A trade school course in photography

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A TRADE SCHOOL COURSE IN PHOTOGRAPHY

A Thesis Presented to the Faculty of the School of Education The University of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Science in Education

Jesus M. Amato January 1950

UMI Number: EP56112

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

Dissertation. Publishing

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TO 4

&

T h is thesis, w r i t t e n u n d e r the d ir e c t io n o f the C h a ir m a n o f the c a n d id a te ’s G u id a n c e C o m m itte e a n d a p p ro v e d by a l l m em b ers o f the C o m m itte e , has been presen ted to a n d a ccep ted by the F a c u lt y o f the S c h o o l o f F d u c a t i o n o f the U n iv e r s it y o f S o u th e rn C a l i f o r n i a in p a r t i a l f u l f i l l m e n t o f the r e q u ire m e n ts f o r the degree o f M a s t e r o f Science in F d u c a tio n .

Dean Guidance Committee

Chairman

efl.x-I.Lj.elt:, LsXuj. a^

ii TABLE 03? CONTENTS PAST ONE HOW TO TAKE THE PICTURES CHAPTER

PAGE

Instruction Sheet 1.

HOW TO USB ROLL FILM CAMERAS..................... * 1.

How

to load a box c a m e r a ..................* .

3

2.

How

to take pictures with a box camera . . .

4

3.

How

to load a folding c a m e r a ..............

5

4.

How

to take pictures with a folding camera

5.

How

to load a twin-lens reflex camera.

6.

How

to take pictures with a twin-lens

reflex camera.

.

6

. . .

7

. . . . . . . . . . . . . . .

7.

Plow

to load a miniature c a m e r a .............

8.

How

to take pictures with a miniature

8 9

c a m e r a .......... 2.

3.

2

HOW

TO USB A VIEW CAMERA.

10 ...............

11

9.

How

to use a tripod..........

12

10.

How

to assemble a view camera..........

13

11.

How to focus a view c a m e r a ............... .

12.

How

to load a film holder.

13.

How

to take pictures with a view camera.

HOW 14.

...............

.

14 15

* .

16

TO USB A PRESS C A M E R A ......................

17

How to focus a press camera.

. . . . . . . .

18

iii

4.

5.

6.

7.

15.

How

to use a film pack a d a p t e r .............

19

16.

How

to use a flash g u n ......................

20

17.

How

to take pictures with apress camera

21

HOW TO DETERMINE THE EXPOSURE

. •

.................

22

18.

How

to use exposure tables and guides.

...

23

19.

How

to use a visual extinction meter . . . .

24

20.

How

to use a photoelectric exposure meter.

.

25

HOW TO USE LENS ATTACHMENTS . . . . . . . . . . .

26

21.

How

to use a diffusion disc.................

27

22.

How

to use a portrait attachment . . . . . .

28

23.

How

to use light f i l t e r s ....................

29

24.

How

to use a pola-screen . . .

30

...........

HOW TO TAKE PICTURES INDOORS

'.

31

25.

How

to photograph interiors............... ..

32

26.

How

to photograph furniture........... ....

33

27.

How

to photograph g a r m e n t s .................

34

28.

How

to photograph leather objects...........

35

29.

How

to photograph jewelry...............

36

30.

How

to photograph glassware.

37

31.

How to photograph machinery.......... ". . . .

38

32.

How

39

.

.

...........

to take color pictures indoors. . . . .

HOW TO TAKE PICTURES O U T D O O R S ...................

40

33.

How

to photograph buildings.............

41

34.

How

to photograph window displajrs...........

42

35.

How

to take sport pictures . . . . . . . . .

43

iv

8.

9.

36*

How to take candid pictures............

44

37#

How to do landscape photography.............

45

38.

How to take color pictures outdoors.

46

. . . .

HOW TO TAKE P O R T R A I T S ......................... . *

47

39.

How to take a "Paramount™ portrait . . . . .

48

40.

How to take a portrait with a 45° light.

49

41.

How to take a picture of a g r o u p ...........

50

42.

How to take pictures of c h i l d r e n ..........

51

HOW TO 43.

. #

MAKE COPIES.............................

How to prepare originals for copy work . . .

52 53.

44.

How to copy a line d r a w i n g .............

54

45.

How to Qopj a full toned original...........

55

46.

How-to copy a color print...................

56

47.

How to copy a color transparency * . . . . .

57

EVALUATION FOR PART O N E ..........................

58

PART TWO HOW TO PROCESS THE FIIMS 10.

11.

HOW TO

MIX PHOTOGRAPHIC S O L U T I O N S ............

60

48.

How to mix the d e v e l o p e r

.

61

49*

How to mix a short stop b a t h .............. *

62

50.

How to mix a fixing b a t h ...................

63

51.

How to mix an intensifier...................

64

52.

How to mix a r e d u c e r .......................

65

HOW TO

DEVELOP THE FILMS. . .

...............

66

V

12.

53*

How to desensitize a film............ . . .

67

54.

How

68

55.

How to develop a roll film in a

tank . . ,

,

69

56.

How

to develop a film pack in a

tray . . * *

70

57.

How

to develop a cut film in a tank.

to develop a roll film in a

trav . . . .

...

*

71

58*

How to wash a n e g a t i v e ......................

72

59*

How to dry a negative.

....................

73

60.

How to reduce a n e g a t i v e

61.

How to intensify a negative.

. . . . * * » . *

74 75

HOW TO RETOUCH THE NEGATIVES.....................

76

62.

How to clean a negative.

. . . . . . . . . . .

77

63*

How to mask a negative . . . . . . . . . . .

78

64.

How to strip a negative............... * • •

79

65.

How to do local reduction on a negative.

80

66.

How to apply the retouching medium

. *

to a n e g a t i v e * .............................

81

67.

How to sharpen an etching knife.............

82

68.

How to etch a n e g a t i v e

69.

How to sharpen a retouching pencil...........

84

70*

How to spot a n e g a t i v e ......................

85

71.

How to do pencil retouching on



83

a n e g a t i v e ..................................

86

72.

How to do dye retouching on a negative . * •

87

73*

How to do blocking on a negative , . * * , .

88

74.

How to add titles to a negative

*

89

vi 75.

How to make a composite negative . . . . . .

90

EVALUATION FOR PART TWO .........................

91

PART THREE HOW TO MAKE THE PRINTS 13.

14.

HOW

TO MAKE OORT ACT PRINTS.......................

93

76.

How to make a P. 0. P. p r o o f

94

77.

How to develop a p r i n t ......................

.- . .

78.

How

to make a contact print.................

79.

How

to wash a print.....................

95 96 97

80.

How to dry a p r i n t ........................

81.

How to make a vignetted contact print.

82.

How to do double p r i n t i n g . .................... 100

83.

How to test a print for h y p o .................. 101

HOW TO MAKE PROJECTION PRINTS

.

...

............ . . .

98 99

102

84.

How

to make a print by projection.......... 103

85.

How

to make a diffused print by projection .

104

86.

How

to make a reduction on the enlarger.

105

87.

How

to make a vignetted print

..

on the enlarger..........

106

88.

How to double print on the enlarger.

. . . .

107

89.

How to do flashing on the enlarger . . . . .

108

90.

How to correct distortions on the e n l a r g e r ...............................

109

vii 15.

HOW TO TONS PRINTS................................... 110 91.

How to tone a print sepia.................



111

92.

How to tone a print b l u e .............. . . #

112

93. 94. 16.

How to tone a print g r e e n . ..................... 113 How to dye a p r i n t .......................



114

HOW TO FINISH THE PRINTS............................ 115 95.

How to trim a print...........

116

96.

How todry mount a p r i n t ....................... 117

97.

How to spot a print .............................118

EVALUATION FOR PART T H R E E .......................... 119 .■ RESERVE SHELF

.

120

viii PHEEACE This is a course in photography for a trade school.

It

is based on a series of problems which the professional photographer faces every day.

These are the same problems

that the young graduate out of a trade school is going to face in a portrait or a commercial photography studio* An attempt has been made by the author to analyze each problem and determine the operations in each one of them. Each problem is then presented as an instruction sheet. Each instruction unit is composed of a series of steps which will help the student to carry out the job.

As the last

step in every sheet, a reference is made to the book shelf. The information acquired from the books will supplement that already given in the instruction sheet. that the students read the references,

.It is imperative In this way, they

will be better prepared to do the assignments. The presentation of the problems and their solutions in this way will enable the teacher to mimeograph and dis­ tribute them among the students.

The individual attention

so important in teaching a trade is partly taken care by this means.

The teacher will then have more time for demon­

stration and group instruction.

Jesus M. Amato

1

PART OHS HOW TO TAKE THE PICTURES Would you like to be a photographer for one of the national magazines?

Maybe you would like to work for a

motion picture studio, or do free lancing in one of the many fields now open to the ambitious young men.

Fashion, advert­

i s i n g , portraiture, industry, and many other fields will welcome you if you have the know-how to produce an accepta­ ble work.

More than anything else you should know how to

take the pictures.

This knowledge in your possesion could

be the key to a very succesful career.

CHAPTER OHE HOW TO USE ROLL FILM CAMERAS

3 INSTRUCTION SHEET 1 HOW TO LOAD A BOX CAMERA You will take better pictures if you load your box camera right *

Many fogged negatives are the result of improper load­

ing of the camera. DIRECTIONS: 1,

Select the type and size of film to be

used.

S.

Open the back of the camera in subdued

light.

3.

Pull out the film transport knob and remove the film transport frame.

4.

Dust the camera and clean the lens and view finders.

5.

Insert the tapered end of the paper backing on the film in the slot of the empty spool*

6.

Turn the spool a couple of times to secure the hold of the film and place it in the take-up position.

7.

Hold the roll of film firmly and unroll enough paper to go over the back of the frame.

Insei*t the roll

in the remaining empty slot. S.

Place the frame back in the camera and lock the back,

9.

Turn the film transport knob until the number "ln appears in the exposure window at the back of the camera.

10.

For more information read: 15:3-41;

17:1-25;

10:16-32;

18:9-22,40-48;

13:6-127;

23:80-83.

ASSIGNMENTS: 1.

Load different sizes and makes of box cameras*

4 .INST RUGT ION SHEET 2 HOW TO TAKE PICTURES WITH A BOX CAMERA You can take very good pictures using an inexpensive box camera.

There is also a very good market for good snapshots

taken with this equipment. DIRECTIONS: 1.

Load the camera.

2.

Get the right size of picture in the view finder by moving toward or away from the subject.

Never come

closer than 6 feet to your subject. 3.

Protect your lens from the sun.

4.

Determine the exposure.

5.

Set the lens aperture to the stop desired.

6*

Get the subject in the view finder.

7.

Hold the camera steady and press the shutter release, a^

8.

For time exposures, always use a tripod.

Transport the film to the next exposure inmediately after taking the picture.

9.

Wind the roll of film completely after taking the last picture.

10.

Unload the camera.

11.

For more information read: 13:79-127;

17:1-25;

2:15-28;

18:9-58;

10:10-15,42-47;

23:66-83.

ASSIGNMENTS: 1.

Take pictures with different types and makes of box cameras.

Use different subjects.

INSTRUCTION SHEET 3 HOW TO LOAD A HOLDING CAMERA The first step toward better negatives is the correct loading of the camera.

Clean and sharp negatives are neces­

sary to produce clean and sharp prints. DIRECTIONS: 1.

Select the type and size of film to be used.

2.

In subdued light proceed to unlock and remove the back of the camera*

3.

Pull out the film transport knob and the retainer knobs.

4.

Dust the camera and clean the lens and .viewer.

5.

Insert the empty spool in the take-up position and release the film transport knob and the retainer knob

6#

Insert the tapered end of the paper backing on the film in the -slot of the empty spooli

7.

Turn the transport knob one full turn.

8.

Hold the roll of film firmly and unroll enough paper to go over the back of the camera.

Insert then the

spool of film in the remaining empty slot. the retainer* knobs. 9.

Release

Put the back on the camera.

Turn the film transport knob until you get the number ”1” in the exposure window.

10.

For more information read:

10:10-32,42-47;

13:6-127

ASSIGNMENTS: 1*

Load different sizes and makes of folding cameras.

6 INSTRUCTION SHEET 4 HOW TO TANS PICTURES WITH A FOLDING CAMERA Modern folding cameras are designed for professional work.

You can turn out high quality negatives using this

compact and efficient equipment, DIRECTIONS: 1*

Load the camera.

2.

Open the front of the camera and pull out the front standard,

3,

Determine the size of the image in the viewer,

4.

Determine the distance from the camera to the subject. Set the front standard to that distance on the focus­ ing scale,

5,

Determine the exposure.

6,

Set the lens aperture and the shutter speed.

7.

Protect the lens from your light source and hold the camera steady.

Press the shutter release,

8;

Transport the film to the next exposure.

9.

Wind the roll of film completely after taking the last exposure and remove it from the camera.

10.

For more information read: 13:79-155;

17:26-44;

2:19-43,71-83;

18:163-190;

10:10-32;

32:111-119.

ASSIGNMENTS: 1.

Take pictures using different types and makes of fold­ ing cameras. doors.

Use different subjects indoors and out­

7 INSTRUCTION SHEET 5 HOW TO LOAD A TWIN-LSNS REFLEX CAMERA Proper loading of a reflex camera means better negatives. Good negatives at the same time mean good rendition on the prints. DIRECTIONS: 1*

Select the type and size of film to be used.

2.

Place the camera with the lens down.

3.

Open the bach of the camerain subdued light.

4*

Pull out the film transport

knob and the retainer

knobs. 5.

Insert the empty spool in the take-up position and release the knobs.

6.

Insert the paper end of the roll of film in the slot of the empty spool.

7.

Turn the transport knob one

full turn.

8.

Hold the roll-of film firmly and unroll enough paper to go over the back of the camera.

Insert then the

roll of film into the recess at the top of the camera. 9. 10.

