguard against fogging paper .
SAFELIGHT ILLUMINATION
The proper distribution of safe , nonactinic light is quite important . The maximum amount of light just short of the fogging point is essential for the best work . However , it is not just a question of getting a large quantity of light , but of getting it where it does the most good . A high over - all illumination level but weak light over the developing tray is a poor arrangement , since the pupils of the eyes are contracted by the high average intensity , and so are handicapped in judging the poorly illuminated print . On the other hand , if the developer tray is brightly illuminated and the rest of the room is in almost total darkness , there is considerable eyestrain , not to mention the ever - present danger of bumping into things in the dark .
The best arrangement is to have fairly good over - all illumination , aided by local lighting through the use of small auxiliary safelights placed at strategic locations . The overhead illumination may be provided by a central overhead safelight of the indirect type or two smaller direct safelights , located so as to cover the entire darkroom .
The lighting over the developer tray is particularly important . It takes quite a bit of experience to judge a print accurately while it is being developed . Prints always seem darker under poor lighting , so it is always necessary to carry a print in the developer until it appears quite dark to allow for the dim darkroom lighting . The weaker the light , the greater must be this allowance and the greater is the possibility of error . Furthermore , it is difficult to see well with dim light , so critical judgment is impaired .
Full illumination isn't required for the entire development period ; the print will develop just as well whether you look at it or not . It is only during the last half minute or so , when you must decide the exact moment to stop development , that there is any need to look at the print under the strongest permissible light . A strong light used only briefly in this way may be much brighter than would be safe for the entire period of development .
There are several good expedients for stepping up illumination for the final half minute or so when it is really needed . One of the simplest is to use a safelight provided with a swivel - type mounting bracket . Start developing with the light turned away from the tray . Just before development is completed , swing the light so it is fully on the print .
A more convenient method is to provide the safelight with a foot switch . Start developing with the safelight off , using only the overhead illumination . When the print is almost ready , step on the switch to light up the print fully .
معدات الغرفة المظلمة ..
إضاءة الغرفة المظلمة ..
أبيض - إضاءة خفيفة ..
إضاءة آمنة ..
DARKROOM ILLUMINATION
A photographic darkroom is much more than its name implies - it is a combination workroom and laboratory in which some extremely critical and painstaking operations are carried on . Good lighting is absolutely essential for such work .
WHITE - LIGHT ILLUMINATION
The white - light illumination must not only be of a high level , but the lights must be so arranged that they cast no disturbing shadows . You will probably find it best to use two ceiling lights of medium power over each workbench . If the lights are well separated , illumination will be quite even , without any strong shadows to hinder visibility . These lights may be the neat , inexpensive type used in bathrooms or small kitchens . Don't use ordinary fluorescent lights ; white light is turned on and off rather frequently in a darkroom and waiting for the fluorescents to go on can be extremely annoying when working under pressure to complete some enlargements .
Place an auxiliary bright light so that it illuminates the spot where the hypo tray is usually located when making prints . You will often want to examine print very critically just as soon as it reaches the hypo , and this strong white light is ideal for that purpose . At this stage of operations , your hands are generally wet with the developer or hypo , so it isn't wise to use them for turning on lights . Provide this viewing light with a foot switch placed out of the way and never moved from its location , so that under no circumstances can it be turned on accidentally . This is an added safeguard against fogging paper .
SAFELIGHT ILLUMINATION
The proper distribution of safe , nonactinic light is quite important . The maximum amount of light just short of the fogging point is essential for the best work . However , it is not just a question of getting a large quantity of light , but of getting it where it does the most good . A high over - all illumination level but weak light over the developing tray is a poor arrangement , since the pupils of the eyes are contracted by the high average intensity , and so are handicapped in judging the poorly illuminated print . On the other hand , if the developer tray is brightly illuminated and the rest of the room is in almost total darkness , there is considerable eyestrain , not to mention the ever - present danger of bumping into things in the dark .
The best arrangement is to have fairly good over - all illumination , aided by local lighting through the use of small auxiliary safelights placed at strategic locations . The overhead illumination may be provided by a central overhead safelight of the indirect type or two smaller direct safelights , located so as to cover the entire darkroom .
The lighting over the developer tray is particularly important . It takes quite a bit of experience to judge a print accurately while it is being developed . Prints always seem darker under poor lighting , so it is always necessary to carry a print in the developer until it appears quite dark to allow for the dim darkroom lighting . The weaker the light , the greater must be this allowance and the greater is the possibility of error . Furthermore , it is difficult to see well with dim light , so critical judgment is impaired .
Full illumination isn't required for the entire development period ; the print will develop just as well whether you look at it or not . It is only during the last half minute or so , when you must decide the exact moment to stop development , that there is any need to look at the print under the strongest permissible light . A strong light used only briefly in this way may be much brighter than would be safe for the entire period of development .
There are several good expedients for stepping up illumination for the final half minute or so when it is really needed . One of the simplest is to use a safelight provided with a swivel - type mounting bracket . Start developing with the light turned away from the tray . Just before development is completed , swing the light so it is fully on the print .
A more convenient method is to provide the safelight with a foot switch . Start developing with the safelight off , using only the overhead illumination . When the print is almost ready , step on the switch to light up the print fully .
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