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PROCESS your OWN FILMS ?
Well - known photographic writer Jacob Deschin explains the logic of having expert technicians of the custom lab doing the processing and printing for the active freelance photographer .
FOR THE BUSY freelancer , the question really answers itself - the more time in the dark room , the less time and earning potential in the field . As a working photographer , your job primarily is in the field .
The processing phase is aftermath , essential but nevertheless time - consuming . Assuming even that you are an expert darkroom man who can draw rings around the average custom finisher , the busier you get on the shooting end , the less you can afford the luxury of completing the job your self in the darkroom .
The convenience of turning your exposed films over to the finisher , then going on the next job with the assurance that the results of your first will be waiting for you and your client on your return , can hardly be overstated .
I don't believe in turning your back on dark room work altogether , relying entirely on the custom lab . There will be slack periods and oc casions when you will be glad to get back in there doing your own . For emergency situations when the custom lab's services are not readily avail able , and for such needs as making one's prints for formal exhibitions , I still root for the personal darkroom if only to keep your hand in .
But , for day - to - day activity , the convenience and actual money - saving and money - making role of the custom finisher is a genuine asset . The custom lab is a large helping hand to many freelancers !
How the custom lab works
Your initial experience with the custom lab starts when you turn over your exposed film for processing . At Modernage Photographic Services , Inc. , New York City , N. Y. 10017 - as with other custom finishing plants - this is not a perfunc tory step . If the films were exposed at the normal ASA rating under average conditions , there's no question as to the processing procedure . But , this is not always the case , especially for the freelancer who faces a variety of situations in his work al most daily .
If normally exposed , the film will be developed ( at Modernage ) , in UFG or D - 76 . Other plants may have other preferences as to the developers used .
However , if your ASA 400 film was exposed at 1200 - ASA or higher , the clerk will indicate this fact on the order and the processor will know to use Acufine developer , a more active solution . The clerk may ask whether the film was exposed under any special conditions . The professional will volunteer needed information , but not always . He may forget , or in some cases not know what was involved . Was the lighting contrasty ( so the lab can cut the developing time ) , or was it flat as in scenes shot under overcast skies ( so he can boost developing time to increase the con trast ) ?
Did you realize that pictures taken from the air or underwater call for extra development to in crease contrast ? The processor does and will make the adjustment if you tell him in advance .
HERE'S where it all starts at Modernage the reception room where work orders are written .
All films are processed by inspection during the development in deep tanks . Inspection develop ment means just that the film is looked at very briefly under a dark green safelight , during the course of development . If necessary , the technician will automatically make a compensation in de velopment time for any under- or overexposure he sees .
Wide ranges of exposures on the same roll , of course , cannot be compensated the processor has no magic means for producing a perfect nega tive for each frame . However , where exposures have been kept within a one or two - step range on the same roll , he can come up with printable negatives .
Properly tagged films are sorted according to ASA rating and grouped to develop uniformly ,
while exceptions films calling for special at tention , are pulled out and processed separately . The normal developing service is 36 - hours . If pushed for time , the lab will do the job in 24 hours . Faster ( one - day or 4 - hour ) service also may be had at a premium price .
If you mail in your exposed film , the lab pro vides special mailing bags printed with its name and address and space for the return address . When the bag is opened at the incoming desk , an order is made out , including any special exposure in structions you may have noted . Film and work sheet stay in the envelope through processing , identified by a numbered sticker on the film and work sheet .
FILMS and prints are processed and made under strict quality controls in the custom photo lab .
MANY photographers have labs file their nega tives for them so reprint orders can be phoned .
ORDERS are checked and prints are spotted and retouched at this step of custom lab procedure .
FILES of negatives tained for efficiency for customers are main and protection by the lab .
Professionals require contact proofsheets with their negatives , as a matter of course . A single 8x10 " sheet of glossy paper will accept a full roll of 36 - exposure 35mm or 120 rollfilm . Because of the small size of the images on the proofsheets , some photographers have " oversize " ( or , so - called projection contacts ) , made for the convenience of editors and picture buyers ( some editors de mand the enlarged proofs . )
To make the projection proofsheets , the lab puts the whole roll of negatives into an 8x10 " negative carrier of an 8x10 " enlarger . The prints are made either on 11x14 " or 16x20 " paper to produce a more readable group of individual en largements ( approximately 2x3 " for 35mm frames , on 16x20 " paper ) . There is , of course , an extra charge for the larger " contacts . "
Code marks for printing
Enlargements are ordered by checkmarking with a red crayon pencil ) , the selected contact frames . Never mark the negatives where ambient crayon crumbs may land on a critical detail during enlargement ! Also note print - size and quantity of prints required for each negative selected for printing .
