Fotografia Color Engleza

8/13/2019 Fotografia Color Engleza

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Color photography for amateurs

Short history

Photography is extremely popular and it is used for people all around the world, people of all ages, the

most enthusiastic being the photo amateurs. Today the photography is perhaps the best friend of scientistsbecause it reveals the micro and macro universe. About 30 years ago this

industry has developed a photosensitive material which regained object in

color and detail. The arrival of the color photography in !3" didn#t force the

disappearance of the blac$ and white photograph because between them there

could have been a technical and esthetical connection. Technical, there is a big

difference between the two photographs% at the blac$ and white photography

the screen accepts a standard light exposure regardless of its &ualities. The

technical difference between these two isn#t the photographic camera' it is just

the photosensitive material. (rom an esthetical point of

view the blac$ and white photography reveals an artificial

picture, while the color one shows a more natural

perspective.(rom the appearance of the color photography

)!3"* until our days the industry has accomplished many

progresses% the appearance of the color paper, the &uality

improvement and color restoration and the rise of sensitive

materials. The cost of a color film developed in special

laboratories, an amateur gives approximately 3"+3 slides

which cost the same as 30 white and blac$ pictures. The

expensive thing in color photography is the special paper,

because the process is complicated it re&uires material and

especially time. Anyway with some experience an amateur can reach a medium cost in material and time.

The image appearance

The subject#s placement isn#t random. -t is done after fundamental principles. /nli$e the other arts

)drawing for example* where the artist can intervene as he desires in his creation, in photography, the

photographic camera replies in exact detail everything it sees1 )&uality and flaw at the same time*.

a). The image in screen set up

/nli$e a picture, the set up of a photo is standard and it is characteri2ed by the rapport of the edges.

The rectangular shape and the edges 3+34 give an esthetical form and that is why it is very

fre&uently used. The s&uare shape )* is the same on all the edges, and it is harder to wor$ with at the

subject picture set up, even thought it is very used in the color photography ma$ing.5ecently, there were a lot of exhibitions and maga2ines with a longer shape, having one side longer

than the others. /sing good taste, they can find their meaning )panoramic cards, decorative photos etc.*.

The placement in a bigger screen, especially of small si2e subject, without any directive rule is not a simple

problem as it seems to be at a first loo$.

6e#ll present the setting up of the image screen.

7oining the middle of the screen edges we obtain the symmetry axels, and their crossing means the

symmetry center of the screen. -f we are watching for a few moments this point, we#ll notice we won#t see

anything except it, larger than the rest of the screen field is, decreases to disappearing.

This is the reason the subject can#t be placed in the symmetry centre of the screen% the excess of

symmetry decreases the importance of the other components of the image' that#s why it $nown as a lower

point of the screen )as an effect*. -f the subject is just the rosette with the concentric circles of the target, on

the contrary, its placement in the symmetry center is the best move89ividing each edge of the screen in three e&ual parts and joining the homogeneous points of the

opposite edges, we#ll obtain a grid of the four axles and four points, the important points and axles of the

screen. They offer the best placement positions of a main compositional element within the image. Thus, if a


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tree or a tower, for example, placed in a field landscape is overlapped of the symmetry axles or is in the

center of the image it will reduce more the effect, especially if the shape is a s&uare, because the symmetry

divides the attention and also the view, which is led toward a half or the other half of the image, tending to

avoid just the main element of the subject.

:n the contrary, placing it on

one of the forte axles of the image,

the effect increases because the view

is sliding to the subject and remainson it, so we avoid the symmetry

using the lines and the forte points

of the screen.

This way of doing it is also a

natural and a logic way, not only an

esthetic one.

;et us suppose you have to

ta$e a photo of the balcony scene in

5omeo and 7uliet1.


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c). The skyline

(or avoiding the symmetry, the s$yline of a sea or of a field landscape never superposes itself over the

hori2ontal symmetry axe of the frame, so that you will not oblige the eye to loo$ either up or down, in stead

of watching both up and down, that means the whole range of the image. -t has to be superposed over the

forte hori2ontal line that is the lowest in the frame. -n this case, the absence of the details, li$e clouds in the

upper frame from above the hori2on, produces a sad effect of emptiness that ruins the image.

-ts superposition on the forte hori2ontal line produces the impression that the details that are down the

frame are crushed' an

example could be a sea

landscape with a boat in the

foreground, at the inferior

line of the frame, which can

seam rather overcome by

the water from above. -f we

place some buildings on the

superior forte hori2ontal

line it would give the

impression of instability,because they tend to be

driven to the foot of the

frame by the sense of the

gravitational e&uilibrium.

Things are the same when

an object is thrown up or

when a dancer ma$es a

jump and the picture is

ta$en exactly when he is at

the highest point of the

trajectory. The same sense

of e&uilibrium ma$es us continue their trajectories up to the foot of the image#s frame, suggesting themovement through this gravitational effect.

The subject or its primary elements are never placed at the edge or in the corner of the image#s frame.

Thus, a car or a runner that moves from left to right will not be placed nearer the right edge of the frame

because it would appear empty, since our mind tends to continue the movement of the car, drawing it out of

the frame. esides this, the edge of the frame ma$es the effect of a wall in which the car in its movement

will be crushed.

Placing the car near the left edge of the frame, the wall1 remains in the bac$ and the car has free rode

in front of it.

The natural light, the artificial light and the existent light

Although they do not have great differences from the photometry point of view, these three types ofillumination are very different from the point of view of the photographic techni&ues application.

There is not a general agreement in the delimitation of the three types of illumination. =ome people

say that the natural light includes only the light that is sent by the sun, the moon or the stares. :thers say that

this notion includes any normal illumination of a place, li$e the light in a room, on the street, from a

campfire etc. -n this way the differences between the natural and the existent light seam to disappear.

Eevertheless, the existent light is a different notion, which is more about the photographic conception than

about the natural sources of illumination. ecause of the sensibility increase of the photosensitive materials

and of the objects# luminosity, today we can ta$e pictures in any light conditions, no matter how faint. The

people that go with the realistic style in the photography do not use any type of supplementary light in these

conditions and it is said that they wor$ in the existent light. Therefore the natural light is the light that comes

from any normal source in a certain place, including the light of the sun, moon and stars' and ta$ing pictures

at the existent light is a style of photography.

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Sun position

(or reali2ing some successful photos, sun position is very important besides ta$ing photos position.

