Time

Temperature

Agitation

Dilution

•  Must be diluted from a stock solution to a working solution using 1 part developer & 1 part water, or D-76 1:1
• D-76 must be used at 68 °

•  1 roll requires 150 ml or 5 ounces of D-76 and 150ml of water or 5 ounces
• 2 rolls requires 300 ml of D-76/ 10 ounces and 300 ml of water/10 ounces

Save

Return chemistry to a used container

pour down the drain after finished

• Pour correct volume of water @ 65-75 degrees F into tank and agitate for 1 min. Dump 
• Presoak moistens the gelatin for an even absorption of the Developer

• Pour D-76 1:1 into tank & agitate continuously for the 1st 30 sec.
• Tap bottom to dislodge air bubles
• Agitate for 5 sec every 30sec throughout development time
• Pour out developer 15 sec before development time is finished
• Save
• Reduces the silver bromide crystals that contain a latent image to a deposit of silver

Fill tank w/ water at 65-75 F.

Agitate for 30 seconds

Dump.

Repeat.

• Stops the action of the developer

• Use fixer full strength
• fill tank & agitate
• like developer, 5 sec every 30 sec
• fix for appropiate time for film
• Save
• now safe to open tank
• changes the silver bromide crystals so they are no longer sensitive to light

Use cold tap water, fill and dump your tank 3 times

• Eliminates a lot of the fixer on the surface of the film and the reels.

Remove the reels from tank and place in washing apparatus for 5 min.

• eliminates the fixer still held withing the gelatin

• Fill tank wiht working solution of Photo-Flo.
• Agitate for 30 sec
• Dump
• Allows the film to dry without water spots

• Remove film from reels
• hang film to dry in cabinet

indicate correct exposure

Highlights

indicate correct development

Contact Sheets

• allow you to compare in positive form variations of the same scene
• indicate in positive form exposure differences between frames
• referred to as a proof
• photograms of negatives

Photographic paper

Placed with the emulsion side up

Sleeved Negative

Negatives placed with the emulsion side down

Underexposed

• If all strips are too light, you need more exposure and you can open up one f-stop on lens
• lacks in density and therefore detail on a negative and an overall lightness in a print.

Overexposed

•  strips are too dark, it need less exposure and you can stop down one f-stop on lens.
• The result of giving too much exposure to film or paper which produces too much density.
• Overall too dark

Photograms

• a photogram is made without the use of a camer/film
• Result of placing a 2-dimensional or 3 dimensional object in contact with paper and exposing it to light
• Photograms name credite to Laszlo Moholy-Nagy

Printing

• is the process of enlarging 35mm negative and transforming it to a positive print on paper.
• Goal: create full tonal range print-contains a large # of grays, solid blakcks and some base white. Also include appropriate overall density and contrast

Density

• refers to whether the print is overall too light or too dark
• the darker the print the greater the density of particles of silver are present
• density increases with additonal exposure
• Changes in exposure creat changes in overall density

Contrast

• refers to the difference in brightness between separate areas of the print.
• A print with too much contrast does not have a full range of grays between deep blacks and whites & loose shadow areas and details in highlights
• Printw that are too low in contrast do NOT have areas of pure black or are paper base white, appear "flat" or very gray
• Changes in filters create changes in contrast

Filter

Lower numbered filter will reduce contrast

Higher # filter will increase contrast

Dodge

If most of the print has the correct exposure but 1 area is too dark, use tool to withhold light from area to ahve it become lighter

Burn

if area is too light after main exposure an additonal exposure could be used, by a cardboard

Split Filter Printing

Technique using multiple filters to produce a print that has a full range of tonality.

Aperture Scale

F2

F2.8

F4

F5.6

F8

F11

F16

F22

F32

Relative Aperture

Size of the lens opening expressed as an F#

Lens Speed

Maximum relative aperture of a lens ex: F2 or F4

Stopping down

The process of moving from a larger aperture (smaller f#) to a smaller aperture (large F #)

Opening Up

The process of moving from a smaller aperture (large f #) to a larger aperture (smaller f #)

F. Stop

• Sequence of #'s expressing the relative apertures of a lens.
• The focal lenth of th elens divided by the effective aperture diameter.
• Each change of an F. Stop setting halves or double of image brightness.

Focal plane shutter

• a mechanism in a camera that allows light to strike the film by the action of a moving slit located in the back of a camer near the plane of focus.

Leaf Shutter

• a mechanism in a camera that allows light to strike the film as the result of opening a series of overlapping metal leaves.
• It is usually built into a lens

Reciprocity law of exposure

a relationship between the length of exposure and the intesity of the light that states that as long as the profuct of these 2 factors remains constant, the effect of exposure will be the same

Focus

The distance behind a lens where the lgith waves intersect forming a sharp image. The act of adjusting a lens to produce a sharp image of the selected subject.

Focal Point

The point on a focused image where the rays of light intersect coming from the same point on the subject

Circle of Confusion

A tiny circle of light formed by a lens as it projects the image of a single point of light from the subject. The smaller the circles of confusion the shaper he image will appear.

Depth of Field

The distance between th closest and farthest points from a camera that are equally as sharp in the image defined by = size cirles of confusion

Hyyperfocal Distance

The distance to the plane of sharpest focus when infinity is at the farthest plane of the depth of field

Zone Focusing

To preset the focus of your lens that a particular action will take place within the depth of field.

Negative lens

Focal length

Infinity

Normal lens

• a standard lens most oftne supplied with a particular size camera.
• It usually has a focal length = to the diagonal of the size of the negative.
• It also has an angle of acceptance at a given distance = to human vision. a normal lens for 35 mm cameras have a focal length close to 50mm.

Wide Angle Lens

• a lens whose focal length is shorter than the diagonal of the size of the negative with which it is used.
• The angle of acceptance is greater or wider than that of a normal lens.
• A wide angle lens is often called a short lens. For 35 mm photography-lenses having a focal length less than 50mm

Telephoto lens

• a lens whose focal length is longer than the diagonal of the size of the negative. 
•  has an angle of acceptance smaller or narrower than a normal lents.
• referred to as a long lens. for 35 mm photography-lenses having a focal length greater than 50mm

Angle of acceptance

Reflected Light Meter

An exposure meter that measures the amoutn of light reflected or emitted from a subject

Incident Light Meter

An exposure meter that measures the amount of light falling on a subject

Spot Meter

a reflected light exposure meter with a very small angle of acceptance, used to measure the brightness of a small portion of a subject.

Middle Gray

A standard average gray tone that reflects 18% of the light falling on its surface.

Shadows

• The areas of your print that are the darkest gray with some detail.
• These are areas are defined as 2 stops less exposure than middle gray.

Highlights

• The areas of your print that are the lightest gray with some detail.
• These areas are defined as 2 stops more exposure than middle gray.

Gray Card

• a card that on its gray side reflects 18% of the light falling on its surface and on its white side reflects 90%.
• Gray cards are used to determine exposures in difficult metering situation.