Closer the back of the camera. Turn the film transport knob until the number "I” appears in the exposure window.

11.

For more information read: 19:371-380;

10:42-47;

23:91-95.

ASSIGNMENTS: 1.

Load different makes of reflex cameras.

17:15-25;

8 INSTRUCTION SHEET 6 HOW TO TAKE PICTURES WITH A TWIN-LENS REFLEX CAMERA You, too, can get the right expression in your portraits and the best composition in your pictures if you take advantage of a reflex camera focusing. DIRECTIONS: 1.

Load the camera.

2.

Open the viewing hood and get the right size of image on the ground glass viewer.

Turn the focusing knob

until the image is sharp and clear. 3.

Determine the exposure.

4.

Set the lens aperture and the shutter speed required to stop the subject movement.

5.

Protect the Ians from the light source and holding the camera steady, press the shutter release.

6.

Always use a tripod for time exposure,

7.

Transport the film to take the next picture.

8.

Wind the roll of film completely after taking the last picture and remove it from the camera.

9.

For more information read: 155;

17:1-14,26-44;

2:19-28,29-43;

18:163-190;

13:79-

19:1-10.

ASSIGNMENTS: 1.

Take pictures with different makes of reflex cameras.

9 INSTRUCTION SHEET 7 HOW TO LOAD A MUTIATURE CAMERA In professional photography careful handling of the film should hegin with the loading of the camera.

This is of great

importance in producing high class work. DIRECTIONS: 1*

Select the type of film to be used.

2.

Place the camera with the lens down.

3.

Open the back of the camera in subdued light.

4.

Dust the camera in and out.

Clean the lens and the

finders. 5.

Insert the empty spool in the take-up position.

6.

Insert the tapered end of the film in the slot of the take-up spool,

7.

Turn the transport knob one full turn, to hold the film.

8*

Hold the film cartridge firmly and unroll enough film to go over the back of the camera.

9.*

Place the cartridge in the remaining empty slot.

10.

Close the back of the camera.

11.

Turn the film transport knob three complete turns.

12.

Set the film counter on the number "I11.

13.

For more information read: 47;

18:49-58;

23:95-97;

2:19-28,142-147; 32:86-119.

ASSIGNMENTS: 1.

Load different makes of miniature cameras.

10:42-

10 INSTRUCTION SHEET 8 HOW TO TAKE PICTURES WITH A MINIATURE CAMERA To oover magazine and poster assignments, the best photo­ graphers in the country use the miniature camera*

This equip­

ment is designed to do a great variety of work. DIRECTIONS: 1*

Load the camera.

2.

Compose the- picture on the view finder*

3.

Focus the camera using the couple range finder* a.

Look at the subject through the range finder window.

Turn the lens focusing mount until the

two images in the window are matched. 4.

Determine the exposure and set the lens aperture. Have a shutter speed to tfstopn thesubject movement.

5.

Frame the picture on the view finder.

6.

Protect the lens from the light source and holding the camera steady release the shutter* a.

Always use a tripod for time exposure.

7*

Transport the film for the next picture,

8.

After taking the last picture,wind the film back into the light proof cartridge and

remove it from the

camera. 9.

For more information read: 163-190;

23:95-97;

2:19-28;

17:26-44;

32:111-119,140-184.

ASSIGNMENTS: 1.

Take pictures using different miniature cameras.

18:

11

CHAPTER TWO HOW TO USE A VIEW CAMERA

12 INSTRUCTION SHEET 9 HOW TO USE A TRIPOD Don't ever attempt to take a picture using a shutter speed less than 1/25 of a second while holding the camera in your hands.

The results are very discouraging unless you

use a tripod to hold the camera for the slow exposures. DIRECTIONS: 1.

Extend the legs of the tripod to the desired length and lock them in place.

2.

Set the tripod in a steady position with one of the legs extending toward the front•

5.

Lock the tilt top level.

4*

Attach the camera to the tilt top.

5.

Move the tripod with the camera back and forth to get the desired size of image.

6.

See that the tripod is in a steady level position.

7.

Move the tilt top up or down to compose the picture.

8.

Focus the camera and take the picture.

9.

Remove the camera from the tripod.

10.

Slide the tripod legs back to the original position and' lock them in place.

11.

For more information read:

1:6-12;

17:1-14.

Read also the directions from the manufacturer on how to use the tripod. ASSIGNMENTS: 1.

Use a tripod and a view camera to take pictures.

13 INSTRUCTION SHEET 10 HOW TO ASSEMBLE A VIEW CAMERA In picture

taking, a fraction of a second may make the

difference between a good shot and a very poor one.

Setting

up the equipment to take the picture should be done in the least possible time. DIRECTIONS: 1.

Remove

the camera and the extension bed from the case.

2*

Set up

the tripod.

3.

Attach the camera to the tripod, threading the tripod thumbscrew into the sliding bed block socket.

4. .Release the front extension of the camera.

Lower it

to a horizontal position and lock it in place. 5*

Move back the rear carriage of the camera by turning the operating thumb nut back.

6.

Move forward the front carriage of the camera by turning the operating thumb nut forward,

7.

Insert the lens board in the front of the camera. Lock it in place with the retaining strip.

8.

Cover the back of the camera with the focusing cloth.

9.

For more information read the instructions supplied by the manufacturer on how to use the camera,

ASSIGNMENTS: 1*

Set up a tripod and a view camera and have it ready for focusing.

INSTRUCTION SHEET 11 HOW TO HOCUS A VIEW CAMERA The first step toward bright, sharp, and clear negatives precise focusing. DIRECTIONS: 1.

Set up the camera in a level position.

2.

Open the shutter and the lens diaphragm.

3.

Get the right size of image on the ground glass.

4.

Hocus the camera. a.

Move either or both the front and the rear carriages back and forth until the image appears sharp on the ground glass.

b.

Raise or lower the front of the camera. Press in and turn the rising-falling front knob.

Pull the

knob -out to lock the front in position. G •

Tilt the rear carriage forward or backward to reproduce vertical lines.

d.

Move the right or left side of the rear carriage forward by turning the operating thumb nut of the swing-back assembly.

The back swing is held in the

desired position by tightening the thumb nuts on the left side of the carriage. 5.

For more information read: "1*: 15-52,98; 37;

12;

19:43-56,161-177.

ASSIGNMENTS: 1.

Hocus a view camera at different objects.

10:10-15, 33-

15 INSTRUCTION SHEET 12 HOW TO LOAD A FILM HOLDER Stop negative troubles before they start.

Load the film

holders yourself and be sure you do a clean job. DIRECTIONS; 1.

Swing the slide hooks parallel to the slides.

2.

Withdraw

the slides from the holder.

3.

Dust the

holder and the slides.

4.

Turn off

the lights in the darkroom.

5.

Get a sheet of film with the emulsion side up. a.

The emulsion side will be facing up when the notches in the edge of the film are in the upper right hand corner.

6.

Open the wood flap at the bottom of the holder.

Slip

the sheet of film under the edges of the septum. Slide the sheet in until it gets to the close end of the holder. 7.

Return the flap to its normal position.

Insert the slides with the bright side of the handles fac ing o u t .

8.

Turn the slide hooks to prevent the slides from coming out by accident.

9.

For more information read:

10:42-47.

Read also the

instruction supplied with the holder. ASSIGNMENTS: 1.

Load several holders.

Use different sizes and makes. ^

16 INSTRUCTION SHEET 13 HOW TO TAKE PICTURES WITH A VIEW CAMERA. The view camera is a professional equipment.

This is the

camera used by the best photographers in the country to cover all kinds of assignments. DIRECTIONS: 1.

Assemble the camera and attach it to the tripod.

2.

Insert the lens board with the proper lens in the front-of the camera.

3.

Focus the camera. a.

Compose the picture on the ground glass.

b.

Make the proper corrections by raising or lower­ ing the front of the camera.

Use the swing-back.

4.

Determine the exposure.

5.

Set the lens aperture and the shutter speed desired.

6.

Load the film holder with the proper type of film.

7.

Insert the holder in the back of the camera and remove the slide.

8.

Press the cable release to take the picture.

9.

Replace the slide in the holder and remove it from the camera.

10.

For more information read:

1:6-12;

10:33-37;

12;

32:140-184. ASSIGNMENTS: 1.

Take pictures with a view camera. and outdoors.

Use it indoors

17

CHAPTER THREE HOW TO USE A PRESS CAMERA

18 INSTRUCTION SHEET 14 HOW TO FOCUS A PRESS CAMERA In press work, failure to take the.picture may mean your job.

Fool proof focusing and shooting technique are of primary

importance in this field. DIRECTIONS: 1,

Open the front of the camera and pull the bed down­ ward to a full locked position.

2.

Slide the front standard out to the infinity stop and lock it in place.

3*

Use the view finder to compose the picture.

4*

To focus, rack the sliding track back and forth by means o f the two knobs at the side of the bed. a.

Set the focus by using the focusing scale on the bed of the camera, the x^ange finder, or the ground glass at the back of the camera.

5.

Lock the sliding tx*ack after focusing.

6.

For more information read:

19:1-10,43-56,357-371.

Read also the instruction manual supplied with the camera. ASSIGNMENTS: 1.

Focus the camera using the focusing scale.

2.

Focus the camera using the coupled range finder.

3.

Focus the camera using the gi’ound glass focusing screen at the back of the camera.

INSTRUCTION SHEET 15 HOYI TO USE A FILM PACK ADAPTER In sport shooting, a fraction of a second is of great importance*

Fast loading and unloading of your camera definite­

ly help in covering this type of assignment. DIRECTIONS: 1*

Clean the film pack adapter and the slide.

2.

Lay the adapter face down and open the back by releasing the locks on the edge.

3.

Remove the tin foil covering the film pack.

Place it

face down on the adapter. 4.

Close the back of the adapter.

Leave the paper tabs

sticking out through the slot on the edge of the adapter. 5.

Insert the adapter in the back of the camera.

Lock

it in place with the retaining strip. 6.

Pull the first paper tab.

Tear it at the place

indicated in the tab. 7.

Pull the slide out to take the picture.

8.

Pull a tab every time a picture is taken.

9.

Put the slide back and remove the pack after the last picture is taken. .

10.

For more information read:

10:42-47;

19:380-387.

Read also the instructions supplied by the manufacturer. ASSIGNMENTS: 1.

Use a film pack adapter in your press camera.

INSTRUCTION SHEET 16 HOW TO USE A FLASH GUN Taking pictures indoors is no longer the problem it use to be.

Modern flash equipment makes it very easy for you to

achieve good results. DIRECTIONS: 1.

Get good flash equipment.

2.

Use fresh batteries.

3.

Hook the flash gun to the camera and connect it to the shutter.

4.

Focus the camera.

5.

Determine the distance from the camera to the subject.

6.

Select the flash bulb to be used.

7.

Use a flash bulb exposure table and determine the exposure.

8.

Set the lens aperture and the shutter speed according to the exposure table.

9.

Insert the bulb in the gun#

10.

Frame the picture in the viewer.

11.

Release the shutter and take the picture.

12.

Remove the bulb from the gun.

13.

For more information read: 18:201-217;

19:295-308;

4:119-136; 20;

27:107-131.

ASS IGNMENTS: 1.

10:53-63;

Take several pictures using a flash gun.

El

INSTRUCTION SHEET 17 HOW TO TAKE PICTURES WITH A PRESS CAMERA The thorough mastery of the press camera is essential in holding a job as a press photographer*

Constant practice

to insure speed and accuracy is in order* DIRECTIONS: 1.

Open the camera, slide the front standard out and lock it in place*

2*

Compose the picture in the view finder.

3.

Focus the camera using the focusing scale, the range finder, or the ground glass focusing screen.

4#

Determine the exposure and set the lens aperture and shutter speed*

5.

Insert the holder or the film pack adapter in the back of the camera.

Pull the slide out,

6*

Frame the picture in the view finder.

7.

Hold the camera steady and press the shutter release * a.

Use a tripod for time exposures.

8.

Put the slide back in the film holder.

9.

Pull the tab in the film pack for a new picture or replace the film holder.

10.

For more information read:

19:1-10,21-42,43-56,357-

371,380-387. ASSIGNMENTS: 1*

Take several pictures using a press camera.

22

CHAPTER FOUR HOW TO DETERMINE THE EXPOSURE

23

INSTRUCTION SHEET 18 HOW TO USE EXPOSURE TABLES AND GUIDES Inexpensive tables and guides will kelp you get the right exposures for your negatives.

They are easy to use and sur­

prisingly accurate. DIRECTIONS: 1.

Use only up-to-date exposure tables and guides.

2.

Follow the instructions printed in the guides or tables.

3.

Learn to determine the following factors: a.

Type of subject.

bj

Type of background.

c.

Light condition.

d.

Tjrpe of film.

e.

Relative *fM value of the different stops in your lens.

f. 4.

Distance from the camera to the subject#

Practice using the tables or guides to develop the sense of exposure judgement.

5.

Compare the exposures determine this way with the exposures determined by using an exposure met ex*.

6.

For more information read: 26-44;

18:153-161;

2:29-43,162-170;

17:

25:23-37,143-150.

ASSIGNMENTS: 1.

Determine the exposures for your pictures using some exposure tables and guides.

24 INSTRUCTION SHEET 19 HOW TO USE A VISUAL EXTINCTION METER The best prints come all time from well exposed negatives. Inexpensive meters are a great help in judging the exposures. DIRECTIONS: 1.

Clean the meter.

2.

Hold the meter about 15 inches from your eyes and point it at the subject.

3.

Look through the exposure meter window.

Read the

last easy discernible letter in the step wedge strip# This is the key letter. 4.

Rotate the calibrated disc in the meter and align the key letter with the speed rating of the film in use#

5.

Read at the bottom of the disc the scale of lens openings and corresponding;'Shutter speeds.

6.