There are three situations%

+when the sun is behind the camera, practically lights and shadow games will completely miss. All

subject elements will be lightened uniformly and they#ll appear simple in photos, the lightening doesn#t

encourage the emphasi2e of landscape and space. As a result, photos ta$en in frontal solar light, in the most

of cases are monotones and uninteresting.

+if the sun position is a lateral one compared to the photographing direction, different lightened areas

and the brilliances encourage the appearance of some light games with special plastic effect for the subject.

This $ind of illumination is successfully used in photographing insects, caterpillars for underlining their

beautiful pictures and their hairiness and especially the flower portraits made in the morning dew.

+the most interesting natural lightening form is the one against the visual direction of the camera. -n

this situation the objects are lightened by the sun from their bac$. The image is full of own shadows and

worn shadows, the lightened parts representing only small areas.

-f this $ind of illumination is used precautiously it creates the most beautiful and interesting photos,

especially from the flower world. Hontrary the heavy shadows of the subjects destroy their structure and

shape, creating dar$ and non valuable shadows.

The analy2e of the three forms of natural lightening met at the same time of a day reveals that thepicture of image depends on the photographing direction related by the incident direction of the solar rays.

The solar light spectrum

A solar light beam )white* passing through a transparent glass prism decomposes itself in a coned

beam, named spectrum, colored in the colors of the rainbow% violet+indigo+blue+green+yellow+orange+red.

The spectral colors are different because of their wavelength' the lower is the one of the violet

radiation, and the higher is the one of the red radiation' the passing from

a colour to another is not net, it is made by a series of intermediate colour

tones, from which the human eye discerns a great number )30+C0*.

The colored light, which consists from a fluctuation of only one

wavelength, is named monochromatic radiation' it is homogeneous and itcan not be decomposed in constituent colours.

-t is interesting to observe that the proportion of the extreme light

vibrations is redviolet G just li$e the one of the octave in music.

6hen the combination of the monochromatic spectral radiation is

made again it has as a result the initial white light. This is made with the help of some converging lens,

through which the obtained spectrum passes.

(rom the seven colors, red, yellow and blue )the colors of the 5omanian flag* are primary colors

because they can not be obtained through mixture' they are given as such by the spectrum. The other four

colors% violet, indigo, green and orange are binary colors because they can be obtained from the mixture of

the primary colors.

The white light can also be obtained through the superposition of only two spectral colors. ecause of

this, the pairs of colors that can recompose the white light were named complementary colors. These are thepairs%

red with green+blue,

orange with blue+greenish,

yellow with blue,

green with red+purple,

blue with yellow,

violet with yellow+greenish.

Iach spectral color is complementary with the mixture of the others.

This way of obtaining the white light by addition of the monochromatic radiations that compose it

represents the additive synthesis )which means by addition* of light.

The colors of solid objects have a physical carrier% pigments' usually, they are colours by subtractions

as the glass filters. (or example, a body appears red because it absorbs every color except the red one that is

reflected.

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A coloured filter absorbs all the colors except his own, which lets it pass. =o, it is transparent for its

own color and mat for all the others that will be absorbed.

All the mixtures of the painter are pigmentation colors, by absorption, their mixture submits to the

substraction laws. -f we mix complementary colours or colour mixtures that contain a certain proportion of

the primary colors )red, yellow and blue* we obtain the colour dar$ grey )almost blac$* as a substractive

mixture )substractive synthesis*. The prismatic colors, non+physical )luminous radiation*, mixed up, give the

white color as an additive mixture )additive synthesis*.

The colour, as an absorption phenomenon, respects the following fundamental principles formulatedby Eewton%

a* a transparent body appears coloured in the complementary colour of the one absorbed and for

which it is mat' if the absorption does not ta$e place, the body is colourless'

b* a mat body appears colored in the color that is reflected by it and that is complementary with the

one that is absorbed'

c* a body that reflects entirely all the radiations appears mat, of white color'

d* a body that absorbs entirely all the radiations appears mat, of blac$ color.

-n the cases of c and d, because a total )white*, partial )gray* and null )blac$* homogeneous reflection

ta$es place, the colors are named non+chromatic colours )uncoloured*, unli$e the other colours that are

chromatics )colored*.

etween the two extremes% blac$ and white, an entire variety of grey tones exist, that result from the

partial and homogeneous reflection of all radiations.

eans of correcting the luminous flux

Bany times, when we ta$e pictures of small bodies in the nature, the light that falls on the subject does

not correspond with the re&uirements because of its great intensity, because of the spots of light etc. -n these

cases we must intervene through some procedures, so that we can correct them.

6hen the elements do not have sufficient light and the objects have intense shadow 2ones of their own

or received from another object surrounding, the supplementary illumination can be done with the help of

some reflecting blinds made from a plywood sheet of small si2e C0 x F0 cm, painted in white or covered with

aluminum foil.

ut, if the &uantity of supplementary light received by the object is still insufficient, it will benecessary to use the electronic flash.

There are some situations when the &uantity of light fallen on the object is too high and it has to

reduced. This can be solved by using the shadowing devices made with different wire frames over which was

placed a piece of gau2e, tulle or another semitransparent cloth. These devices that are placed in the way of

the solar beams attenuate the intensity of the light, producing in the same time a general spreading of

illumination that is favorable especially for the details of the subjects with big intervals of brightness.

(or reducing the light )even the artificial one* we can also use gray filters that are placed on the focus

lens of the camera. >owever, these have a disadvantage' in some situations they produce a much too big

leveling of the light, so that the photography becomes too smooth and the artistic effect is ruined.

-n what the artificial light is concerned, there are fewer discussions. The special illumination is in this

category' it was conceived and created for the reali2ation of the photographic images. -n most of the cases

there is electric light from different shaped illumination bodies with a large variety of intensities, includingthe electronic flash. -f at the existent natural light the photographer has to adept the light because he does not

have the possibility to modify it after his needs, in the case of the artificial light, the photographer creates,

chooses and adepts the light how he wants to, distributing the light and the shadows after his wish, using any

type of illumination composition, from the most diffused light to the most powerful contrasts. >e becomes

the $ing of the world, the creator of the illumines environs that he thin$s is the best.