The lab uses these basic corrective techniques in printing : 1 - cropping ( if wanted ) , to indicate the area to be enlarged ; 2 - dodging , for lighten ing dark areas in which detail should be brought out in the print ; 3 - burning - in to reduce the high light area . Where particular emphasis or deem phasis is needed in any or all three respects , the photographer's special instructions will be fol lowed by the lab .
Dodging is indicated on the contact sheet by marking the shadow area with small circles : 0000000. For burning in highlights detail mark such areas with slanting or cross - hatch lines : //// or #### .
Cropping can be tricky . You can leave the cropping to the experienced judgment of the lab technicians or indicate the specific cropping you want . In the latter case you must be very specific . Use straight lines on the contact sheet to delimit the negative area you want and a wavy line on one of the four sides as a flexible instruction to use as much there as is needed to make a full 8x10 " , 11x14 " or larger print .
The wavy line is the key . If you use straight lines on all four sides , your final print may turn out to be some variant of the rectangle , or even a square . If you must fill the 8x10 or 11x14 sheet exactly , mark the contact proof accordingly .
If an edge line is especially critical , the printer will let it go black that is , to the print edge ( not the negative's ) . Instead of providing a white border on the print along the particular edge , it will be black and will show the negative image to its very edge .
Regular and salon prints
There are two general classes of prints - the reg ular production print and the so - called salon print . The latter service caters to the very discriminating
CROSS - hatched lines marked on proof indicates printer is to burn in these washed - out sections .
RESULT of custom lab printer skillfully burning in areas of print can be clearly seen below .
and demanding customer . It includes such services as special paper like Opal and Indiatone ; toning and mounting . The maximum print is 16x20 " ; anything beyond that is referred to the company's mural department .
Following the printing routine , the photograph is sent to Quality Control where it gets a thorough checking for such matters as to whether the cus tomer's instructions were followed , the right nega tives printed , etc. The final step is to spot the print , after which it is ready for delivery .
Other services available include dry - mounting ; copy negatives ; restorations ; making b / w's from color slides ; making internegatives and color prints .
This brings us to the custom plant's color ser vices . Modernage neither processes color films nor makes color prints . It serves primarily as the " middle man ' between the photographer and Eastman Kodak , offering counsel and suggestions as well as details , sizes and prices .
Many custom photo labs do , however , offer custom color processing and printing of their own production . They will process and / or print films such as Kodacolor and Ektacolor ; Ekta chromes , Anscochrome , Agfacolor and others for their photographer clients . Custom color printing is available from these labs ranging from contact proof - sheets up to giant mural enlargements .
Color negatives are handled like b / w negatives at the custom lab . Everything that the lab can do with b / w in printing applies to color negatives , too cropping , dodging , burning - in .
CHART below shows and explains some of the markings to be used to specify work to be done .
Mark your contact - proofs with red crayon right on the print for marking your order . ( It can be taken off again . ) Never mark negatives . Use the following code marks to order prints and indicate cropping :
For Burning - in : Cross - hatch lines indicate " make umum darker "
For Dodging : 00000 Small circles indicate " make lighter "
For Routine Cropping : Wiggly lines where they can vary to suit paper size
or MARK
" crop for subject matter , "
" use your judgment , "
" full negative , "
" full paper size , "
or similar .
For Specific Cropping : Straight lines where outer limit is desired .
However , since color negatives do not reveal the conditions under which the pictures were shot , the clerk will need such details as to whether the exposures were made under tungsten , fluor escent or other artificial light . Forced develop ment for higher ASA ratings is also possible with certain of the color films and the processing will be done accordingly , based on the photographer's data .
Additional custom services
The large - scale enlargement phase of the custom labs operation is usually a separate department , as it is at Modernage . Relations with the customer are rather informal , by " verbal instruction , more of a personal thing . " The matter of cropping to produce murals in the desired proportions is , how ever , similar to the problems involved in reg ular print productiion .