Use the lens opening and the shutter speed most appropiate for the subject.

7.

Protect the meter when not in use.

Keep it in the

case. 8.

For more information read: 128-155;

17:26-44;

2:29-43,162-170;

18:153-161.

13:

Read also the

instructions supplied with the meter. ASSIGNMENTS: 1.

Using an extinction type meter determine the exposures for your pictures both indoors and outdoors.

INSTRUCTION SHEET 20 HOVf TO USE A PHOTOELECTRIC EXPOSURE METER Accurate exposure is absolutely necessary in color work. Tbe correct use of a light meter will enable you to produce first class color transparencies or perfect black and white negatives. DIRECTIONS: 1.

Check the meter for zero reading.

2.

Point the meter toward the subject to be photographed with the dial facing you.

3.

Take the reading. a.

Swing back the louvre covering the cell when you are using a poor light.

4.

Set the lower dial to the speed rating of the film in use.

5.

Rotate the calibrated disc and align the arrow with the reading just taken*

6.

Read at the bottom of the disc the scale of lens openings and their corresponding shutter speeds

7.

Use the lens opening and shutter speed suitable to the subject you are photographing.

8.

For more information read: 19:21-42;

25:23-37,143-150;

10:48-52;

18:153-161;

32:120?139.

ASSIGNMENTS: 1.

Use a photo meter and determine the exposures for different pictures both outdoors and indoors.

26

CHAPTER FIVE HOY# TO USE LENS ATTACHMENTS

INSTRUCTION SHEET 21 HOW TO USE A DIFFUSION DISC You too can take pictures with pleasingly softened lines. The easy to use diffusion disc will give your pictures that softness that so many people admire, DIRECTIONS: 1.

Get diffusion discs and rings to fit the lens of the camera,

2.

Determine the degree of diffusion needed for the picture and select the proper disc.

3.

Clean the disc and the rings.

4.

Fit the adapter ring to the front lens.

Insert the

diffusion disc in the adapter ring and hold it in place with the retaining ring. 5.

Focus the camera using a range finder or the focusing scale.

6.

Focus the camera before inserting the disc if ground glass focusing is used.

7.

Determine the exposure.

No compensation is needed

for the use of the disc. 8.

Remove the disc and the rings after taking the picture. Clean them and put them away.

9.

For more information read the instructions supplied by the manufacturer.

ASSIGNMENTS: 1.

Take several pictures using the diffusion disc*

28 INSTRUCTION SHEET 22 HOW TO USE A PORTRAIT ATTACHMENT Close-up of still life, portraits, and even copies are now possible by using a portrait attachment in your folding camera.

Inexpensive attachments of this Hind add more versa­

tility to your equipment.. DIRECTIONS: 1.

Get a portrait attachment and holding rings to fit the lens of the camera.

2.

Clean the attachment and the rings.

3.

Fit the adapter ring to the lens.

4.

Insert the portrait attachment and hold it in place with the retaining ring.

5.

Compose the picture in the view finder.

6.

Focus the camera. a.

Follow the instructions supplied with the portrait attachment.

7.

Determine the exposure.

8.

Set the lens opening and the shutter speed*

9.

Take the picture.

10.

Remove the attachment and the rings.

Clean them and

put them away. 11.

For more information read the instructions supplied with the attachment.

ASSIGNMENTS: 1.

Take pictures using a portrait attachment.

INSTRUCTION SHEET 23 HOW TO USE LIGHT FILTERS Color correction can only be done with light filters. Well balanced full toned negatives are obtained by the use of proper color filters. DIRECTIONS: 1.

Get

X , G, and A filters and corresponding rings

to fit the lens of the camera* 2.

Clean the rings and the filters*

3*

Fit the adapter ring to the front of the lens.

4.

Insert the filter in the adapter ring and hold it

in

place with the retaining ring. a.

Use a K- filter when a good orthochromatic render ingof the subject is wanted.

b.

Use

an X 1 filter when complete correction in

monochrome is required.

This filter is used in

daylight shooting.

5.

c.

Use

the A

filter for dramatic cloud rendering.

d.

Use

the G

filter to cut through haze.

Determine the exposure. a.

Multiply the exposure by the filter factor to compensate for the light absorbed by the filter,

6.

For more information read: 121-130;

19:57-69;

10:65-68;

25:129-142;

15:55-62;

32:212-228.

ASSIGNMENTS: 1*

Take pictures using different types of filters.

18:

30 INSTRUCTION SHEET 24 HOW TO USE A POLA-SC KEEN You can minimize oblique reflections from bright objects before taking the picture.

Better details of these objects is

thus obtained and a great deal of retouching is avoided. DIRECTIONS: 1.

Get a pola-screen and the rings to fit the lens of the camera.

2.

Clean the screen and the rings.

3.

Compose the picture and focus the camera.

4.

Fit the adapter ring to the front of the lens.

5.

Insert the pola-screen— i-n the adapter ring.

6.

Rotate the screen until the reflections as seen on the ground glass are completely eliminated.

-7•

Determine the exposure.

Compensate for the screen

by doubling the exposure. 8.

Take the picture.

Remove the pola-screen and the rings after taking the picture.

9. 10,

Clean the screen and the rings and put them away, For more information read: 19:69-71.

15:62-66;

18:243-245;

Read also the instructions supplied with

the pola-screen. ASSIGNMENTS: 1.

Take pictures of bright non-metallic objects with a pola-screen. objects.

Eliminate the reflections from the

31

CHAPTER SIX HOW TO TAKE PICTURES IHDOOHS

32 INSTRUCTION SHEET 25 HOW TO PHOTOGRAPH INTERIORS A tough job like this oan be handled very easily if you follow the same steps that the professional photographer follows.

If he can do a good job you too can do it*

DIRECTIONS: 1,

Get the equipment needed for the job. a.

Use a view camera.

b.

Have a wide angle lens.

c.

Have

plenty of flood lampsand extension cords.

2.

Select a

5.

Have your main source of light a.

good camera position.

Avoid distortions. follow the sunlight*

Use the lamps high enough to have the shadows thrown on the floor.

b.

Use a reflected light for a fill-in to relieve harsh shadows.

4.

Remove all the non essentials from the room.

5.

Conceal all cords.

6.

Focus the camera on a point one third of the distance back. Stop down the lens to get a sharp image.

7.

Determine the exposure and take the picture.

8.

For more information read: 136;

12;

23:214-219;

1:6-12;

27:218-222;

4:33-50,119.32:140-184.

ASSIGNMENTS: 1.

Using a view camera take several pictures of interiors.

33 INSTRUCTION SHEET 26 HOW TO PHOTOGRAPH FURNITURE There is a great demand for good pictures in the furni­ ture business*

Competition is so keen that the manufacturers

are willing to pay good money for the. pictures which show their merchandise to a good advantage. DIRECTIONS: 1.

Use a view camera.

Have enough flood lamps and

extension cords. 2.

Choose an appropiate background.

3.

Arrange-the furniture in relation to the background.

4.

Have the main source of light coming from one side. The lamps should be high enough to have the shadows thrown on the floor*

3.

Fill in with reflected light.

6.

Use a camera position to avoid distortions.

Get a

good composition, 7.

Use a light filter to show the grain of the wood* Bring out the pattern in the fabric when shooting upholstered furniture. a.

Eliminate reflections with a pola-screen.

8.

Determine the exposure and take the picture.

9.

For more information read: 12;

19:179-224;

1:6-12;

3;

5:9-40;

24:52-57.

ASSIGNMENTS: 1.

Take pictures of different types of furniture.

34 INSTRUCTION SHEET 27 HOW TO PHOTOGRAPH GARMENTS Catalogue work is one of the best paid fields in the photographic business.

Pictures of garments fill most of the

department stores catalogues. DIRECTIONS: 1.

Get the

proper equipment.

a.

a view camera.

b.

Use

Have enough flood lamps and extension cords.

2.

Select the background.

3.

Arrange the garment to follow your own composition, or follow the advertising artist's layout. a.

Use soft folded patterns rather than flat ar­ rangements.

4.

Have the light source low enough to cast definite shadows. a.

Use

the spot lamp for basiclighting

good rendition of the texture.

to

give a

Try tocreate

a sensation of touch. 5.

For smooth texture and printed material, use a front lighting to show the design or pattern.

6.

Use light filters to get separation of values.

7.

For more information read: 19:179-224;

1:6-12;

24:36-46,79-84.

ASSIGNMENTS: 1.

Take pictures of different garments.

3;

4:137-164;

35 INSTRUCTION SHEET £8 HOW TO PHOTOGRAPH LEATHER OBJECTS Wherever you find a tough job you will also find good pay.

Leather objects are easy to photograph if you take

advantage of the experience of the best photographers in this field. DIRECTIONS: 1.

Use the right equipment. a.

Get a view camera.

b.

Have enough lamps.

2.

Select the background.

3.

Arrange the leather objects.

Follow the advertising

art ist *s layout. 4.

Use spot lamps for basic lighting.

Place the lights

at an angle of 135° to bring out the texture of the leather. 5.

Have the lights low.

Cast definite shadows.

6.

Use filters to get separation between the parts of the objects.

7.

Determine the exposure.

8.

Take the picture.

9.

For more information read:

1:6-12;

3;

5:9-40;

24:46-48. ASSIGNMENTS: 1.

Take-pictures of leather objects. types of leather.

Use different

36

INSTRUCTION SHEET 29 HOW TO PHOTOGRAPH JEVIELRY There is a good position waiting for you if you oan take good pictures of jewelry. ,There are few men in the country who master this branch of photography. DIRECTIONS: 1.

Use the right equipment for the job. a.

Use always a view camera.

b.

Diffused and reflected light is in order.

2.

Select an appropiate background.

3.

Arrange the jewelry.

Have a good composition.

Hollow the advertising artist’s layout. 4.

Use only reflected light to illuminate the subject.

5.

Screen the whole set up from the rest of the studio. Avoid reflections of any kind.

6.

Use filters to get the true color rendition when taking pictures of colored stones.

7.

Use a pola-screen to get rid of non-metallic re­ flections.

8.

Determine the exposure and take the picture.

9.

For more information read: 5:9-40;

12;

15:235-246;

1:6-12;

3;

4:137-182;

24:50-52,79-84.

■ASS I G M E N T S : 1.

Take pictures of jewelry.

Make different combinations

to show the merchandise to the best advantage.

57

INSTRUCT ION SHEET 50 HOW TO PHOTOGRAPH GLASSWARE Imagination is a very decisive factor in photographing glassware.

Magazine and catalogue assignments are very easy

when you know how to turn out a first class work. DIRECTIONS: 1.

Use a view camera with a long focus lens.

2.

Set up a plain blue card about six feet from the subject.

3.

This will be the background.

Use a table with a glass top to arrange the glass­ ware.*

Get a blue glass top if possible.

4.

Arrange the pieces to form a good composition.

5.

Light the background with spot lamps. a.

Use one spot lamp behind each piece.

b.

Let the edge of each highlight feather into the next.

6.

Focus the camera.

Determine the exposure.

7.

Take the picture.

Use only the reflected lights

from the background for illumination* a* 8.

Use orthochromatic film.

For more information read: 5:9-40;

15:235-246;

1:6-12;

3;

4:157-182;

24:48-50.

ASSIGNMENTS: 1.

Take pictures of glassware. shapes of glasses*

Use several types and

INSTRUCTION SHEET 31 HOW TO PHOTOGRAPH MACHINERY Industrial photography is today on© of the best paid fields in the trade*

Travel and good positions are awaiting

you if you can take good industrial pictures. DIRECTIONS: 1.

Use the proper equipment. a.

Use a view camera.

b.

Have enough flood lamps and cords.

c.

Have a high tripod.

d.

Use a wide angle lens.

2.

Get a good camera position to avoid distortions.

3.

Light the subject to separate it from the background.

4.

Use spot lamps to get to the details.

5.

Use diffused light on highly polished parts.

6.

Focus the camera. a.

Use the rising and lowering front plus the swing back, to eliminate distortions.

7.

Remove the undesirable objects in the foreground and background.

8.

Take the picture.

9.

For more information read: 5:9-40;

15:235-246,282-312;

1:6-12;

3;

4:137-182;

24:52-57.

ASSIGNMENTS: 1.

Take pictures of machinery in the studio and out on a factory or plant.

39 INSTRUCTION SHEET 32 HOYf TO TAKE COLOR PICTURES INDOORS Always be ready for the changes and the improvements ahead.

Color photography, now in its infancy, will be a big

field in the near future.

Get ready for it.

DIRECTIONS; 1.

Use a small camera with a color corrected lens.

2.

Select the type of film to be used. a.

Use a correction filter if daylight type film is used with artificial light.

3#

Light the subject with extreme care, a.

4.

5.

Avoid too much contrast.

Have a good camera angle. a.

Avoid distortions.

b.

Use a pola-screen to get rid of reflections.

Remove the undesirable objects from the foreground and background. a.

Conceal all cords.

Try to get the best picture possible.

Retouching

color work is very expensive. 6.

Determine the exposure correctly. meter.

7.

Use an electric

Take the picture.

Eor more information read:

10:69-71;

18:131-138. ASSIGNMENTS: 1.

Take several color pictures indoors.

13:229-237;

40

CHAPTER SEVEN HOW TO TAKE PICTURES OUTDOORS

41 INSTRUCTION SHEET 33 HOW TO PHOTOGRAPH BUILDINGS Architectural photography is a fast growing field.

Real

estate is a very profitable business which employs thousands of photographers every year. DIRECTIONS; 1.

Use a view camera with a wide angle lens.

S.

Use the best time of the day to a.

take the picture.

See that you do not get shadows from other structures on your building.

b.

See that one side of the building gets more light than the other.

c.

See that the sorroundings are free from undesir­ able objects.

3.

Get a good camera position, a.

4.

5.

Have a good perspective.

Focus the camera. a.