The intensity and the !uality of light

The intensity and the &uality of light are very variable. There are considerable differences between the

light at noon, in the middle of the summer and the one in the afternoon, in the dull winter, between the bright

light of a reception room and the one from an usual room. The &uality of the light in a morning in spring is

totally different from a foggy morning at the end of the autumn. The combinations between the very big

differences of intensity and the &uality of light a large variety of environments that can suggest a great

number of mind frames and environs characteristic for a season, an hour in a day or a geographic region.

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The photographer has the possibility of maintaining this environment, to amplify it or to destroy it.

ecause of this it is better if he does alone all the procedures, from ta$ing pictures to the finished image,

because he is the only one that $nows

if his artistic intentions obtain the

form that he wished for.

6hat is very important to observe at

the intensity of the light is the fact

that it is produced in certainconditions and intense shadows. ut

there, where reflecting blinds

surround the subject, the reflected

light is much produced and very

intense because of the big intensity

light. This reflecting light falls in the

shadows and illuminates them,

contributing to the reducing of the

contrasts. Honse&uently, the effect of the intensity of the light must always be calculated by ta$ing into

consideration the environment where the subject is placed.

-n fact, at the majority of the static subject or those in slow motion the luminous intensity is not very

important, because a lower illumination can be compensated by a longer time of exposure. ecause of this it

is not necessary such a waste of light for any picture. 6hat is really important it is the care for the &uality of

the light, for the illumines environment that creates itself through the choosing of light, for the level of

contrast that appears in the image, for the right distribution of the luminous sections and of the dar$ ones on

the surface of the shot.

The direction of the light

The direction of the light is maybe the most important element that contributes at the illumines

environment. :nly one example can be given% most

of the light comes from above, from the sun or from

lamps that hang from the middle of the ceiling.ecause of this, a photography in which the light

comes from another place than above loo$s a little

strange, unnatural.

(or avoiding the unusual aspect, when we

wor$ with artificial light we must have in mind this

psychological element and loo$ for a luminous

diagram that has the primary light direction coming

from above, in an angle of approximate 4"o in

relation with the subject which we are ta$ing pictures

to.

The relative position between luminous source

);*, the subject )=* and the camera )A* producesparticular effects. -f the A= direction remains

constant, and ; moves on a circle with the center in

=, then the aspect of the subject suffers substantial

changes. -n the ; position, when ; is exactly on the

A= optic arbor, there are not any shadows, the light is

flat, there is not a sharp relief. After a shifting of 4"o

on the circle, in the ; position, there is a

harmonious distribution between the luminous

sections that represent approximately 3 and the

shadow sections 3' the subject has obtained relief. -t continues shifting on the circle with 4" o and it gets to

;3 position that forms an angle of !0owith the optic arbor. The distribution between the luminous sections

and the shadow sections are e&ual, too rigorous symmetrical for it to be li$ed. (rom here forward ; passes in

the bac$ of plan =, right on the A= arbor and starts the range of the contrary light effect )contrejour* that is

represented through the reducing of the luminous 2one, the increasing of the dar$ 2one and to orientate the

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shadow of the subject to the A plan. -n the ;4 position 3 of the subject are dar$ and 3 luminous' again a

harmonious section is resulted, a sharp relief, pointed out through the subject#s shadow that advances in the

shot. Homparing the position ; with ;4 we can see that the first produces an impression much more

optimistic than the second, which is much somber. -n the position ;" the luminous sections disappear' here

we have the silhouette effect. :n some cases the subject appears surrounded by a luminous hem that

underlines the outline and produces a very beautiful graphic effect.

-n the open air, at the sunlight, the photographer must shift around the subject so that he can obtain the

right environment of angles between the ;= and A= axels. -f the vertical position between A, ; and = is alsomodified, a great variety of luminance directions can be created and they correspond with all $inds of

re&uirements% technical and esthetical. The photographer will choose from all of them, the luminous

environment that will suggest in the most proper way the idea of the image.

The black and "hite photography

(or ta$ing a picture it is necessary a camera and a proper photosensitive material. The blac$ and white

photography has two conditional elements% the photography techni&ue itself and the laboratory processes of

the negatives and the print. The elements that condition the techni&ue aspect of the future images are%

arranging the distance with the help of a telemeter and the

exposure of light that falls on the surface of the film in themoment of the release. 6hen we choose the film we must

have in mind the si2e of the film )depending on the camera*,

but also the fact that the blac$ and white films are different

because of the sensibility and the sensiti2ation. The

orthochromatic films are recorded by approximately half of

the visible spectrum radiations )400+""0 mJ*. >owever, the

panchromatic and the orthopanchromatic films have an

imperfection% the transposition of the colors is not very

rigorous proportionate with the response curve of the human

eye. This can be ameliorated, but with the help of a filter, if

the

peoplethat

want this

$ind of

change

in the photography are not us. -n the blac$ and white

photographs an abstract visuali2ation1 of the subject

ta$es place, because of the color removal. This passing

of the color in a gray shade is exclusively the action of

the photographically emulsion.

:nce the camera is released, on the film is

recorded a latent picture. The picture is not visible' the

film is not presenting any apparently change. >owever,where the light beams have fallen on the silver bromide

from the film emulsion, a wea$ening of the crystal

networ$ Ag+r is produced, namely a brea$ing of the

networ$. y developing, the silver bromide crystals

influenced by the light will turn into silver granules' that

means the invisible latent image became visible, the

negative image will appear K the blac$ and white

negative. The film processing is the second step and has

a great importance because the method of developing is

influencing the granulation and the contrast of the film.

Through developing the producing of the latent image it

becomes the negative, which is due to the action of a

certain &uantity of light energy on the photographic emulsion. eside the &uantity of light, the most

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important factor in the process of image forming is the &uality of light which impress the photo+sensitive

film depending on the its sensitivity.

Thus, the energy of the light is &uantitatively dosed at the moment of the releasing of the camera, but

the &uality of light is acting different on the emulsions with different sensiti2ation, even if they have the

same sensibility. -f in the blac$ and white photography the &uantity and the &uality of the light are relatively

elastic elements, namely the films have rather large tolerance of exposure, and their sensitivity can be

improved by filters' in case of the color photography these

factors are more rigid.

