Painting with the DeveloperFor this technique, instead of placing your photogram into the developer, you use a paint brush, dip it into the developer and splatter or paint, allowing the liquid to run down your enlargement. It will then start to form as normal, but only in the areas where the developer has touched, creating abstract and paint-like patterns.
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Sandwich PrintTo create 'The Sandwich Print', you use a photogram you have previously made, a new piece of photographic paper and a piece of glass. Firstly place the photographic paper down, placing the previous photogram on top of it facing up. Then you place the glass on top of both, and I exposed the image for 6 seconds. You would first make a test strip at different exposure times to determine which one will give you the best outcome on a medium aperture. Then you would do a full print using your correct exposure time.
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Weaving TechniqueTo create a woven image using this technique, you take two previously made photogram image. Ideally you would choose ones that would compliment each other well and have interesting patterns. Next is to cut one photogram, using a scalpel into same sized strips, while the photogram you will do the same but leave a centimetre of the image at the side so the strips are still all attached. Using the strip you cut up from the first photogram, you weave each one under and over every time into the slits of the second photogram. Then secure with tape at the bottom to make sure the strips do not fall out. I chose to weave together an image that was painted with developer and an image of multiple chains and necklaces. The two images complimented each other well and created an interesting outcome, playing with the different patterns.
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Creating my Pinhole CameraWhen creating our pinhole cameras we used a beer or energy drink can which allowed us to take a series of images and portraits. Firstly we used a can-opener to take out the top of the can, we also used sand paper to make sure there were no sharp edges. Next, we were given a piece of black card to cut 3cm strips down the edges to allow the card to curl around and cover the top of the can. We also had to cut out a small circle that sat on top of the card with duck tape to secure it. Having now created a cap which sits on top of the can, we put extra tape all around it to make sure no light can get through and it is fully blacked out. Then take off the cap and pierce a small hole halfway down the can, put a small piece of tape over that hole to again let no light in, but so you can easily remove it when capturing the image. To load the camera, go into the darkroom and place a piece of photographic paper with the light sensitive side facing directly opposite the hole.
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Developing the Film - My negativesAfter we had taken our series of portraits, we then learnt the process of developing our negative roll of film.
The first step in preparing to develop film is to set up your workspace and gather all materials required. Do this before turning the lights off since you’ll need complete darkness once you start the developing process. Next do not open your film until you are in complete darkness as exposing your film to even the smallest amount of light can ruin the negative. Use the cassette opener and hook it under the lid of the film cassette to open it up and take it out, then unroll the film until you reach the plastic cassette in the centre and cut it off. Next you load the film into the reel, which you begin by finding the slit on the edge of the reel with the small metal balls and slide the film into it. Once the film is in and secured, twist the sides of the reel back and fourth to wind the film around it. Finally, use your film tank’s detached core to slide it through the hole in the centre of the film reel. Then place the reel flat in the bottom of the tank so that the core is sticking up in the centre. Put the lid onto your film tank and make sure it’s secured tight so no light is let in. You are then ready to develop the film roll with the correct measurements of chemicals. |
Different types of FilmThe sensitivity of light and the image sensor is measured in a unit called ISO (International Standardization Organisation) The lower the number the lower the sensitivity of the film and the finer the grain in the shots you’re taking. Higher numbers mean your sensor becomes more sensitive to light which allows you to use your camera in darker situations.
ISO 25-100 means it is a slow film and low light sensitivity. This can give you a fine grain on the images, however you will need a strong light source when taking the photographs. ISO 200-400 gives a medium light sensitivity, creating a good, sharp quality image, but can be slow depending on the surroundings and light. ISO 800-1600+ is a very fast film ISO with a high light sensitivity. Sensor is more sensitive to light, allowing you to use the camera in darker environments. Can be very grainy. |