Get rid of distortions.

b.

Use a pola-screen for the reflections.

Determine the exposure and take the picture. a.

Make the exposure short to avoid movement due to vibrations.

6.

For. more information read:

1:6-12;

ASSIGNMENTS: 1.

Take pictures of different buildings.

4:33-50;

12;

INSTRUCTION SHEET 34 HOW TO PHOTOGRAPH WINDOTW DISPLAYS A lot of artistic effort and thousands of dollars are put to work every year in window displays.

Manufacturers and

stores keep a photographic record of all these windows. DIRECTIONS: 1.

Use a view camera with a wide angle lens.

2.

Take the picture at night. a.

3.

Use a black curtain to eliminate reflections.

Focus the camera. a.

Place the camera square in front of the window.

b.

Level the camera.

c.

Get the right size of image and focus the camera.

d.

Extend the black curtain behind the camera to cover the windows from the reflections across the street.

e. 4.

Stop down the lens to get a sharp picture.

Determine the exposure. a.

Overexpose contrasty windows.

b.

Make the exposure as short as possible to avoid movement due to vibrations.

5.

For more information read: 12;

1.

24:79-84;

1:6-12;

27:222-231.

Take pictures of window displays.

3;

4:165-182;

43 INSTRUCTION SHEET 35 HOW TO TAKE SPORT PICTURES Newspapers and

sport magazines are alwaysin the market

for good sport pictures.

Pictures with

enough punch to make

the front page bring good prices. DIRECTIONS: 1.

Use a press camera or a good miniature camera with a good lens and a fast shutter. a.

2*

Use a synchronized flash gun for indoor* shots.

b.

Use a fast film.

Use a film pack preferably.

c.

Use a long focus lens for distance shots*

Get a good camera position. a.

See if

the illumination is right on the spot

where the action is going to take place. 3.

Focus the camera* a.

Use a coupled range finder to focus.

b.

Focus the camera on the spot where the action is supposed to take place.

4.

Determine the exposure.

Set the lens aperture and

the shutter speed. 5.

Have the camera ready for shooting.

Frame the spot

on the view finder and release the shutter when the action occurs. 6.

For more information read:

17:26-44;

ASSIGNMENTS: 1.

Take pictures of sport action.

19:357-371.

INSTRUCT ION SHEET 36 HOW TO TAKE CANDID PICTURES In documentary photography, vision and imagination can play a good part. Most of the documentary reporting is just candid shooting. DIRECTIONS: 1.

Use the right equipment. a.

Use a miniature camera with a good lens and a fast shutter.

b.

Use a fast film.

c.

Use a flash gun indoors.

2.

Look for a good camera position.

3.

Have the camera ready for action. a.

Focus the camera on the spot where the action is supposed to take place.

b.

Have the flash gun ready for action*

c.

Determine the exposure.

d.

Set the lens aperture and the shutter speed to "freeze” the action.

e.

Stop down the lens to compensate for any error in focusing.

4.

Take the picture. a.

5.

Wait for the right expression in the subject.

For more information read:

17:26-44;

ASSIGNMENTS: 1.

Take several candid pictures.

19:357-371.

45 INSTRUCTION SHEET 37 HOW TO DO LANDSCAPE PHOTOGRAPHY Pictorial work is in great demand by tourist and travel bureaus everywhere.

Free-lancing in this field will give

you a chance te^-go places. DIRECTIONS: 1.

A complete equipment is needed to cover this kind of work, a.

Have various cameras. Get several lenses,

b,

A good set of filters is needed.

2.

Look for places with pictorial values.

3.

Get a good camera angle.

4.

a.

Have a good perspective.

b.

Eliminate distortions.

c.

Use filters for dramatic rendering.

d.

Introduce the human element whenever possible.

Determine the exposure. a.

Set the lens and the shutter.

b.

Compensate for the use of the filter.

c.

Make the exposure as short as possible to avoid movement due to vibrations.

5.

For more information read: 25:213-227;

27;47-84;

1:6-12;

18:163-190;

32:140-184.

ASSIGNMENTS: 1.

Go out into the country and take pictures for a travel bureau.

46 INSTRUCTION SHEET 38 HOW TO -TAKE COLOR PICTURES OUTDOORS The advertising world is using more color pictures every­ day.

The field is expanding at a great speed.

How is the

time to get ready for a good paying job, DIRECTIONS: 1.

2.

3.

Use good equipment. a.

Use a

small camera.

b.

Use a

color corrected lens,

Study the subject. a.

Take the picture when the light is best.

b.

Avoid too much contrast.

Select a good camera angle. a.

Protect the

lens from the lightsource.

b.

Shoottoward the part

which ismore

evenly

illuminated,

4.

c.

Use a haze filter or color filters if necessary.

d.

A pola-screen will get rid of reflections.

Determine the exposure, a.

Use a light meter.

5.

Take the picture.

6.

For more information read:

10:69-71;

18:131-138. ASSIGNMENTS: 1.

Take several color pictures outdoors.

13:229-237;

47

CHAPTER EIGHT HOW TO TAKE PORTRAITS

48 INSTRUCTION SHEET 39 HOW TO TAKE A PARAMOUNT" PORTRAIT This simple lighting arrangement will help you produce glamorous pictures of your friends.

The demand for good

portraits is always high and by using this arrangement you will produce a first class w o r k . DIRECTIONS: 1.

Use a view camera with a long focus lens.

2.

Use a light background.

3.

Sit the subject on a stool about

six

feet from the

background. a. 4. 5.

Have the subject face the camera*

Set the camera and focus it. Arrange the lights. a*

Move the flood light to the right of the camera.

b.

Move the same light toward the sitter.

The

light will be in the right place when the shadow cast by the sitter nose is halfway down the upper lip. c.

Have the fill-in lamp to the left of the camera and as close to it as possible.

This light will

soften the shadow side of the face. 6. .Determine the exposure and take the picture. 7.

Eor more information read:

21;

26;

33.

ASSIGNMENTS: 1.

Take pictures using this light arrangement.

49 INSTRUCTION SHEET 40 HOW TO TAKE A PORTRAIT V/ITH A 45° LIGHT This is a time-tested lighting setup.- It has been in use for years.

The best photographers have consistently used

this system of light. DIRECTIONS: 1.

Use a view camera with a long focus lens.

2.

Use a light background.

3.

Sit the subject on a stool about six feet from the background.

Make the subject face the camera.

4.

Set and focus the camera.

5.

Arrange the lights. a.

Get a flood lamp and a fill-in lamp.

b.

Place the flood lamp about 45° to the sittercaraera axis.

Keep it about 6 feet from sitter.

c.

This light should be about 7 feet from the ground.

d.

Set the fill-in light as close to the camera possible.

as

This.lamp will soften the shadow side

of the face. e.

If the background is too dark, a third lamp should be pointed toward i t .

6.

Determine the exposure and

7.

For more information read:18:218-228; 74;

26;

27:137*159;

take thepicture.

32:185-197;

ASSIGNMENTS: 1.

Take pictures using the 45° light.

21;24:5833.

50 INSTRUCTION SHEET 41 HOW TO TAKE A PICTURE OF A GROUP A lot of ingenuity is needed to take a good picture of a group.

There is a great demand for good photographers in

this field.

The job is tough but eas3r to manage when you

know how. DIRECTIONS: 1.

Use a view camera.

A long focus lens is recommended

but a wide angle lens is used very often* P.

Arrange the group about six feet from the background, a.

Make the arrangement according to the size of the group.

5.

4.

Use your judgement.

Set up the camera. a.

Get the right size of image.

b.

Avoid distortions when using a wide angle lens,

Arrange the lights. a.

Have the main source of light toward one side.

b.

Avoid shadows on the background,

c.

Have a fill-in lamp close to the camera to soften the shadow side of the picture.

d.

Have a lamp illuminating the background to get separation from the group.

5.

Determine the exposure and take the picture,

6.

For more information read:

ASSIGNMENTS: 1.

Take pictures of groups.

24:75-79;

26;

33.

51 INSTRUCTION SHEET 42 HOW TO TAKE PICTURES OF CHILDREN As long as there are children, there is a great demand for good pictures of them.

Pleased parents pay anything for

good portraits of their youngsters. DIRECTIONS: 1.

A good equipment is needed for this job. a.

Use a reflex camera.

b.

Use roll film or film pack.

c.

Use a light background.

2*

Sit the child about six feet from the background.

3.

Arrange the lights.

4.

a.

Use the main source at 45° to the sitter.

b.

Have

c.

Avoid excessive contrast,

a fill-in lamp to take care of the shadows.

Focus the camera. a.

Give the child something to do with his hands.

b.

Talk to the child all the time to keep him interested and relaxed.

c. •5.

Keep the parents out of the studio.

Determine the exposure and be ready to take the picture.

6.

Watch for the right expression.

For more information read:

19:333-343;

31;

229-2401 ASSIGNMENTS: 1.

Take pictures of children of different ages.

32:

52

CHAPTER NINE HOW TO MAKE COPIES

53 INSTRUCTION SHEET 43 HOW TO PREPARE ORIGINALS FOR COPY WORK Tedious retouching work can be avoided by touching up the originals to be copied.

Better negatives and prints are

thus obtained. DIRECTIONS: 1.

2.

3#

4.

Clean the original prints. a.

Remove the prints from the frame or mounts.

b.

Dust the prints.

c.

Clean unretouched prints with alcohol.

d.

Soak glossy prints and ferrotype

e.

Flatten the prints.

them again.

Retouch the prints. a.

Spot the prints.

b.

Cover cracks and blemishes.

c.

Use the air brush to cover

large areas.

Prepare special documents. a.

Paintings of all kinds should only be dusted*

b.

Only dust historical documents.

c.

Copy legal documents the way they are.

For more information read: 213-235;

5:90-120;

2:248-254;

6:25-42;

4:116-118,

18:238-243;

19:129-

147.

1.

Prepare several documents and prints for copjr work.

54 INSTRUCTION SHEET 44 HOW TO COPY A LINE DRAWING You oan turn out a copy print better than the original print by following the proceedure employed by the experst in the field. DIRECTIONS: 1.

Use a view camera with a double extension bellows.

2.

Clean the original drawing.

3.

Put the drawing on a printing frame and set

it up in

the easel. 4.

Illuminate the print or drawing. a.

Use a light at each end of the copy easel.

b.

Set the lights at 45° to the easel.

c.

See that the light is distributed uniformly over the drawing.

5.

6.

Hocus the camera, a.

Get the size of image wanted.

b.

Stop down the lens to get a sharp image,

Determine the exposure. a.

7.

Compensate for the extension of the bellows.

Take the picture. a.

8.

Avoid distortions.

Use a process film.

For more information read: 213-235;

5:90-120;

2:248-254;

6:43-53;

18:238-243;

ASSIGNMENTS: 1.

4:116-118,

Make copies of different line drawings.

19:129.

INSTRUCTION SHEET 45 HOW TO COPY A FULL TONED ORIGINAL A good technique is all that is needed to produce a fin reproduction of a full-toned print.

This method is the one

that has been in use in the best studios for years. DIRECTIONS: 1.

Use a view camera with a

2.

Clean the original print.

-3.

doubleextension bellows.

Place the original on theprinting frame and

hang

it on the easel. 4.

Set the lights. a. Lights should be at 45° to the easel. b. The print should receive an even illumination,

5.

Focus the camera. a. Get the right size of image. b. Get rid of distortions and reflections. c. Stop down the lens to get a sharp negative.

6.

Determine the exposure. a. Be sure to compensate for the bellows extension

7.

Take the picture. a. Use an orthochromatic film.

8.

For more information read: 5:90-120;

6:43-53;

2:248-254;

18:238-243;

ASSIGNMENTS: 1.

Make copies of full toned prints.

4:116-118;

19:129-247.

INSTRUCTION SHEET 46 HOW TO COPY A COLOR PRINT Perfect color rendition in copying a color print is a tricky but easy to acquire technique.

You too can make good

reproductions of color prints once you know how. DIRECTIONS; 1,

Use a view camera with a double extension bellows.

2,

Clean the original print.

5.

Place the original print on aprinting

frame and set

it on the easel. 4.

5.

6.

Set the lights. a.

The lights should be at 45° to the easel.

b.

Get uniform illumination over the print.

Focus the camera. a.

Get the right size of image.

b.

Avoid distortions and reflections.

c.

Use color filters for color correction.

Determine the exposure. a.

7.

Take the picture. a.

8.

Allow for the doubleextension bellows.

Use a panchi’omatic film.

For more information read: 90-120;

6:54-95;

18:238-243;

ASSIGNMENTS: 1.

4:116-118,213-235;

Copy several color prints.

19:129-147.

5:

57 INSTRUCTION SHEET 47 HOW TO COPY A COLOR TRANSPARENCY Color work is opening new fields every day*

Good jobs

are awaiting for trained men in these new fields.

Copying

oolor transparencies is one of these new growing fields. DIRECTIONS: 1.

Use a view camera with a double extension bellows*

2.

Clean the transparency.

3*

Tape the transparency to a sheet of opal glass.

4.

Mask around the transparency to hold back the light.

5.

Place the glass on a stand in front of the camera.

6.

Put a flood lamp behind the glass. a.

See that the light is distributed evenly over the transparency.

7.

8.

Focus the camera. a.

Get the right size of image.

b.

Avoid distortions.

Determine the exposure. a.

9.

10.

Allow for the extension of the bellows.

Take the picture. a.

Protect the lens from the light source,

b*

Use a panchromatic film.

For more information read: 213-235;

5:90-120;

2:248-254;

6:54-95;

19:129-147

ASSIGNMENTS: 1.

4:116-118*

Make copies of color transparencies.

58 EVALUATION POR PART ONE You have finished the first part of this course. you ready to go into the second part?

Are

Let us find out.

Place an X before each job which you can perform satisfacto­ rily.