The basic principles of the color photography

At the basis of the modern proceedings of the colour

image reali2ation it is the principle of the visible spectrum

dividing in three primary colors, which in the ma$ing of the

film have three photosensitive layers correspondents. At the

decomposing of the spectrum two methods can be used. The

substractive method, which is an analytic method that

decomposes the white light in different colors of the visible

spectrum with the help of three filters that correspond to thethree primary colors% purple, yellow and green+blue. The

additive method, which is a method of synthesis is the opposite

of the substractive method, it composes the colours by

gathering the radiations.

The sensiti#e photographic material


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The blac$ and white film is usually made of a support, a sensitive photographic stratum and an

antihalo stratum, placed either on the

bac$ of the film, either between the

support and the emulsion. The basic of

the emulsion is the silver halogenure' by

developing you get the silver particles

that ma$e the drawing of the clichL. The

construction of the colour film isdifferent from two points of view% first,

because a triple image is needed, the film

will have three emulsion stratums, and

second,

the

clichL#s

drawing

won#t

be made

of blac$ silver particles, but of colour

pigments. The three stratums are arranged

on a support li$e in the blac$ and white

film situation. The antihalo stratum is

again situated either on the bac$ of the

film, either between the support and the

emulsion. -n the ma$ing of colour films

with three stratums there are two

principles referring to producing the

colour on the three stratums. The first one

refers to the fact that the film with three

emulsion stratums will ma$e the colour in that stratum. This is the Agfa+

color, :56:+color, (erania+color, Deva+color, I$tachrome+color and others procedure. The second

principle refers to the three emulsion stratums films that don#t contain the producing of the colour substance,but have according to the developing process every stratum#s needed colorant' this is the Modachrom

procedure. The laboratory processing of the two $inds of films is completely different. Processing Agfa+

color film is &uite simple, and the developing can be made by amateurs as well, without any special

installations or tools re&uired. Processing Modachrom film is different because it needs special installations

for fastidious wor$ conditions. That $ind of films can#t be processed by amateur, but only in special

laboratories. The :56: film with three stratums it#s a film that has the capacity of registrating the

photographical objects colours with the help of the three different stratums. They are applied on a transparent

and flexible support. Iach stratum is made of a gelatin emulsion containing a silver halogenure. Among this,

in every stratum exists a substance that by developing will give birth to a coloured pigment in one of the

three fundamental colours. The colour photography allows the amateur photographer to ma$e two $inds of

photos% lantern slides for projection, and colour photographies on the paper. (or this, the industry ma$es

several types of sensitive photographic material, such as% reversible colour films, used for the directobtaining of lantern slides without the needing of a copying process' negative colour films that through

developing creates negative clichLs in complementary colours considering the photographical object' colour

positive films that are used for the obtaining of the lantern slides through copying the negative colour films'

colour paper K on this are obtained by copying or enlarging using colour clichLs, colour photographies.

The colour film

The films for the negative and reversible colours of the photography can be classified by the next

criteria% si2e, type, sensitivity. Bost of the producing films deliver the sensitive photographic material in the

next si2es% broad film, plane film and narrow film. The colour films are two $inds% negative and reversible.

7udging from the &uality point of view, the colour films are classified by their sensitivity and not their

sensitiveness, because most of the producing firms ma$e only one sensitiveness at the assortment. -n most of

the situations, the factories produce for the same $ind of film K negative or reversible K two $inds of

emulsions% natural light film and artificial light film. Hhoosing the film by the amateur photographer it#s a

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very important operation at colour photographing, so that this will correspond to the technical exactingness.

The daylight films will be used for the photographies ta$en at sunlight or at the light of the illuminating

bodies of new type% electronic lightening, fluorescents lamps, lamps with mercury vapors. The artificial light

films will be used exclusively at photographies ta$en at artificial light produced by lamps with

incandescence. The most important &uality of colour photography is obviously the delivering of the colours

as correctly as possible. At a very carefully loo$ at the colour photographies, especially when there are

re&uired extremely prLcised results, you can see that the colour photography compared with the

photographical object has two mista$es% the colours don#t have enough brightness and they are not alwaysperfectly naturals.

Types of colour photography

Holouristic spea$ing, the photography must restore the colours as faithfully as possible, meaning it has

to be correctly ta$en. This correct execution technically spea$ing can be made in extremely different light

conditions, creating real colours values, but still unusual for the eye, maybe because of his big capacity of

accepting. Honsidering the intensity of light and the nature of light, you can obtain normal colours, bright

colours, pasteled colours, contrasts of colours, wiped colours, and colours of all shades. All is the creation oflight, and the amateur photographer must $now how to use the situations that are offered to him. ut for this,

he must see, he must discover through the colour and illuminating conditions prism the future image of the

colour photography. The most used film by the photo+amateur is the one reversible for daylight )"C00M*.

(or a long time it has been said that colour photography wor$s better only in the classical illuminating

conditions% strong sun and light from the bac$, at the most lateral. The modern emulsions have proved yet

that in very variate illuminating conditions there are obtained very good results.

$bser#ations and practical ad#ices for the laboratory techni!ue

At the colour reversible films the lantern slides obtained faithfully deliver the natural colours if the

laboratory process is executed carefully. -t#s specially recommended using of original substances sets for

ma$ing the solutions, to observe as exactly as possible the manufacturing schemes, the developing madeonly in the developing do2e with cortex band or with transparent spiral, the washing must be made carefully

between operations for the complete removing of the solutions rests, and $eeping a strict cleaning of the

vessels, of the bottles, of the thermometer, which is very important for avoiding the appearance of the

dominants and stamps on the film. 6hile processing the negative colour film it#s important to respect the

conditions prescribed by the producing factory' not respecting them creates damages to the colours that can

hardly be ta$en off through the filtering. The negative colour films can be developed only one for a do2e,

regardless the si2e' only :56: colour film EH C of 3" mm which can be developed two at the same time,

situated support on a support in the do2e, so that they have the anti+halo stratum between the emulsion and

the support. Ba$ing of the enlargers or the copies on the colour paper is more difficult then in the blac$ and

white process, because of the necessity of ma$ing the correction filtering and of the more complicated paper

processing. (or the amateur photographers that want to wor$ colour photographies on paper it#s

recommendable the using of the original substances sets, fresh colour paper, in a guarantee term, processing

the paper be done in cuvees and on frames, so that any contact between the emulsion and the hand or any

other body be avoided, the correction filtering be executed rationally and not empirically, and in the

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substractive and the additive filtering to be used original filters. At the positive film must be bended the

recommendations made regarding the colour corrections of the colour paper, with the recommendations

made for processing the negative films. As well the positive and the negative films are restored only in the

do2e. Plus, the positive colour films are restored only one in a do2e, because the anti+halo stratum is applied

behind the support.