A customer will often crop his picture to a certain size only to find that the mural is off in length or height . Also , no thought is usually given as to what is available in paper widths or in mounting board sizes . For example , standard sheets of Masonite ( used for mounting murals ) ,
EDGE of negative is shown for critical cropping at top of photo above ; wiggly line means crop can vary to fill size . Photos by Jacob Deschin .
are 4x8 ' and 5x8 ' . So , if someone needs a mural 4x8'6 " , it is much cheaper to make a compromise than to insist on the extra few inches and having to pay considerably more for the extras involved .
Custom lab assists photographers in the field
In many respects , the custom finisher acts like a home lab for the freelancer in the field . One of the lab's most valuable services is to notify the photographer - on - location of any malfunction of his equipment that show up in his films that have been sent in for processing while he continues to shoot his assignment afield .
Consistent under- or overexposure ; faulty shutter operation ; flash synch failures ; scratching on the films , etc. , are promptly reported to the photographer by phone , airmail or telegram . This kind of reporting by his custom lab helps him avoid continued failures and permits him to re shoot any misses before he leaves the location .
Further services provided the freelancer by his custom lab is the maintenance of a file of his negatives including the original printing in structions . The negatives are properly identified and stored in drawers in a fire - resistant room . The photographer has a corresponding contact proof sheet with identifying numbers and when he needs a certain negative enlarged , he simply phones or mails in his order .
Upon receipt of the order , the negative num ber is checked and located in the files ; the film is removed from the files , printed and then return ed to the files in correct filing sequence . This sys tem saves the photographer time , storage space and ensures good protection of his films .
The custom lab also furnishes prompt messenger service for pickup and delivery of orders within specified route areas . This expedites the handling of work between photographer , the lab and often , the client for whom the work has been produced by the joint efforts of freelancer and the custom photofinishing lab service .
Freelancer and custom photo labs make up a working team combination that should be seriously considered in the light of the savings that accrue to the photographer in investments in equipment and material , time and space . These are real factors which can be converted , rather than diverted , into greater profits and successes by the alert , active photographer who wishes to pursue his vocation with total freedom from the confines of the dark room .
The following is a listing of typical photo service laboratories advertising or stating they offer cus tom processing of black - and - white films and prints . Write to each and request a copy of their price lists and services available before sending any of your work to them . In some instances , cus tom labs furnish pre - addressed special mailing envelopes on request to ensure safe and expedited handling of your films through the mails . Several of these laboratories also offer full color services .
التصوير الفوتوغرافي الحديث
PROCESS your OWN FILMS ?
Well - known photographic writer Jacob Deschin explains the logic of having expert technicians of the custom lab doing the processing and printing for the active freelance photographer .
FOR THE BUSY freelancer , the question really answers itself - the more time in the dark room , the less time and earning potential in the field . As a working photographer , your job primarily is in the field .
The processing phase is aftermath , essential but nevertheless time - consuming . Assuming even that you are an expert darkroom man who can draw rings around the average custom finisher , the busier you get on the shooting end , the less you can afford the luxury of completing the job your self in the darkroom .
The convenience of turning your exposed films over to the finisher , then going on the next job with the assurance that the results of your first will be waiting for you and your client on your return , can hardly be overstated .
I don't believe in turning your back on dark room work altogether , relying entirely on the custom lab . There will be slack periods and oc casions when you will be glad to get back in there doing your own . For emergency situations when the custom lab's services are not readily avail able , and for such needs as making one's prints for formal exhibitions , I still root for the personal darkroom if only to keep your hand in .
But , for day - to - day activity , the convenience and actual money - saving and money - making role of the custom finisher is a genuine asset . The custom lab is a large helping hand to many freelancers !
How the custom lab works
Your initial experience with the custom lab starts when you turn over your exposed film for processing . At Modernage Photographic Services , Inc. , New York City , N. Y. 10017 - as with other custom finishing plants - this is not a perfunc tory step . If the films were exposed at the normal ASA rating under average conditions , there's no question as to the processing procedure . But , this is not always the case , especially for the freelancer who faces a variety of situations in his work al most daily .
If normally exposed , the film will be developed ( at Modernage ) , in UFG or D - 76 . Other plants may have other preferences as to the developers used .
However , if your ASA 400 film was exposed at 1200 - ASA or higher , the clerk will indicate this fact on the order and the processor will know to use Acufine developer , a more active solution . The clerk may ask whether the film was exposed under any special conditions . The professional will volunteer needed information , but not always . He may forget , or in some cases not know what was involved . Was the lighting contrasty ( so the lab can cut the developing time ) , or was it flat as in scenes shot under overcast skies ( so he can boost developing time to increase the con trast ) ?