If you have EO of them you can tackle the second part

of the course. 1. ( ) Use a folding camera. 2. ( ) Use a reflex camera. 3. ( ) Use a miniature camera. 4. ( ) Use a view camera. 5. ( ) Use a press camera. 6. ( ) Use an exposure meter. 7. ( ) Use light filters. 8 ♦ ( ) Photograph interiors. 9. ( ) Photograph glassware. 10. { ) Photograph machinery. 11. ( ) Photograph jewelry. IE. ( ) Photograph furniture. 13. ( ) Photograph garments. 14. ( ) Take color pictures. 15. ( ) Take sport picture 16. ( ) Photograph buildings. 17. ( ) Take portraits. 18. ( ) Take pictures of groups. 19. ( ) Take pictures of children 20. ( ) Make copies.

59

. PART TWO HOW TO PROCESS THE 5*13303 Your 'best shots oan be"easily ruined if not processed «

correctly.

Knowing how to take the pictures is not enough

for the professional photographer.

The processing of the

films is so important that many operators do it themselves. They never rely on any assistant to develop the films after they have taken the pictures.

The operator is the only one

who knows what kind of treatment his films should have to get the best negatives.

60

CHAPTER TEN HOW TO MIX PHOTOGRAPHIC SOLUTIONS

61 INSTRUCTION SHEET 48 HOW TO MIX THE DEVELOPER When you mix the developer you have a chance to use the best chemical products available.

You can try your own

formulas too. DIRECTIONS: 1.

Buy the chemicals from a dependable dealer.

2.

Use a clean, accurate scale.

3.

Clean graduates, rods, funnels, and other equipment before using.

4.

Use the formula recommended by the manufacturer of the film or paper you are using. a.

Weight the chemicals accurately.

b.

Dissolve the chemicals in the order given in the formula.

Generally the reducing agent is dis­

solved first followed by a preservative, an activator, and a restrainer. c.

Dissolve every ingredient thoroughly before adding the next.

d.

Place the solution in an amber color bottle.

e.

For use, dilute the stock solution according to the formula.

5.

For more information read: 101-106;

7:40-51;

29:30-32,36-40,45-58.

ASSIGNMENTS: 1.

Mix different kinds of developers.

11:67-97;

23:

62 INSTRUCTION SHEET 49 HOW TO MIX A SHORT STOP BATH You should mix your short stop baths.

You have to use

so much of it that it will not be economical to buy it al­ ready mixed. DIRECTIONS: 1.

Use always the best chemicals.

2.

Clean the graduates, rods, funnels, and bottles.

3.

Reduce the glacial acetic acid to 28fa acetic acid, a.

To 8 ounces of water, add 3 ounces of glacial acetic acid to make 11 ounces of commercial or 28^ acetic acid.

4.

Follow a short stop bath formula. a.

5.

W a t e r . ...............

32 ounces.

Acetic acid

li ounces.

. . . . . . .

Use a fresh bath for each batch of prints. a.

The formula above is good for approximately fifty 5x7 prints.

6.

Use the chrome-alum short stop bath for films. a.

Use the formula recommended by the film manu­ facturer.

7.

For more information read:

7:65-74;

11:86-97;

' 23:101-106; 29:30-32,59-60. ASSIGNMENTS: 1.

Mix a short stop bath for paper. bath for films.

Mix a chrome-alum

63

INSTRUCTION SHEET 50 HOW TO MIX A FIXING BATH You oan mix the fixing bath to suit your particular need. Many formulas are not sold in a prepared form. DIRECTIONS: 1.

Use the best chemicals available.

2m

Clean the graduates, rods, funnels, and bottles to be used in mixing the bath.

3.

Use the formula recommended by the manufacturer of the paper or film you are using. a.

Follow the formula.

b.

Measure the chemicals accurately.

c.

See that each ingredient is dissolved before addind a new o n e .

d.

Mix the hypo first.

Mix the hardener separate­

ly and add it to the hypo solution. e.

Pour the bath into a tank or tray after mixing the hardener and the hypo.

f. 4.

Keep stock solutions in well

Clean very thoroughly all the equipment use in mixing a fixing bath.

5.

stoppered bottles.

This is very important.

For more information read: 106-108;

7:65-74;

11:86-97;

23:

29:30-32,36-40,60-68.

'ASSIGNMENTS: 1.

Mix a fixing bath following the formula recommended by the manufacturer of the paper you are using.

64

INSTRUCTION SHEET 51 HOW TO MIX AN INTENSIFIER Many good intensifiers are not available in a prepared form.

You have to mix them yourself.

This will give you the

oportunity to use a formula to fit your particular need. DIRECTIONS; 1.

Clean the bottles, rods, graduates and any other equipment needed to mix the formula.

2.

Get the formula to suit your problem. a.

3.

The mercury intensifier is the most widely used.

Mix the solution. a.

Get the best chemicals.

b.

Follow the formula.

c.

Measure accurately.

d*

See that each chemical is completely dissolve before adding a new one to the solution.

e.

Bottle stoclc solutions.

f.

Label the bottles,

g.

Clean all the equipment needed in preparing the solution.

4.

For more information read: 101-106;

29:30-32,36-40;

7:85-89;

11:86-97;

34:63-68.

ASS IGNMENTS: 1.

Prepare intensifiers.:

Try different formulas and

see the results in your negatives.

23:

65 INSTRUCTION SHEET 52 HOW TO MIX A REDUCER Some of the reduoer formulas are very hard to get in a prepared form.

Mixing them yourself is the only way, some­

times, to get to use them. DIRECTIONS; 1.

Clean bottles, rods, graduates, and any equipment to be used in mixing the reducer.

2.

Select the formula to suit the condition of the nega­ tive . a.

Farmer’s reducer is a good subtractive reducer,

b.

Ammonium persulphate reducer is a good flat­ tening type reducer.

c.

For a proportional type reducer, use the Eastman Kodak formula R - 5 .

3.

Mix the solution, a.

Follow the order in the formula.

b.

Measure the chemicals accurately.

c.

Dissolve the chemicals very thoroughly.

d.

Store the stock solutions in we11-stoppered bottles and label them.

4.

For more information read: 23:101-106;

29:30-32,36-40;

7:89-92;

11:86-97,267;

34:57-63.

"'ASSIGNMENTS: 1.

Mix and try different types of reducers.

66

CHAPTER ELEVEN HOW TO DEVELOP THE EILMS

INSTRUCTION SHEET 55 HOW TO DESENSITIZE A FILM You can desensitize your films and develop the color sensitive material under relatively bright illumination. DIRECTIONS: 1.

Get a one gram bottle of Eastman Kodak desensitizer.

2*

Mix the desensitizer. a.

Mix the whole gram in a quart of water to make the stock solution.

b.

To use, mix one part of the stock solution with fifty parts of water.

3.

Desensitize the film. a*

In total darkness, immerse the film for 2 minutes in the solution.

b. 4.

Keep the solution at 68° F.

Take out the fi3ja and rinse it for 10 seconds.

Develop the film. a.

Place the film in the developer.

b.

After a while, a Series 0 Wratten safelight may be used in developing ortho films.

For panchro­

matic films use a Series 3 or 7. 5.

For more information read:

3:211-215.

Read also

the directions supplied by the manufacturer of the desensitizer. ASSIGNMENTS: 1.

Desensitize different types of films. la mentioned above.

Use the formu­

68

INSTRUCTION SHEET 54 HOW TO DEVELOP A ROLL FILM IN A TRAY With very inexpensive equipment, and practically anywhere in your house, you can process your roll of films. DIRECTIONS: 1.

Prepare the solutions and keep them at 68° F.

2.

Use the left hand tray for the developer, the middle one for the short stop, and the right one for fixing.

3.

Turn the lights off and remove the paper backing from the film.

4.

Attach a clip to each end of the film.

5.

Holding the clips in each hand place one end of the film in the developer.

Start timer.

With an up and down movement

put the film through the developer.

Continue to do

this until the developing time is up. 6.

Remove the film from the developer and, using the same movement, run it through the short stop bath for a few seconds.

7.

Place the film in the

fixing bath for 15 minutes.

8.

Turn on the lights and wash the film for 30 minutes.

9.

Place the film in Photo-rFlo solution for a few seconds and hang it up to dry,

10.

For more information read: 18:59-77;

25:39-64;

2:170-212;

32:241-250,258-270.

ASSIGNMENTS: I,.

13:159-187;

Develop several roll of films in a tray.

INSTRUCTION SHEET 55 HOW TO DEVELOP A ROLL FILM IN A TANK A modern developing tank for roll films will let you process the films with the least inconvenience. DIRECTIONS: 1.

Prepare the solutions and keep them at 68° F.

£.

Adjust the tank reel to the width of the film.

3.

Turn the lights off and remove the film from the spool.

4.

Load the reel by feeding the film into the groove with the emulsion side facing in.

5.

Put the reel in the tank and cover the tank.

6.

Turn on the lights and start the timer.

7.

Pour the developer into the tank.

8.

Turn the spindle in the tank to agitate the film.

9*

Pour the developer into a bottle when the developing time is up.

10.

Put the short stop bath in the tank.

Remove the short stop bath after 30 seconds and pour the fixing bath agitating the film for several seconds.

11.

Fix the film for £0 minutes.

Remove the film from the tank and wash it.

Place

the film in a Photo-Flo solution for a few seconds and then hang it up to dry. 1£.

For more information read:

■ASSIGNMENTS: 1.

Develop films in a tank.

2:170-£10;

11:108-113.

70 INSTRUCTION SHEET 56 HOW TO DEVELOP A FILM PACK IN A TRAY An inexpensive developing outfit is good enough for the processing of film packs and cut films.

Any place in the

house can be turned into a temporary darkroom to do this work. DIRECTIONS: 1.

Prepare the solutions and keep them at 68° F.

2.

Pour each solution into a separate tray. a*

Use the left hand tray for the developer and the one at the right for the fixing bath.

3*

Turn off the lights and remove the sheets from the pack.

4.

Start the timer and put the sheets one at a time in the developer.

5.

Rock the tray constantly.

Remove the sheets from the developer as soon as the time is up, and place them in a short stop bath for a few seconds.

6.

Place the sheets in the fixer for 20 minutes.

7.

Turn on the lights.

8.

Wash the negatives for 30 minutes.

Place them in a

Photo-Flo solution for a few seconds and put them up to dry. 9.

For more information read:

2:170-202;

ASSIGNMENTS: 1.

Develop film packs in a tray.

il:114-115.

71 INSTRUCTION SHEET 57 HOW TO DEVELOP A CUT FILM IN A TANK Appropiate equipment helps in speeding up the work and in pi’oduoing better results.

Tank developing enables you to

turn out better negatives faster, DIRECTIONS: 1.

Prepare the solutions and keep them at 58° F.

2.

Pour the developer on the left tank and the fixing bath on the right , \

3.

Turn off the lights and unload the holder.

4.

Place the film in the hanger and start the timer.

5.

Put the hanger in the developer very slowly.

6.

Tap the top of the hanger to get rid of air bells,

7.

Agitate the film for a few seconds.

Agitate from

there on at the end of every minute during the developing time, 8.

As soon as the developing time is up place the film in the short stop bath for a few seconds,

9.

Leave the film in the fixing bath for 20 minutes.

10.

Tumi the liglits on and wash the negative.

11.

Run the negative through a Photo-Flo solution and put it to dry.

12.

For more information read:

ASSIGNMNTS: 1.

Develop cut films in a tank.

23:109-123;

2:170-202.

72

INSTRUCTION SHEET 58 HOW TO YJASH A NEGATIVE The permanence of the negative depends entirely upon the efficiency and completeness of the final wash.

This must re­

move all traces of hypo from the negative. DIRECTIONS: 1.

To wash a negative in a tray. a.

Wash the tray very thoroughly.

b.

Fix the negative well.

c.

Fill the tray with water and then put the nega­ tive in the tray.

d.

Change the water in the tray at intervals of not more than five minutes.

e.

Do this six times.

Run the negative through a Photo-Flo solution and place it in the dryer.

2,

To wash a negative in a tank. a.

Wash the tank completely.

b.

Fix the negative well.

c.

Rinse the negative in running water and place it in the tank.

Keep the negative in the hanger.

d.

Turn the water on the tank for 20 minutes.

e.

Put the negative-in a Photo-Flo solution for a few seconds and then put it up to dry.

5.

For more information read:

11:235-238;

ASSIGNMENTS: 1.

Wash negatives in a tray or in a tank.

15:135-138.

73 INSTRUCTION SHEET 59 HOW TO DRY A NEGATIVE Handling the negative after washing is a very delicate operation which requires a lot of care.

At this time the

negative can be ruined very easily. DIRECTIONS: 1.

Remove the negative from the washing tank*

2.

Place the negative in a .Photo-Flo solution for a few seconds.

This is very important if you want to

avoid streaks and water spots in the negative. 3.

Without removing the negative from the hanger, place it in the dryer* a.

The dryer should be very clean and should be made dust proof,

b*

Inject warm air in the dryer for faster drying,

c.

The temperature in the dryer should never be over 36° F. t

4.

^

i

h

Remove the'hanger and the negative from the dryer when completely dried*

5.

Remove the negative from the hanger and place it in an envelope.

6.

For more information read:

11:230-239;

ASSIGNMENTS: 1.

Dry negatives of different sizes.

15:135-133.

74 INSTRUCTION SPINET 60 HOW TO REDUCE A NEGATIVE Over-exposed and over-developed negatives are greatly improved hy reducing them to the density and contrast you desire.

Reducing saves a lot of time in printing*

DIRECTIONS: 1.

Select the proper reducing formula to correct the negative. a.

Use a subtractive reducer for an over-exposed negative.

b.

Use a flattening reducer for an over-developed negative.

c.

Use a proportional reducer for too dense but a well balanced negative.

2*

Mix the- reducer.

3.

Wash the negative and place it in the reducer, a.