The mistakes of the colour photographies

The mista$es that appear on the colour films have as main cause incorrect conditions of ta$ing photos

and processing the colour sensitive photographic material. The mista$es that appear on the colour paper

appear because of not respecting the wor$ conditions prescribed in the negative positive process at the colour

paper produce the appearance of the unnatural colours. (inishing the washing can show on different ways

considering the wash. At the paper processing you must have a special care regarding the intermediate

washes. A superficial wash goes to impurifying the solutions, impurifying that changes step by step the

composition of the washes, with the appearance of colours dominants on the photography.

The colour photography re&uires the amateur a small effort in learning the techni&ue, a small moment

of attention during ta$ing the photo, a little of sacrificed time for processing the material K that is of course if

he wants to do it alone and to be sure of optimum results. -n change he gets the priceless gift of some

memories whose colour grows their charm and power of recall. And those amateurs who want to outrun theborder of memories in photography1 can find in the game of colours and in the poetry of shades, new

reuses, which will never end and will bring a lot of satisfactions.

o#ement deli#ered in photography

%hat is the dynamic photography&

-n photography, sports, with all his variated and many aspects, introduced more and more the need of

delivering as elo&uent as possible movement with photographical ways. After delivering the relief in the

three dimensions space, using the perspective effect and the game of light and shadow' after delivering the

colour through the colour itself )in the colour photography* and through the semitones scale from blac$ to

white )in the white and blac$ photography*, the delivering of movement through static ways of expression,

choosed so that the photography will result as truthful and elo&uent as possible, ma$es the third fundamentalissue of photography% the dynamic photography.

The mechanic elements of mo#ement

-n the cinematic K a chapter in mechanic that studies the movement K a body, called body in motion

it#s recogni2ed in movement when his distance to a fixed reference point varies in time. The succession of

the B, B NBn positions of the body in motion at the times t, t Ntn its called trajectory. The slower or

faster variation of the body in motion distance at the point of leaving, called origin, depends of the speed that

this one uses to move on the trajectory so the trajectory and the speed are the two elements that describe the

movement of the body in motion. They are also going to be used for us to deliver photographically the

movement, which ma$es the object of the dynamic photography. -n the photography, li$e in the other plasticarts as well, delivering the movement comes to suggest as clearly and completely as possible that the body in

motion is moving. The suggesting is more satisfactory as it ma$es more obvious the two elements that

describe the movement% trajectory and speed.

The static concept


12/24

According to this concept K old enough, if you as$ K the trajectory, and especially the body in motion,

supposed to loo$ clear, without moving, any obscurity was considered a mista$e, a flaw of the

photographical image made. The result was a stiff image, turned to stone1,

re&uired a special mental effort for her reintegration in the reality. Those $ind of

images were obtained with very short times of exposure, of 300+000 s even

"00+3000 s order in some situations, that were not accessible except for the

devices endowed with special shutter with curtain that made the pride of their

owners. The only bodies in motion with a vertical climbing trajectory, li$e forexample the bodies thrown up, which are photographed in the highest point of the

trajectory )apogee* where the speed becomes null were accessible to the usual

devices easier. (or example% a ball thrown up, the jump above an obstacle etc., in

which the trajectory is suggested clearly, and the speed less, or even at all. The

thing that suggests the movement in these situations is the gravity effect, which

tells us that a heavy body situated in the air must fall down in the next moment, in

this way obliging us to prolong in our mind his trajectory until he reaches the earth. 5egarding the speed, the

tension of the jumper can give us a clue by herself. There are, of course, other situations in which the

absolute clarity is wanted, and even necessary, li$e for example, in the scientific photography.

The dynamic concept

5egarding to this concept, the

obscurity accepted willing and

conscious, and do2ed so that it won#t

harm to the understanding of the image,

suggests the best the two characteristics

of movement. The procedure is very

simple% as the exposing time is longer,

the obscurity is bigger, and reverse.

:btaining the necessary obscurity for the

suggestion of light is accomplished in

two ways. The first method, clear bodyin motion+unclear bac$ground1 is made

by $eeping constant the position of the

body in motion in the frame and it is

indicated when we are especially

interested in the behavior of the body in

motion during the movement. At the devices with a curtain shutter );ei$a type, Ixa$ta type, etc.* following

the body in motion has a disadvantage% if the curtain wal$s in the same direction with the body in motion, his

image will be longer, but if the curtain wal$s the other direction, the image of the body in motion will be

shorter. The second method, unclear body in motion+clear bac$ground1 it#s made by $eeping the device in a

fixed position and suggests the best the trajectory and the speed, still, allowing the most artistic

accomplishments in the dynamic photography.

The clarity of the image

-n reality, a subject isn#t clearly delivered because of some causes that transpose the component points

into diffuse circle% the diffraction of light around the obstacles, the incomplete correction of the objectives,

the granulation of the positive and negative emulsions and the field#s depth of the objectives. The border

from we can distinguish two of that $ind of points it#s called the separating power of the eye. =he has 4

mm, so, if the diffusion circles diameter doesn#t go across that border, our eye will perceive two

distinguished points. y enlarging the negative, this border isn#t enough anymore, being available on the

negative and on the contact+copy from a "cm distance. The clarity condition should be of 30N"0 mm,

meaning f000Nf"00. The obscurity tolerances in private are% 30 mm for small si2e, 0, mm for

contact+copies after the big si2es, f"00 for the big si2es, and f"00 in average for all si2es.

'raming the dynamic picture


13/24

6hen we ta$e close range pictures, the photo object lens with short distance focali2ation

)weitwin$elGwide angle object lens* are very useful, such as fG3." cm, for a 4O3C mm format. The format

of the image is selected according to

the manner of movement% on height for

the vertical movement and on breadth

for the hori2ontal movement )the

movement must occur according to the

long lines of the frame of the image*.As the edge of the frame towards which

the object lens moves is an obstacle to

its movement we must release when the

body of motion is in the frame of the

image, so that we may have enough

space in front of it for following the

trajectory, namely when it reaches the

closest point of the frame. This can be

also corrected by cutting up by

magnifying or copying .6e shall use,

as far as we can the most inferior spot

for ascendant trajectories or for the

ones parallel with the long line of the frame, and the superior spot for descendent trajectories or obli&ue

ones, such as a road heading obli&uely towards us, from the upper left to the lower right of the frame. This

way we can also direct the trajectory following the strong lines of the frame.