Did you realize that pictures taken from the air or underwater call for extra development to in crease contrast ? The processor does and will make the adjustment if you tell him in advance .
HERE'S where it all starts at Modernage the reception room where work orders are written .
All films are processed by inspection during the development in deep tanks . Inspection develop ment means just that the film is looked at very briefly under a dark green safelight , during the course of development . If necessary , the technician will automatically make a compensation in de velopment time for any under- or overexposure he sees .
Wide ranges of exposures on the same roll , of course , cannot be compensated the processor has no magic means for producing a perfect nega tive for each frame . However , where exposures have been kept within a one or two - step range on the same roll , he can come up with printable negatives .
Properly tagged films are sorted according to ASA rating and grouped to develop uniformly ,
while exceptions films calling for special at tention , are pulled out and processed separately . The normal developing service is 36 - hours . If pushed for time , the lab will do the job in 24 hours . Faster ( one - day or 4 - hour ) service also may be had at a premium price .
If you mail in your exposed film , the lab pro vides special mailing bags printed with its name and address and space for the return address . When the bag is opened at the incoming desk , an order is made out , including any special exposure in structions you may have noted . Film and work sheet stay in the envelope through processing , identified by a numbered sticker on the film and work sheet .
FILMS and prints are processed and made under strict quality controls in the custom photo lab .
MANY photographers have labs file their nega tives for them so reprint orders can be phoned .
ORDERS are checked and prints are spotted and retouched at this step of custom lab procedure .
FILES of negatives tained for efficiency for customers are main and protection by the lab .
Professionals require contact proofsheets with their negatives , as a matter of course . A single 8x10 " sheet of glossy paper will accept a full roll of 36 - exposure 35mm or 120 rollfilm . Because of the small size of the images on the proofsheets , some photographers have " oversize " ( or , so - called projection contacts ) , made for the convenience of editors and picture buyers ( some editors de mand the enlarged proofs . )
To make the projection proofsheets , the lab puts the whole roll of negatives into an 8x10 " negative carrier of an 8x10 " enlarger . The prints are made either on 11x14 " or 16x20 " paper to produce a more readable group of individual en largements ( approximately 2x3 " for 35mm frames , on 16x20 " paper ) . There is , of course , an extra charge for the larger " contacts . "
Code marks for printing
Enlargements are ordered by checkmarking with a red crayon pencil ) , the selected contact frames . Never mark the negatives where ambient crayon crumbs may land on a critical detail during enlargement ! Also note print - size and quantity of prints required for each negative selected for printing .
The lab uses these basic corrective techniques in printing : 1 - cropping ( if wanted ) , to indicate the area to be enlarged ; 2 - dodging , for lighten ing dark areas in which detail should be brought out in the print ; 3 - burning - in to reduce the high light area . Where particular emphasis or deem phasis is needed in any or all three respects , the photographer's special instructions will be fol lowed by the lab .
Dodging is indicated on the contact sheet by marking the shadow area with small circles : 0000000. For burning in highlights detail mark such areas with slanting or cross - hatch lines : //// or #### .
Cropping can be tricky . You can leave the cropping to the experienced judgment of the lab technicians or indicate the specific cropping you want . In the latter case you must be very specific . Use straight lines on the contact sheet to delimit the negative area you want and a wavy line on one of the four sides as a flexible instruction to use as much there as is needed to make a full 8x10 " , 11x14 " or larger print .
The wavy line is the key . If you use straight lines on all four sides , your final print may turn out to be some variant of the rectangle , or even a square . If you must fill the 8x10 or 11x14 sheet exactly , mark the contact proof accordingly .
If an edge line is especially critical , the printer will let it go black that is , to the print edge ( not the negative's ) . Instead of providing a white border on the print along the particular edge , it will be black and will show the negative image to its very edge .
Regular and salon prints
There are two general classes of prints - the reg ular production print and the so - called salon print . The latter service caters to the very discriminating
CROSS - hatched lines marked on proof indicates printer is to burn in these washed - out sections .
RESULT of custom lab printer skillfully burning in areas of print can be clearly seen below .
and demanding customer . It includes such services as special paper like Opal and Indiatone ; toning and mounting . The maximum print is 16x20 " ; anything beyond that is referred to the company's mural department .
Following the printing routine , the photograph is sent to Quality Control where it gets a thorough checking for such matters as to whether the cus tomer's instructions were followed , the right nega tives printed , etc. The final step is to spot the print , after which it is ready for delivery .