Follow the instructions in the formula to handle the negative in the reducing bath.

4.

Wash the negative for 30 minutes after reducing.

5.

Immerse the negative in a Photo-Flo solution for a few seconds.

Put the negative to dry.

6._’ For more information read: 178-190;

7:89-92;

11:267;

25:

34:57-63.

ASSIGNMENTS: 1.

Reduce over-exposed and over-developed negatives.

75 INSTRUCTION SHEET 61 HOW TO INTENSIFY A NEGATIVE IJnder-exposed negatives will give you better prints if they are intensified.

Many thin negatives could be saved

this way. DIRECTIONS: 1.

Select the intensifier.

2.

Mix the intensifier.

3.

a.

Eollow the formula.

b*

Mix the chemicals thoroughly.

c*

Bottle and label the stock solutions.

Intensify the negative. a.

Fix the negative well.

b.

Wash the negative.

c.

Prepare the intensifier from the stock solutions.

d.

Immerse the negative in the intensifier bath.

e.

Follow the instruction in the formula for the handling of the negative during the process.

4.

Wash the negative.

5*

Run the negative through a Photo-Flo solution and put It in the dryer.

6.

For more information read: 11:267-274;

2:110-117;

34:63-68.

ASSIGNMENTS: 1.

Intensify some of your negatives.

7:85-89;

76

CHAPTER TWELVE HOW TO RETOUCH THE NEGATIVES

77 INSTRUCTION SHEET 62 HOW TO CLEAN A NEGATIVE A clean negative means clean and better prints, free from spots and marks.

It also means less work in the finish­

ing of the prints. DIBEQTXONS: .1*

Inspect the negative for retouching. a*

Retouched negatives should be dusted and spot cleaned to avoid removing the reouching.

2.

Hold the negative in the air and dust it.

3.

Lay the negative on top of a lintless blotter with the emulsion side down.

4.

Clean the back of the negative with a piece of cotton soaked in negative cleaner. a.

A good cleaner can be made by mixing six parts of Filmcol and one part of ammonia solution.

5.

Turn the negative over and clean the emulsion side in the same way.

6.

Let the negative dry for a few seconds and place it in an envelope for protection.

7.

For more information read:

11:284-285;

35:19-20,

26-28. ASSIGNMENTS: 1.

Clean several negatives. negative.

Spot clean a retouched

INSTRUCTION SHEET 63 HOW TO MASK A NEGATIVE Undesirable parts of the negative can be left out in the printing by cropping or masking the negative so that the most interesting part is printed. DIRECTIONS: 1*

Clean the negative.

2.

Place the negative emulsion side down on the retouch­ ing desk.

3.

Study the negative for cropping, a.

Try different areas and proportions with an adjustable mask.

b. 4.

Mark the area to be printed with a wax pencil.

Mask the negative following the pencil marks. a.

Place the negative on a masking chart to insure a good masking job.

b* 5.

Use red Scotch tape for the masking.

Clean the back of the negative with cleaner right after masking.

6.

Place the negative in an envelope.

7.

For more information read:

8:233-234;

22:75-80.

ASSIGNMENTS: 1,

Study your negatives and try cropping some of them. Make proofs to see the.improvements in the printing.

79 INSTRUCTION SHEET 64 HOW TO STRIP A NEGATIVE You can

remove large areas from the negatives when these

are undesirable.

The simple process of stripping will let

you do it in a very short t ime. DIRECTIONS: 1.

Glean the negative*

2.

Get

3*

Outline the area to be removed; a.

a metal edge ruler and a sharpblade forcutting.

Use the blade to cut through the emulsion with­ out cutting through the base of the film.

b.

Extreme care should be taken in doing this part.

4*

Immerse the negative in water for 10 seconds.

5.

Blot the negative.

6.

Place the negative on the retouching desk with the emulsion side up.

7.

Lift the edge of1the emulsion to be removed with a knife and roll it back using the tips of your fingers.

8.

Work toward the center of the area*

Place the negative in water for a few seconds and put it in the dryer.

9.

For more information read:

30:60.

ASSIGNMENTS.: 1.

Strip several negatives removing undesirable areas.

80 INSTRUCTION SHEET 65 HOW TO DO LOCAL REDUCTION ON A NEGATIVE Highlights and very dense portions of the negatives are sometimes very hard to print.

Reducing those spots will

help in the printing. DIRECTIONS: 1.

Clean the negative.

2.

Place the negative on the retouching

desk with the

emulsion side up. 3.

Study the test print to locate the spots in need of reduction.

4.

Get a good abrasive reducer.

5.

Rub the dense spots with abrasive reducer for a few seconds. a.

6.

Use the tip of your index finger.

Continue rubbing the spot using denatured alcohol this time*

7.

Clean the spot to check on the reduction.

8.

Continue the rubbing if necessary.

9.

Clean the negative.

10*

Make a test print to see the improvement.

11.

For more information read: 20;

9:54-35,73-75;

34:134-135.

ASSIGNMENTS: 1.

Do some spot reducing in several negatives.

30:10-

81 INSTRUCTION SHEET 66 HOW TO APPLY THE RETOUCHING MEDIUM TO A NEGATIVE Fast penoii work is possible with the help of the re­ touching medium.

It also makes the pencil strokes smoother.

All this is important when enlarging the negatives. DIRECTIONS: 1.

Clean the negative.

2.

Use a good retouching medium. a.

If the medium is too heavy thin it down with turpentine.

3.

Place the negative with the emulsion side up on a clean, lintless blotter.

4.

Put a drop or two of the medium on the surface of the negative.

5.

Hold the negative by the edges and spread the medium over half of the surface. Use a wad of cotton and employ a circular motion.

6.

Turn the negative around and do the same thing to the other half of the emulsion side.

7.

Heat the negative slightly over an electric heater.

8.

For more information read: 28;

9:23-24;

30:10-11;

34:116-117.

.ASSIGNMENTS:

-1.

Apply retouching medium to several negatives.

82 INSTRUCTION SHEET 67 HOW TO SHARPEN AN ETCHING KNIFE Even an expert retoucher can ruin a negative by using et dull etching knife.

On the other hand a good job can be

done by you if the knife is in perfect condition. DIRECTIONS: 1.

Get a carborundum oil stone and a hard Arkansas whetstone.

2.

Clean both of them.

Put a little oil on the surface of the carborundum' stone.

3.

Hold the knife over the stone so that the bevel rests flat on the surface.

4.

Move the blade back and forth until a burr is form­ ed on the edge of the blade.

5.

Remove the burr by holding the back of the blade flat on the stone and repeating the movement.

6.

Repeat the same operation, but use this time the Arkansas stone.

7*

Try the edge of the blade for sharpness on a discard­ ed negative.

8*

Clean the blade and the stones.

9.

For more information read: 132-134.

ASSIGNMENTS: 1.

Sharpen your etching knives.

9:32-33;

30:25;

34:

83 INSTRUCTION SHEET 68 HOW TO ETCH A NEGATIVE You can remove or blend undesirable parts of the negative by etching*

This is a process avoided by many, but with a

little practice you can get surprising results. DIRECTIONS: 1.

Clean the negative.

2.

Make a test print to see the part to be etched.

3.

Place the negative on the retouching desk with the emulsion side up.

4.

Sharpen the etching knife.

5.

Etch the negative. a.

Hold the knife like a pen, with the blade near­ ly but not quite at right angle to the negative. Pass the sharp edge over the negative in a vertical direction.

Use a little pressure*

Repeat the action until you get the effect. b.

Do not try to work too fast.

c.

Go on with the operation until the desired effect is achieved.

6.

d.

Rub the etched part slightly with reducer.

e.

Apply retouching medium to the negative.

Eor more information read:_ 9:30-31,100-102.

ASSIGNMENTS: 1.

Do some etching in your negatives.

INSTRUCTION SHEET 69 HOW TO SHARPEN A RETOUCHING PENCIL A good pencil technique can only be developed if you keep the pencils in top shape*

The

stroke so important in

retouching depends almost entirely on the sharpness of the pencils. DIRECTIONS: 1*

Get the best pencils or leads available.

Do not

use cheap materials. 2.

Insert the lead in the holder leaving about li of an inch o u t . a.

Secure it in that position by tightening the screw c a p .

b. 5.

Leave a shorter lead out when using soft leads.

Sharpen the pencil. a.

Rub the lead against a sandpaper sharpener.

b.

Try to get a tapered point.

c.

Finish the point on a piece of very fine sand­ paper.

4.

Clean the point with a piece of cotton.

5.

For more information read:

9:19-23;

30:12-13;

115-116. ASSIGNMENTS: 1*

Sharpen the lead of different grades of pencils.

34

85 INSTRUCTION SHEET 70 HOW TO SPOT A NEGATIVE Spotting will remove pin holes, scratches, and air bells from the negatives.

A faster and better printing can be done

if these imperfections are corrected on the negatives. DIRECTIONS: 1.

Clean the negative.

Z*

Use a very fine spotting brush, a good blask dye, and a set of retouching pencils.

3*

Apply the retouching medium to the negative *

4*

Place the negative on the retouching desk with the emulsion side up.

5.

Fill in the scratches and air bells with the pencil.

6*

Use the spotting brush to fill in the pin holes, a.

7.

Use the brush almost dry.

Some spots can be removed by retouching on the back of the negative. a.

Apply retouching medium on the back of the nega~ .tive.

b.

Do the spotting on the back of the negative in the same way you did on the front.

8 . For more information read: 3 0 :1 3 ;

3 4 :129 t 130 ;

3 5 :25 .

ASSIGNMENTS: 1*

Spot some of your negatives.

9 :15-1 8 ;

1 1 :279-280 ;

86

INSTRUCTION SHEET 71 HOW TO DO PENCIL RETOUCHING ON A NEGATIVE Blemishes, wrinkles, and' other imperfections can be re­ moved from the image in the negative by careful pencil work. This is the base of portrait retouching, a field where many persons make a living today. DIRECTIONS: 1*

Clean the negative.

2.

Apply the retouching medium to the negative.

3.

Place the negative on the retouching desk with the emulsion side up.

4.

To retouch a.portrait negative. a.

Eil in the pin holes, scratches, and air bells.

b.

Using a very light touch, fill in the blemishes.

c.

Soften the face lines, wrinkles, and dimples.

d.

Blend color patches*

e.

Blend the highlights and half tones.

f.

Turn the negative over and apply medium on the back to work on unfinished spots and marks.

5*

Make a test print and check the pencil work done, a.

Make the necessary corrections*

6.

Dust the

7.

For

negative and place it in an envelope*

more information read:

30:29-52;

9:37-63;

11:282-283;

34:117-122.

ASS IGNMENTS: 1.

Do pencil work on several portrait negatives.

87 INSTRUCTION SHEET 72 HOW TO DO DYE RETOUCHING ON A NEGATIVE Large areas cannot be blended together successfully by pencil work.

A fast and better procedure is that of using

dyes to blend the patches together. DIRECTIONS: 1.

Clean the negative*

2.

Make a test print to determine the areas to be blended*

3*

Place the negative on the retouching desk with the emulsion side down*

4*

Treat the areas to be dyed with Photo-Flo solution*

5*

Apply the dye. a.

Use

a weak solution to start,

b*

Use

a brush to apply the dye.

c*

Use

a stronger solution until the desired shade

is reached, d.

Blotthe negative and let it dry.

6.

Make a test print to check the corrections.

7*

Place the negative in an envelope.

8*

For more information read: 129;

14:146-164;

34:122-

35.

ASSIGNMENTS: 1.

Blend large areas in some of your negatives using a dye.

88

INSTRUCTION SHEET 73 HOW TO DO BLOCKING ON A NEGATIVE White backgrounds are sometimes recommended to eliminate distracting objects in the pictures.

Blocking the negative

has been the procedure used to get this effect. DIRECTIONS; 1.

Clean the negative.

2.

Mix the opaque. a*

A drop or two of Photo-Flo solution added to the opaque will make it run smoothly from the pen.

3.

Place the negative on the retouching desk with the emulsion side down. a. . Inspect the parts to be blocked*

'"4.

Outline the area to be blocked by following the contour as c l o s e d as possible. a.

Use a ruling pen-and. a metal edge ruler to draw the straight lines.

Use a regular pen for the

curves. 5.

Keep within the boundary outlined and fill in the enclosed area with a brush*

6.

Set the negative to dry.

7.

Clean all the tools used in the blocking.

8.

For more information read:

9:93-94;

30:57-59. ASSIGNMENTS: 1.

Block some of your negatives*

11:277-278;

89 INST HQ GT ION SHEET 74 NOW TO ADD TITLES TO A NEGATIVE Captions, titles or any other printed information can he added to the negative*to make your prints more interesting. The process is easy and the results are very satisfying. DIRECTIONS: 1.

Glean the negative.

2.

Get a regular pen and some

3.

Place the negative on a blotter with the emulsion

indelible ink.

side down. 4.

Rub the area where the title is to be placed with a wad of cotton and some talcum powder.

5.

Dust the negative.

6.

Place the negative on a masking chart with the emulsion side down.

Square the negative to the

chart and hold it in place with tape. 7.

Place the negative and the

chart on the retouching

desk. 8.

Using the pen write the caption on the back of the negative. a.

9* 10.

To remove the caption use a negative cleaner.

Set the negative to dry. For more information read any book on lettering,

ASSIGNMENTS: 1*

Add titles to several of your negatives.

90 INSTRUCTION SHEET 75 HOW TO MAKS A COMPOSITE NEGATIVE Two or more negatives can be pasted together for a de­ sired layout * In that way you can eliminate double printing and save a considerable amount of time in the printing room* DIRECTIONS: 1.

Select the negatives to be put together,

2.

Make a layout on paper.

3*

Cut the negatives to be inserted according to the layout.

4.

Place these negatives on top of the main negative and mark the places where they are to be inserted.