The background of the image

The bac$ground upon which the movement is projected should not be short on details because they

ma$e up the reference point of the movement when we follow the body of motion with the camera. -t is this

details that point out the suggestive brush features1 )especially in color photos* of the speed of movement.

-t is better, for obtaining this effect, to use a uniform bac$ground li$e the ground or vegetation.

The perspecti#e of the image

The perspective may emphasi2e on the suggestively of rendering the movement in the following

manner% the bottom to top )frog#s perspective* amplifies the movement, that is why it is recommended for

jumps )obstacles, etc.*' the top to bottom perspective shortens the trajectory and that is why it is not

recommended, and the normal perspective )at the height of the eye* which is appropriate for all movements

on the ground ta$ing place before our eyes.

The title of the image should clearly explain the movement especially in the images with conducted

dimness where the picture, sometimes unclear, can raise doubts and interpretations. The study of the

movement in advance, if possible, helps us to create these principals of focali2ation even in the negative, so

that at magnifying or copying we can easily ma$e the necessary adjustments. :f course, this study in

advance is not always possible, and we have to rely ourselves on our experience and presence of mind.

Setting up

6hen the body in motion draws farther in slow speed, on a linear trajectory, we can achieve precision.

-t is more complicated when the speed rises and when its trajectory is

perpendicular on our visual axis, especially with the unpredictable

trajectories. To solve our problem, we can use the maximum field depth of

the object lens, by close, infinite focali2ation. Almost all modern object

lenses have a field+depth ring that spares us the trouble of calculating if we

do the following% stops are graduated on the field+depth ring, symmetrically

to the reference point of the focali2ation. The ring rotates together with theobject +lens in front of the graduation plate which is placed circularly and

concentrically with the stops. =etting one of the stops on infinite1 in the

plate its symmetry will show us the minimal distance to get a clear image.

3


14/24

6e will also see the distance of focali2ation, near the plate. -f the minimal distance of focali2ation doesn#t

suit us, we repeat the operation by choosing a new value, inferior to the former. :f course, we must also set

the speed of the shutter according to the chosen stop. This way, we used the normal depth+field of the object

lens. -f it is not enough, we set the close, infinite focali2ation.

(hotographing from cars in motion

6hen we spea$ about fix objects, we must ta$e into consideration some rules,

typical of this situation. 6ith the help of the seconds hand of the watch and of the

points of reference of the

road we set the speed of

the vehicles, while it is

$ept constant. 6e must

also give up the subjects in

the foreground, we will

use the close, infinite

focali2ation' we must

ma$e sure that the shutter

of the camera moves in theopposite way of the

movement of the vehicle,

not to lengthen the picture.

9uring the release, the

camera must be held free,

lax. 6ith the subjects in

movement, we apply

Eewton#s laws of

composition of relative

speeds.

(hotographing #ery fast mo#ements

These are phenomena ta$ing place in nature that surpass our perception, due to much greater speed

)the movement of electrons*. The photographical registration of such sudden movement is no longer possible

with common methods because there is no shutter that could allow this mechanism. The problem of the high

fre&uency photo, also called ultra+fast, photo is a great concern of the technicians and of the scientists

because it offers a precious instrument of research of some phenomena otherwise un$nown, as they go

beyond our perception. This problem is the object of discussion of international congresses. The first

congress of this $ind was held in the /.=. in !".

The stroboscopic photo

The fre&uency of the photo can be enlarged by stroboscopic devices )in Dree$ strobosGreel and

scopeinGto loo$* which consisted, mainly, of a dis$ with a window which rotates in front of the object lens

of a camera. The fre&uency of the

photo rises with the speed of the

rotation of the dis$. The mechanism

was created even from by the

(renchman 7.I. Barey, the photo of

this $ind being called a stroboscopic

photo. -n ", Talbot )Ingland* too$

the first stroboscopic photograph and

in !0 the Paris Photography

maga2ine publishes articles about thephotographic analysis of movement. The following are $nown on the

design of stroboscopes% in 3F the Derman :ttomar Anschut2 builds an

electroscope for the stroboscopic synthesis of movement, made up of 4

4


15/24

stroboscopic slides' in F4 astronomer 7anssen photographed on the th9ecembers the passing of @enus in

front of the =un, with a stroboscopic device, obtaining images ta$en at an interval of F0 seconds' in !30

Demershausen and Idgerton improve the multi+flash stroboscopic synthesis.

The stroboscopic de#ices of enhancing the fre!uency of the images

The best curtain shutters of the classical cameras allow 000+000s display similar to electronic

flashes. 9isplay time, shorter than 000s and

fre&uencies longer than 00 imagess belong to the

field of ultra fast photography. The optic compensator

is a modern stroboscopic device of enhancing the

fre&uency of the images which reaches a fre&uency of

000 images on a Cmm film. Another type of optic

compensator is the one reflection which can reach a fre&uency of

"00+0000 imagess. The third device is the one with a rotating

mirror, which reaches up to 3"0000 imagess at 3000 rotationss

of the mirror. -n the Biller device, the real image which forms on

the surface of the rotating mirror is sent to the film with a uses of

a series of object lenses. The cameras based on this principle

have reached fre&uencies of millions of images per second. The

device of the -nstitute of iomechanics of the (aculty of Physical

culture in erlin )5.9.D* consists of a metal dis$ with a window

which rotates in front of the object lens of the camera with the help of an electric motor, being used in the

study of the movement bodies, in sport or iomechanics. The =T5::M-E camera )9r. (rungel* reaches

great performances such as the decrease of the speed of flash, the enhancing of the fre&uency etc. Apart from

stroboscopes, the techni&ue of the in belt photographing is also used. This belt, rebuilt1 thus in successive

stripes reveals all the modifications of the subject during a period of time.

The sources of light

The

body of motion

is sufficiently

lighted to have

its own outline

registered on a

piece of film or

on sensitive

photo paper,

fixed at the

edge of drum

which rotateswith great

speed. ut if

"


16/24

the body of motion is unlighted, it must be lighted with powerful sources of light, of very short length. (or

that there can be used electrical spar$les produced by the discharge of a ;eyda container or an electric

capacitor of great capacity with an extremely short duration+less than a millionth of a second+allowing thus

very short expose. This techni&ue is called photographing with the use of spar$s1.