Other services available include dry - mounting ; copy negatives ; restorations ; making b / w's from color slides ; making internegatives and color prints .
This brings us to the custom plant's color ser vices . Modernage neither processes color films nor makes color prints . It serves primarily as the " middle man ' between the photographer and Eastman Kodak , offering counsel and suggestions as well as details , sizes and prices .
Many custom photo labs do , however , offer custom color processing and printing of their own production . They will process and / or print films such as Kodacolor and Ektacolor ; Ekta chromes , Anscochrome , Agfacolor and others for their photographer clients . Custom color printing is available from these labs ranging from contact proof - sheets up to giant mural enlargements .
Color negatives are handled like b / w negatives at the custom lab . Everything that the lab can do with b / w in printing applies to color negatives , too cropping , dodging , burning - in .
CHART below shows and explains some of the markings to be used to specify work to be done .
Mark your contact - proofs with red crayon right on the print for marking your order . ( It can be taken off again . ) Never mark negatives . Use the following code marks to order prints and indicate cropping :
For Burning - in : Cross - hatch lines indicate " make umum darker "
For Dodging : 00000 Small circles indicate " make lighter "
For Routine Cropping : Wiggly lines where they can vary to suit paper size
or MARK
" crop for subject matter , "
" use your judgment , "
" full negative , "
" full paper size , "
or similar .
For Specific Cropping : Straight lines where outer limit is desired .
However , since color negatives do not reveal the conditions under which the pictures were shot , the clerk will need such details as to whether the exposures were made under tungsten , fluor escent or other artificial light . Forced develop ment for higher ASA ratings is also possible with certain of the color films and the processing will be done accordingly , based on the photographer's data .
Additional custom services
The large - scale enlargement phase of the custom labs operation is usually a separate department , as it is at Modernage . Relations with the customer are rather informal , by " verbal instruction , more of a personal thing . " The matter of cropping to produce murals in the desired proportions is , how ever , similar to the problems involved in reg ular print productiion .
A customer will often crop his picture to a certain size only to find that the mural is off in length or height . Also , no thought is usually given as to what is available in paper widths or in mounting board sizes . For example , standard sheets of Masonite ( used for mounting murals ) ,
EDGE of negative is shown for critical cropping at top of photo above ; wiggly line means crop can vary to fill size . Photos by Jacob Deschin .
are 4x8 ' and 5x8 ' . So , if someone needs a mural 4x8'6 " , it is much cheaper to make a compromise than to insist on the extra few inches and having to pay considerably more for the extras involved .
Custom lab assists photographers in the field
In many respects , the custom finisher acts like a home lab for the freelancer in the field . One of the lab's most valuable services is to notify the photographer - on - location of any malfunction of his equipment that show up in his films that have been sent in for processing while he continues to shoot his assignment afield .
Consistent under- or overexposure ; faulty shutter operation ; flash synch failures ; scratching on the films , etc. , are promptly reported to the photographer by phone , airmail or telegram . This kind of reporting by his custom lab helps him avoid continued failures and permits him to re shoot any misses before he leaves the location .
Further services provided the freelancer by his custom lab is the maintenance of a file of his negatives including the original printing in structions . The negatives are properly identified and stored in drawers in a fire - resistant room . The photographer has a corresponding contact proof sheet with identifying numbers and when he needs a certain negative enlarged , he simply phones or mails in his order .
Upon receipt of the order , the negative num ber is checked and located in the files ; the film is removed from the files , printed and then return ed to the files in correct filing sequence . This sys tem saves the photographer time , storage space and ensures good protection of his films .
The custom lab also furnishes prompt messenger service for pickup and delivery of orders within specified route areas . This expedites the handling of work between photographer , the lab and often , the client for whom the work has been produced by the joint efforts of freelancer and the custom photofinishing lab service .
Freelancer and custom photo labs make up a working team combination that should be seriously considered in the light of the savings that accrue to the photographer in investments in equipment and material , time and space . These are real factors which can be converted , rather than diverted , into greater profits and successes by the alert , active photographer who wishes to pursue his vocation with total freedom from the confines of the dark room .
The following is a listing of typical photo service laboratories advertising or stating they offer cus tom processing of black - and - white films and prints . Write to each and request a copy of their price lists and services available before sending any of your work to them . In some instances , cus tom labs furnish pre - addressed special mailing envelopes on request to ensure safe and expedited handling of your films through the mails . Several of these laboratories also offer full color services .
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