5.

Cut out the main negative.

6.

Insert the small negatives

7.

Hold the negatives in place with red Scotch tape, a.

in the cutouts.

Tape around the inserted negatives narrow tape.

with a

A neat job is required for the

tape will print like a white border around the insertion. 8*

Clean the negatives again.

9.

Make a test print and check with the layout.

10.

For more information read: 328;

14:118-13.1;

27:295-

30:60.

ASSIGNMENTS: 1.

Make a composite negative with several negatives.

91 EVALUATION EOR PART TWO Now you have finished the second pai*t of the course. Do you think you are ready for the third part? yourself. factorily*

Place an X before each job you can perform satis­ If you have 20 of them you can go on to the

third part of the course* 1*

Mix developers.

2•

Mix fixing baths.

3.

Mix intensifiers.

4.

Mix reducers.

5.

Desensitize films*

6•

Develop roll films.

7.

Develop film packs.

8.

Develop cut films.

9.

Intensify negatives.

10

.

Reduce negatives.

11 .

Glean negatives.

12 .

Sharpen retouching pencils.

13.

Sharpen etching knives.

14.

Strip negatives.

15.

Etch negatives.

16 «

Spot negatives.

17.

Pencil retouch negatives.

18.

Block negatives.

19.

Dye retouch negatives.

20

.

Eind out for

Add titles to negatives.

92

PART THREE HOW TO MAKE THE PRINTS Of all the different processes in the photographic field, printing is the most rewarding. all these processes. the print.

It is also the sum total of

They all add up to the final product,

If all the previous jobs are carried out with

care, and if the printing is done in the same way, you will be able to produce a finished product you will be proud of.

93

CHAPTER THIRTEEN HOW TO MAKE CONTACT PRINTS

94 INSTRUCTION SHEET 76 HOW TO MAKE A P. 0. P. PROOF In portrait work, proofs have to be made from all the negatives. proval*

These are submitted to the customers for ap­

All the information in regard to corrections is

marked on the proof. DIRECTIONS: 1*

Glean the negative and the printing frame.

2*

Remove the lid from the printing frame*

3*

Place the negative on the glass with the emulsion side up.

4.

Place the proof paper over the negative with the emulsion side down,

5.

Put the lid back on the frame and lock it,

6.

Place the frame with the glass facing the sun and expose the paper for a few seconds.

7.

Check in subdued light on the tone of the print by unlocking half of the lid,

8.

Lock the lid again and place the frame in the sun if more exposure is needed.

9. 10,

Remove the print when -fully exposed, For more information read the instructions supplied with the printing paper.

ASSIGNMENTS; 1.

Make proofs of some portrait negatives.

95 INSTRUCTION SHEET 77 HOW TO DEVELOP A PRINT The quality of the print depends almost entirely on the development of the print*

To get the best tones you have to

develop the print right* DIRECTIONS: 1,

Set up the darkroom for printing.

2*

Clean the trays.

3.

Mix the solutions. a.

Have the developer on the left hand tray, the short stop in the middle, and the fixing bath to the right*

4.

Place the paper in the developer tray* a.

Rock the tray-.

b*

The image should appear in ten seconds, and the print should be fully developed in a minute and a half.

5.

Place the print in the short stop bath*

6*

Put the print in the fixing bath* a.

7,

Fix the print for ten minutes.

For more information read: 13:187-195;

15:139-147,157-163;

ASSIGNMENTS: 1*

2:206-212;

Develop several prints.

10:89-90;

18:78-90.

96 INSTRUCTION SHEET 78 HOW TO MAKE A CONTACT PRINT A good contact print should show most of the tonal values recorded in the negative.

Dodging will help in correcting

the over-exposed and the under-exposed areas. DIRECTIONS: 1*

Set the darkroom for printing.

2.

Clean the negative and the printer*

3.

Place a mask of suitable size on the printer.

4.

Put the negative under the mask with the emulsion side up. Center the negative under the mask and tape it down to the glass*

5.

Select the correct grade of paper for the negative.

6.

Place the paper with the emulsion side down on top of the negative*

7.

lower the printer lid and expose the paper..

8*

Mix the photographic solutions needed*

9*

Remove the paper from the printer and develop the print. a.

10*

Make another print with the necessary dodging*

For more information read: 13:187-195;

2:206-212;

15:139-147,157-163;

10:89-90;

18:78-90.

ASSIGNMENTS: 1.

Make contact prints from several of your negatives.

97 INSTRUOT10N SHEET 79 HOW TO WASH'A PRINT Wash the prints thoroughly if you want them to last a long time.

Improperly washed prints turn yellow and fade.

DIRECTIONS: 1.

How to wash a print in a tray. a.

Fix the print well.

b.

Clean a tray and fill it with water.

c.

Put the print in the tray.

d.

Change the water in the tray at intervals not less than five minutes,

e.

Twelve changes of water will be necessary to wash the print.

f. 2.

3.

Put the print to dry.

How to wash the print

in a tank.

a.

Fix the print.

b.

Wash the tank and fill it with water.

c.

Place the print in the tank.

d.

Turn on the water;

e.

Wash the print for one hour.

f.

Dry the print.

For more information read: 23:151-155;

25:79-81;

ASSIGNMENTS: 1,

Wash prints in a tray.

2.

Wash prints in a tank.

2:220-223;

32:290-291.

15:148-149;

98 INSTRUCTION SHEET 80 HOW TO DRY A PRINT Proper handling of the prints right after washing is very important' to produce prints free from physical defects. DIRECTIONS: 1.

How to dry a matt print. a.

Wash the print thoroughly.

b.

Take the print out of the wash tank.

c.

Place the print between two blotters.

d.

Run a print roller over the blotters several times *

e.

Remove the print from the blotter and place it on a drying rack.

2.

How to dry a glossy print. a.

Wash the print.

b.

Wash the ferrotype tin.

c.

Take the print out of the wash tank.

d.

Place the print face down on the tin.

e.

Run the ferrotype tin and the print through a wringer, or place a blotter over the tin and run a roller over it several times.

f. 3*

Put the tin on a dryer.

For more information read; 14:36;

15:149-150;

22:17-19;

ASS IGNMENTS: 1,

2:223-228;

Dry matt and glossy prints*

8:133-139;

23:151-155.

99 INSTRUCTION SHEET 81 HO?/ TO MAKE A VIGNETTED CONTACT PRINT Undesirable backgrounds can be eliminated very easily by vignetting the print*

The process is easy to learn and

the results are very gratifying* DIRECTIONS: 1,

Select the negative to be printed.

£.

Clean the negative and the printer.

3.

Place the negative on the printer with the emulsion side up*

4*

-Place a tissue paper over the negative and trace the area to be vignetted.

5.

Transfer the tracing to a sheet of black paper and cut out the traced area.

6.

Lift the top of the printer and place the black sheet over the ground glass.

7.

Place the negative on the printer.

Tape it in place

so that the -area to be printed falls exactly over the cutout. 8.

Make a test print. a.

9. 10.

Proceed with the necessary corrections.

Make a final print. For more information read:

8:14,

ASSIGNMENTS: 1.

Make some vignetted prints from your negatives.

INSTRUCTION SHEET 82 HOW TO DO DOUBLE PRINTING Titles, captions, and other printed matter can be in­ serted in the print by double printing.

The method that

follows is the one practiced' by all professional printers. DIRECTIONS: 1.

Select the two negatives to be printed.

2.

Clean both negatives.

3.

Place the main negative on the printer and mask.

4.

Place a tape around the mask opening about a i of an inch from the edge of the opening.

5.

Mix the solutions.

6*

Select the paper and place a sheet over the negative. a.

See that the edge of the paper comes exactly to the tape on the m a s k ..

b. 7.

Make the first print on the paper,

Remove the first negative and place the second one under the mask.

8.

Place the same sheet of paper to occupy the same position as before.

Expose the paper again.

9.

Develop and fix the print*

10.

For more information read; 195;

14:139-147,154-163;

4:91-115;

8;

13:187-

17:92-113.

ASSIGIMENTS: 1.

Select some negatives and double print them*

101

INST HU CTI ON SHEET 83 HOW TO TEST A PRINT FOR HYPO Traces of hypo in a print or negative will ruin it in due time.

A good practice is to check the prints for hypo

before they are placed in the dryer. DIRECTIONS: 1.

G-et the print

to be tested.

2.

Put the print

in a tray with water’ for 15 minutes.

3.

Prepare the hypo test formula: a.

Potassium permanganate

0.3 grms.

Sodium hydroxide..................... 0.6 grms. W a t e r ........................... . . 270 c.c, 4.

Take five ounces of clear water and add 4 c.c. of the above solution.

5*

Add to this a small volume of the water in

the tray.

a.

there

The violet solution will turn

green if

is a small amount of hypo present in the water*• b.

The solution will turn yellow if a large amount of hypo is present*

6.

Put the print to wash if there is hypo present.

7.

Make another test after the print is washed,

8.

Bottle and label the stock solution for future use.

9.

For more information read:

11:233-238;

138. ASSIGNMENTS: 1.

Test for hypo some of your prints.

15:135-

102

CHAPTER FOURTEEN HOW TO MAKE PROJECTION PRINTS

103 INSTRUCTION SHEET 84 HOW TO MAKE A PRINT BY PROJECTION Printing to any size is perhaps the main advantage of projection printing.

Cropping also is very easy to do when

printing by projection. DIRECTIONS: 1.

Set up the darkroom for printing.

2.

Select the negative to be printed.

3.

Take out the negative carrier from the enlarger and clean it.

4.

Place the negative on the carrier with the emulsion side down.

5.

Put the negative and the carrier back in the en­ larger.

6*

Turn on the light in the enlarger.

7.

Set the easel to the right size and place a sheet of white paper on i t .

8.

Focus the enlarger on the easel.

9.

Turn off the enlarger and replace the white sheet with a sheet of printing paper.

10.

Expose the printing paper.

11.

Remove the

12.

For more information read; , 8:46-73,84-118,140-150;

paper from the easel and develop.

14:18-34,53-65. ASSIGNMENTS: 1.

Print some

of your negatives by projection.

104 INSTRUCTION SHEET 85 HOW TO MAKE A DIFFUSED PRINT BY PROJECTION Sharp lines can be softened considerabl3r by using a diffusion disc while enlarging*

Very pleasant effects can

be obtained this way* DIRECTIONS: 1.

Set up the darkroom for printing.

2.

Select the negative to be printed.

3.

Remove the negative carrier from the enlarger.

4.

Clean the negative and the carrier.

5*

Place the negative on the carrier with the emulsion side down.

6.

Place the carrier and the negative on the enlarger.

7.

Set the easel to the

desired size of print.

8.

Use a white sheet of

paper on the easel for focus­

ing. 9.

Turn on the light on

the enlarger and focus i t .

10.

Place the diffusion

disc in front of the lens.

11.

Turn off the light on the enlarger.

12.

Place the printing paper on the easel.

13.

Expose the paper.

14.

Develop the print and- fix.

15.

For more information read;the instructions supplied with the disc.

ASSIGNMENTS: 1.

Make several prints using a diffusion disc.

105 INSTRUCTION SHEET 86 HOW TO MAKE A REDUCTION ON THE ENLARGER This is a fast method of making reduced prints. tonal values are obtained this way.

Better

Follow the steps below

to do i t . DIRECTIONS: 1.

Set the darkroom for printing.

2.

Select the negative to be printed.

3.

Remove the negative carrier from the enlarger.

4.

Clean the negative and the carrier.

5.

Place the negative on the carrier with the emulsion side down.

6.

Put the carrier with the negative back on the enlarger.

7*

Set the easel to the size of print desired.

8.

Turn on the light on the enlarger.

9.

Focus the enlarger. a.

A double extension bellows is necessary.

10.

Select the printing paper.

11.

Place a sheet of paper on the easel.

12.

Expose the paper.

13.

Develop the print.

14*

For more information read:

8;

14.

ASSIGNMENTS: 1.

Make reduced prints from some of your negatives.

106 INSTRUCTION SHEET 87

^

HOW TO MAKE A YIGNETTEB P R I M 1 ON THE ENLARGER Objectionable backgrounds can be easily eliminated by vignetting.

Retouching in this way is greatly minimized

and prints look more attractive. DIRECTIONS: 1.

Set the darkroom for printing.

2.

Select the negative to be vignetted,

3.

Remove the negative carrier from the enlarger.

4.

Clean the negative and the carrier,

5.

Place the negative on the carrier with the emulsion face down,

6.

Put the carrier and the negative back on the en­ larger.

7.

Set the easel to the size of print wanted.

8.

Focus the enlarger on a sheet of paper. this paper the area to be vignetted.

Trace on

Cut out the

area traced. 9. 10.

Place the enlarging paper on the easel. Expose the paper holding the cutout mask between the lens and the paper.

Print thus the area desired

11.

Develop the print.

12.

For more information read;

8:140-150;

ASSIGNMENTS: 1.

Print and vignet some of your negatives.

14:53-65.

INSTRUCTION SHEET 88 HOW TO DOUBLE PRINT ON THE ENLARGER Double printing on the enlarger demands some skill. The best positions are waiting for those with the skill neces­ sary to do this kind of work. DIRECTIONS: 1.

Set the

darkroom for printing.

2.

Select two negatives to be printed.

3.

Place one of the negative on the carrier.

4.

Put the

carrier back on the enlarger.

5.

Set the

easel to the size wanted.

6.

Focus the enlarger on a sheet of paper.

7.

Remove the paper and place the printing paper on the easel. a.

Expose it.

With a cardboard, dodge that part on which the other negative is to be printed.

8.

Remove the paper and the negative.

9.

Place the second negative on the enlarger and

focus

it on a plain sheet of paper. 10.

Place the printing paper back on the easel.

See

that it is exactly in the same position that it was before.

Expose it again, dodging this time

the part already exposed. 11.