The shutters

Presently, there are $nown two $inds of shutters% electronic and electric shutters.Ilectric shutters are based on light polarisation obtained by natural passing through a polari2er.

etween two polari2er with crossed axes, two phenomena are produced when the light passes% electro+optic

)Merr* and magneto+optic )(araday*. The first shutter has a few micro+seconds lighting length and the second

are only few macro+seconds.

Ilectronic shutter are based on photon K emission produced by some metals constrained on an electric

field in vacuum.

allistic photography

allistic photography means the photographing of a mobile in a very fast movement. The notion

ballistic1 applied to photography especially reefers to the recording of small missile image )bullets for

example* in their moving on the trajectory.

Ilectronic stroboscopes for scientific purposes are used by the researchers laboratories, they are very

complicated and also expensive, have a maximum precision and they are used for the movement analyse.

They can emit flashes at large intervals and also at a very fast succession. Their light power is decreased,

that#s why they are used at a few decimetres, respective centimetres distance from the subject, with an ultra K

fast film.

C


17/24

(or photographic and cinematographic purpose a 0 flashessec fre&uencies scale is sufficient for

human movie recording and so far objects of common use.

The 4+ flashes sec fre&uencies ma$e the best results. The length of flashes such a lamp is "000+

C000 sec so they are not good for amateurs.

The paper =tudio stroboscope1 points out the new

appearance of a studio stroboscope, due to the director anerdo

from Photo+Ilectronica company in @erona.

=tarting from the arco+xenon flash with permanent light of

this company, it was added in series a power supply which ma$es it

to action with ,3,4+ flashessec, for a non limited number as

seconds, being used in photographic studios.

Stroboscopic techni!ue

(irst stage in the recording of a subject movement is the

lightening of the subject.

-n many flash stroboscopic syntheses, the mobile parts of the

subject will be lightened by many times, but each time in otherplace, while the fixed part of the subject will be lightened in the

same place. After several experiences, the power varies between

0+F0 7oules, corresponding of a 30 guide number of the flash, for

a colour film of ! 9-E degrees )C4 A=A degrees*.

The bac$ground of the image must be a blac$ one, a very

difficult thing to be achieved, ten flash+lamps could transform in

light grey, the most blac$ wall or paper, if its distance wasn#t ta$en

into consideration. < ED number it is calculated the

critic diagram, necessary for a correct way to record

the bac$ground, ta$ing into consideration the number

of lamps used for having a non K corresponding

exposure. (or doing this, the flash must be placed on a30+4" degrees angle with the plan where the subject

will move. The images fre&uencies are based on some

factors, as subject movement, flash+numbers of the

lamps, and the flash length.

The distance that shares a presence from other

one is not related by the image field si2es, but it

depends on the subject speed or lighting fre&uencies

or on both ones.

(or realising true stroboscopic images, the

movement at the subject must be rhythmic, periodic or

repeated. (rom the movement rhythm point of view, it is possible that only a part of the subject to be in

movement, setting al a clear point and better lighting, the mobile parts and having the immobile parts morediffuse and obscure.

F


18/24

Also, only a part of the subject could have a rhythmic movement and the others un untidy one. -n this

case, the part in a rhythmic movement will be harmonious, the other point being vain.

;ast but not least, the subject movement period could not be the same as the stroboscope functioning

period.

(ractical applications of dynamic photography

Ixcepting scientific purposes, dynamic photography )including the stroboscopic one* has alsopractical applications, for example the

creating of suggestive images for

presenting and recommending industrial

products )advertising photography*.

=uch of photographies must show

first the truth, for being convicted. The

movement must be shown in all its faces

and must be $ept the best moment

especially for what we want to suggest,

contrary, the image gives the impression

of a false one, and the felt insatisfaction

reverses on the product. That#s why the launching must be done at the best moment' doing it earlier, the

image will give the impression of a false.

'raming and setting

up the image

-n close range photography

framing must be made very

carefully. =mall objects re&uire very

strict framing, because afterwards inthe positive process, through cutting

up, eliminating the unimportant

2ones is difficult, the subject ta$ing

up the entire picture.

The image perspective is very

important for the composition. The

numerous possibilities that are

available in close range photography

referring to angle, light and the position of the subject can be used to give the picture a sensation of harmony

and relief. (rom this point of view it is interesting to $now that a geometrically correct perspective, obtained

with an object lens with a big focal distance isn#t always satisfying. -n many cases it is convenient to give up

a rigid perspective upon the subject#s plan because the optic axle is perpendicular on it, thru a modificationof the photographing angle.

-n some situations we can

even decentre the object but

in the same time

maintaining the parallelism

between the image#s plan

and the object#s plan.

6e must $eep in

mind that a correction of

perspective cannot be


19/24

obtained unless the depth is damaged and vice versa, a better depth cannot be obtained without damaging the

perspective.

After a good perspective is obtained, the necessary depth is ac&uired and an object lens with an

appropriate focal distance has been chosen, we will proceed to the framing itself, respecting the composition

rules and our own taste of course. Eext we control the light distribution on the whole picture and setting it up

on the mat glass of the camera.

Hontrary to a wrong opinion, image control on the visor lens isn#t the most efficient way to set up the

picture, because no matter how fine it is, because of it#s granulation it always determines diffusionphenomena that prevents a good delimitation of the images most refined details. -n conse&uence it is

preferable to replace the ordinary visor lens with a special one. Among the best it is recommended to use the

(ressnel micro points and rings lenses or the ones who have a clear area in the center.

-f none of the above is accessible, you can use an ordinary visor glass on which in the center area the

caul$ing effect is eliminated by applying a drop of Hanada balsam.

The image from the visor lens, in the case of big scales, must be regarded thru a magnifying glass

which must enhance the central area and allow a better set up.

=etting up at big scales isn#t reali2ed only thru the objective, but also by moving the camera or the

subject closerfarther from each other. -n these situations the camera is installed on a device that prevents

trepidations and maintains the camera in a fixed position from the subject. The ring objective must be set to

infinite, a position in which the lenses are close and they confer the objective the maximum &ualities

concerning the applying of corrections.