For more information read:

Develop the print. 8:167-180;

ASSIGNMENTS: 1.

Double print some of your negatives.

14:103-131.

y

108

l/

INSTRUCTION SHEET 89 HOYJ TO DO FLASHING ON THE ENLARGER

Blocked and unattractive areas can be toned to make them harmonize-with the reat of the picture.

Flashing is the

process use to deal with negatives of this kind. ‘ DIRECTIONS: 1.

Set the darkroom for printing.

2.

Select the negative to be printed.

3.

Clean the negative and place it on the carrier with the emulsion side down.

4.

Put the carrier back on the enlarger.

5.

Set the easel to the size of print desired.

6.

Place a shite sheet on the easel and focus the en­ larger.

7.

Place the printing paper on the easel.

8#

Expose the paper.

9.

Remove the negative from the enlarger.

10.

Turn on the light on the enlarger while holding a cardboard between the lens and the easel.

11.

Remove the cardboard, giving a very short exposure to the blocked area.

12*

Develop the print.

13.

For more information read:

8:151-158;

14:69-79.

ASSIGNMENTS: 1.

Print a negative and do flashing on the print.

\s 109 INSTRUCTION SHEET 90 HOYJ TO CORRECT DISTORTIONS ON THE ENLARGER Linear distortions in your negatives can be corrected by projection printing.

The process is very easy to learn,

DIRECTIONS: 1.

Select the negative to be corrected,

2.

Clean the negative and the carrier*

5*

Place the negative on the carrier with the emulsion side down.

4.

Put the carrier back on the enlarger,

5.

Set the easel to the desired size of print.

6.

Focus the enlarger on a white sheet of paper,

7.

Cropping will help eliminate undesirable areas,

8.

Correct the distortion. a.

Tilt the easel until the distorted lines are straightened,

b.

Keep on trying if you are not successful the first time,

c. 9. 10.

Stop down the lens to get a sharp image.

Make a print. For more information read:

8:159-166;

14:14-16.

ASSIGNMENTS: 1.

Select a negative with distorted lines and try to correct them by projection printing.

110

CHAPTER FIFTEEN HOW TO TONE PRINTS

Ill INSTRUCTION SHEET 91 HOW TO TONE A PRINT SEPIA Sepia toning is a process by which you can make the prints more attactive.

Sepia toned prints do not fade -or

discolor as easily as black and white prints. DIRECTIONS: 1.

'Wash the print and remove all traces of hypo.

2.

Select the toner. a.

Follow the recommendations from the manufactur­ er of the paper you are using.

3.

Mix the toner.

4*

Tone the print.

Follow the formula*

a.

Pour the toner in a tray.

b.

For one bath toner immerse the print in the toner and rock the tray until the print is toned.

c.

For a two bath toner bleach the print first. Rinse the print to remove the bleacher.

Place

the print in the redeveloper until is toned. d.

For other procedures follow the directions in the formula.

5.

Wash the print thoroughly after toning and put the print to dry.

6,

For more information read:

8:205-223;

14:235-239.

ASSIGNMENTS: 1.

Tone some of your prints.

Use different toners.

112

INSTRUCTION SHEET 92 HOW TO TONS A PRINT BLUE landscape and seascape prints are very effective when toned blue.

The process is very simple and it is worth

the trial. DIRECTIONS: 1.

Wash the print well.

2.

Soak the print in dilutedacetic acid.

3*

Mix the toner. a.

Hollow the formula: (1)

Citrate of iron and ammonia (10$ solution} Hydrochloric acid (10$ solution) Mix equal parts of the above.

(2)

Potassium ferricyanide ,

1 ounce.

Water............................. 9 ounces. b.

To use take one part of number (1) and two parts of number (2).

Mix both parts and add

water if the toning action is too quick. 4.

Tone the print. a.

Immerse the print in the solution until it is toned.

5.

Wash the px*int for 30 minutes after toning.

6.

For more information read:

ASSIGNMENTS: 1.

Tone blue several prints.

8:205-223;

Dry it.

14:235-239.

113 INSTRUCTION SHEET 93 HOW TO TONE A PRINT GREEN Many outdoor shots are very effective when the prints are toned green.

Good green toners are obtainable at the

camera shops. DIRECTIONS: 1.

Select a good negative.

S.

Make a good print.

3.

Fix the print thoroughly.

4.

Wash the print well.

5.

Select the toner.

6.

Mix the toner. a.

Follow the directions supplied with the toner.

b.

Mix the chemicals in the order specified.

c.

See that the chemicals are completely dissolved before using the toner.

7.

Tone the print. a.

Follow the instructions on the label of the toner.

b.

Remove the print form the

toner when fully toned.

8.

Wash the print and p>ut it todry.

9.

For information read the instructions supplied with the toner.

ASSIGNMENTS: 1.

Tone green several prints.

114 INSTRUCTION SHEET 94 HOW TO DYE A PRINT With several good dyes now on the market , the photogra­ pher is in a better position to offer good dye prints.

The

process is worth trying if you like color prints. DIRECTIONS; 1.

Select the print to be dyed,

2.

Soak the print well.

3.

Get the dye.

4.

Mix a.

. 5.

the dye. Mix the mordanting bath.

b. Mix the dye bath. Dye the print. a.

Immerse the print in the mordanting bath.

b.

Handle the print according to the instructions supplied with the dye.

c.

Take the print out of the mordanting bath and wash it fox' ten minutes.

d.

Immerse the print

in the dye bath for 2 to 15

minutes, according to the tone wanted* 6.

Rinse the print and put it to dry.

7.

For more information read the insti'uctions supplied with the dye.

ASSIGNMENTS: 1.

Select some of your prints and dye them.

115

CHAPTER SIXTEEN HOW TO FINISH THE PRINTS

116 INSTRUCTION SHEET 95 HOW TO TRIM A PRINT Straightening and trimming a print is a very important part of the photographic process.

Prints are easily ruined

if not handled with care in this stage.

A great amount of

work is lost if a print has to be done all over again. DIRECTIONS; 1.

How to straighten a glossy print. a.

Put the print between two blotters and press it in an old type hand letterpress.

b.

If you have several prints, put them in pairs facing each other.

Put all of them between two

blotters and press them. 2.

How to straighten a matt print. a.

Lay the print face down on a blotter and dampen the back with a wet rag.

Place the print be­

tween two blotters and press it. b.

With more than one p r i n t , .put them in pairs facing each other and press them.

3.

To trim the print use a good trimmer. a.

Trim the bottom first, then the top of the print. Trim the left side next.

4.

For more information read;

The right side last. 8:233-234,249-250*

ASSIGNMENTS: 1*

Straighten and trim some of your prints.

117 INSTRUCTION SHEET 96 HOW TO DRY MOUNT A PRINT Dry mounting is a modern process use by the best studios* Prints mounted this way have a professional look.

You too,

can mount your prints this way* DIRECTIONS: 1.

Select the mount and trim it to size.

2*

Straighten the print.

3*

Cut a dry mounting tissue the size of the print.

4.

Tack the tissue to the hack of the print.

Use the

point of an electric iron to apply the heat to the tissue. 5.

Trim the print and the tissue to the desired size.

6*

Place the print in position on the card mount. a.

Leave a border around the print to create a pleasing effect.

7.

Tack the print to the mount using the point of the iron.

8.

Cover the print with a blotter and attach the print permanently to the mount by applying heat and pressure.

9.

Use a flat iron or a dry mounting press.

For more information read the instructions supplied with the dry mounting tissue.

ASSIGNMENTS: 1.

Dry mount several prints.

118 INSTRUCTION SHEET 97 HOW TO SPOT A PRINT A print is not finished until it is mounted and spotted. Even carefully made prints need some attention after they are mounted.

Small spots and blemishes must be removed.

DIRECTIONS: 1.

Dry the print thoroughly.

2.

Straighten the print.

3.'

Mount the print.

4.

Clean the print. a.

One part of ammonia solution with six parts of Filmcor will make a good cleaner for prints.

5.

Etch the black spots and abrasions from the print* a.

6.

Use a thin bladed etching knife.

Spot the print. a.

Use a good spotting brush.

b.

Put some black dye on a piece of opal glass.

c.

Dilute the dye.

d.

Start to spot the shadows first and gx^adually work toward the highlights.

e. 7.

Use the brush.almost dry.

For more information read: 14:146-164.

ASSIGNMENTS: 1.

Spot some of your prints.

2:29-39;

8:235-249;

119 EVALUATION FOR PART THREE You have finished the third part of the course. out for vourself how well did you do the work. before each job you can perform satisfactorily. EO of them you have done an excellent job. 1. ( ) Make proofs. 2. ( ) Make* contact prints. 3. ( ) Develop prints. 4. ( ) Wash prints. 5. ( ) Dry prints. 6. ( ) Make vignetted prints. 7. ( ) Do double printing. 8. ( ) Make prints by projection. 9. ( ) Do flashing by projection. 10. ( ) Make a reduction by projection. 11. ( ) Do double printing by projection. IE. ( ) Correct distortions on the enlarger 13, ( } Tone prints sepia. 14. ( ) Tone prints blue. 15. ( ) Tone prints green. 16. ( } Dye prints.

H-1 00 •

17. ( ) Trim prints. } Mount prints.

19. ( ) Spot prints. EO. { ) Test prints for hypo.

Find

Place an X If you have

120

RESERVE SHELF 1.

Adams, Ansel:

Camera and Lens.

Morgan and Lester, New

York, 1948• 2.

Arco Publishing Company:

Photography for Fun and Profit.

Aroo Publishing Company, New York, 1949. 3.

Briggs, W. G-.:

The Camera in Advertising and Industrsr.

Pitman Publishing Corp., New York, 1948. 4.

Charles, David:

Commercial Photography.

Pitman

Publishing Corp., New York, 1934. 5.

Chiesa, Dominic:

Photography Indoors.

The Camera Inc.,

Baltimore, 1949. 6.

Fraprie, Frank R. , and Morris, Robert H . ; Technique.

Copying

American Photographic Publishing Co.,

Boston, 1946. 7.

Greenleaf, Allen R . :

Chemistry for Photographers.

American Photographic Publishing Co., Boston, 1946. 8.

Gurrie, Morris:

The Complete Book of Enlarging.

Midland Publishers, Forest Park, 111., 1949. 9.

Hammond, Arthur:

The Art of Retouching and Improving

Negatives and Prints.

American Photographic Publishing

Co., Boston, 1947. 10.

Hillyer, Whit, and others:

The Camera Digest.

Paul,

Richmond and Company, Chicago, 1947. 11.

Jacobson, C. I.: York, 1948.

Developing;

Focal Press Inc., New

121 1£.

Kellsey, Lewis L . :

Corrective Photography.

L. F.

Deardorff and Sons, Chicago, 1947. 13.

Loeb, Lester:

Better Photography.

Philosophical

Library Inc., New York, 1947. 14.

Lootens, I. Ghislain: Quality.

15.

Photographic Enlarging and Print

The Camera Inc., Baltimore, 1945.

Lucas, J. A., and Dudley, Beverly: graphs Effective.

Making Your Photo­

Me. Craw Hill Book Co., Inc., New

York, 1940. 16

Marshall, Lucille Robertson: Fun or Profit.

Photo-011 Coloring for

U. S. Camera Publishing Corp., New York,

1944. 17.

Me. Garrett, Vincent:

Toward Better Photography.

American Photographic Publishing Co., Boston, 1947. 18.

Miller, Thomas H * , and Brummitt, ?/yatt: Photography.

This is

Garden City Publishing Company Inc.,

Garden City, New York, 1945. 19.

Morgan, Willard D . , and others: graphy.

20.

Graphic, Graflex Photo­

Morgan and Lester, New York, 1945.

Mortensen, William:

Flash in Modern Photography.

Camera Craft Publishing Co., San Francisco, 1947. 21.

Moretensen, William:

Pictorial Lighting.

Camera Craft

Publishing Co., San Francisco, 1947. 22.

Mortensen, William:

Print Finishing.

Publishing Co., San Francisco, 1938.

Camera Craft

122

23.

Neblette, C. B., and others:

Elementary Photography^

The Macmillan Co., New York, 1946. 24.

Nurnberg, Walter:

The Science and Technique of Adver­

tising Photography.

The Studio Publications Inc.,

New York. 25.

Quarles, Gilford

G . :Elementary

Photography.

Me. Graw

Hill Book Co., Inc., New York, 1948. 26.

Russell, Henry:

The New Home Portraiture.

The Fountain

Press, London, 1947. 27.

Scacheri, M . , and Scacheri, M . :

The Fun of Photography.

Harcourt, Brace and Co., New York, 1958. 28.

Seemann, W. JL;

How to Color Photographs with O i l .

Ver Halen Publications, Hollywood. 29.

Shearcroft, W. F. F.:

Photographic Chemicals.

The

Fountain Press, London, 1947. 30.

Spencer Adamson, I.: Photographers.

31.

Suschitzky, W . :

Retouching and Finishing for

Pitman Publishing Co., New York, 1944. Photographing Children.

The Studio

Publications Inc., New York, 1940. 32.

Sussman, Aaron:

The Amateur Photographerfs Handbook.

Thomas Y. Crowell Co., New York, 1948. 33.

Man Wadenoyen, Hugo:

Photographing People.

Focal Press

Inc., New York, 1948. 34.

Varden, E. Lloyd $ and others: Camera Inc., Baltimore, 1948.

Better Negatives.

The

1£3

35.

Wakefield, G-eorge L . :

Dye Retouching and Print Finish­

ing . The Fountain Press, London, 36#

1947.

Wall, E. J«, and Jordan, Franklin I.: Facts and Formulas.

Photographic

The American Photographic Publish­

ing Co., Boston, 1940. 37.

Walley, Charles W #: Photographs.

Colouring. Tinting, and Toning

The Fountain Press, London, 1947,

^

Of

southern C a M e r a U U M t t