The setting up must be made on distinct and well lighted contours, using especially the accents of light

and the demarcation lines between the surfaces with different tonalities. As closer as the subject is to the

camera, as big the concern to cover him with the clarity 2one of the depth must be. -n macro photography,

depth is a difficult problem when the subject is at a random field depth. -n these situations the setting up plan

is appropriate at the beginning of the second third of the subject.

The definitive set up, if it is possible due to the poor illumination of the image, must be made with the

same diaphragm which will be used when the photo is shot. -t is good to $now that at the variation of the

opening of the diaphragm ta$es place a slight modification of the focal distance between the limits, which in

most cases isn#t favorable to big scales.

*epth

The main problem which arises in short range photography and macro photography is depth' because

it#s very low values resulted from increasing circulation are hard obstacles to beat in the case of maximum

enhancement rapports.

Practically, field depth is evaluated thru direct observations regarding the image and concerning the

distance interval in which all the objects in the picture are reproduced clearly, for a certain setting of the

objective. -n other words, the bigger the interval in which the objects are reproduced clearly, the bigger the

depth.

6hat is interesting and worth

remembering about depth is the fact that

regarding the setting up plan it is

manifested une&ually, being smaller inthe front and bigger in the rear. This

une&ual manifestation of depth has as a

principal action in the case of

photographing subjects with field depth

the fixing of clarity in a plan situated at

the beginning of the second third of the

subject. Thru a proper diaphragmation,

the extension of the clarity for the first

plan is made concomitant with its

extension for the posterior plans.

9epth isn#t conditioned only by

the diaphragm used, but also by these

factors%

!


20/24

+the focal distance of the objective' the smaller it is, the bigger the depth and vice versa depth is

smaller when we use objectives with big focal distances'

+setting the objective for a certain distance% setting the objective for big distances of photographing

favors obtaining photos for a bigger interval of clarity' the smaller the distance from the camera to the

subject, the smaller the depth.

+. Calculating

(or depth calculation it must be ta$en into consideration that the diffusion circle diameter varies

depending on the increasing the negative will support. This diameter is 0. mm for the negatives used in

contact copying and decreases to 0.0 mm for the negatives used for extreme increasings.

The depth could be calculated by the following formulas%

p G a)Qnd)a+f*fR* and pG a)+nd)a+f*fR where%

a K frontal distance'

d K diffusion circle diameter'

n + luminosity of the objective lens'

f K focal distance of the optic system'

p K distance between optic plan and anterior limit of the clean field'

p K distance between optic plan and posterior limit of the clean field'The dept decreases very much when the enlarging of raports increases. (or this, macrophotographies

which decrease the enlarging raports 3% must have a very small thic$ness, less than mm, because how the

diaphragm would be larger, the depth won#t increase.

-t must be ta$en into consideration that in normal objective lens the largest resolution power it will

obtain by closing the maximum diaphragm opening with +3 values.

=pecial objective lens, the microphotographic and apochromatic ones present the largest power for

separation in very closed to maximum opening diaphragms.

9ecreasing the diaphragm opening over these values which give the maximum decreasing efficiency,

the clearness of image decreases, due to the diffraction phenomenon. (rom this point of view it is not

possible to establish some general rules over the imposed limits by the diffraction phenomenon.

ut we can avoid this thing, if we $eep notice of the fact that these limits are influenced by several

factors% the increasing of the negatives, the details and si2es of the subjects, the separation power of the usedemulsion, the focal distance, the type of the objective lens. (or this reason, the chec$ing of the phenomenon

must be done separately for each case.

. The increasing of the depth "ithout diaphragm

6hen the depth can#t be increased by diaphragm, due to the diffraction phenomenon, the increasing of

the depth can be obtained with the aid of special built cameras which permit bending the setting up plan and

the one of the objective beside the optic

axis.

The modifying of the parallelism

between the plans leads to an une&ual

increasing of extension, being bigger for

the closer points of the subject and

smaller for the farther ones. The setting

up plan is not perpendicular on the optic

axis so it confounds itself with the plan

where there are the main elements of the

objective, so it reveals very clear.

All the setting up operations are

made under control with the aid of the

mat window. 6hen the depth increases,

the exposure time decreases due to thenon diaphragming.

0


21/24

-f in this situation the depth is not sufficient, the objective lens will be diaphragmed for the obtaining

of the desired clearness.

Honcluding, the increasing of the depth necessary for the large increasing scales, mustn#t be pushed

over the limit where the diffraction phenomenon starts. Although, if the depth is too small, there is necessary

to use special studio cameras with the possibility for bending the optic plan and the setting up one. 7oining

the advantages of these devices, with the ones of the microphotographic objectives assures the revealing at

the best conditions of the subjects at the large scales of reproducing.

The film

Although many time this $ind of subjects could be approached with a medium sensitivity film )+0

9-E*, the experience of those who wor$ in the existent light proved that it is smarter to load the device from

the beginning with the most sensitive film. :n the one hand, it wins a plus of diaphragm or exposure, by the

other hand these films, having a less contrasting gradation could get through the great contrasts met in the

most of cases.

>aving the camera with a highly sensitive film, the photographer can wor$ freely, not being disturbed

by a micronic setting of the clearness or not being limited at only some compulsory light angles or at some

speed movement in the bac$ground. This freedom in moving always reverses in a favourable way over the

artistic &uality of the image.Eot all the films possess in the same way a reserve of sensitivity, for permitting the calculation of the

exposures on a larger number of 9-E. That#s why the must be they must be also chec$ed from this point of

view. There will be done tests with different $inds of films, chec$ing precisely the reserve of sensibility at

different types of light% day light, incandescent bulb light, neon light, very popular today.

*e#eloping

y ta$ing photographs in difficult conditions, often filled with surprises, the photographer needs to be

prepared for anything upon developing. Timed developing is often excluded. Preferably use the controlled

developing method at the dar$ green filter. esides the regular developer, the photographer will also $eep

handy a paper developer and, if pessimistic, a powerful al$aline developer containing caustic soda )although

the latter will only be needed in cases of serious exposure errors*.-f it is already $nown that the film has been underexposed, it is recommended to start developing with

the developer at a higher temperature% +3SH, thus substantially reducing the developing time.

9ue to the often too long developing times, the film will be developed only in the tan$, so as not to

expose it to oxidation by contact with the air or fogging. Throughout the developing process, one will

alternate the agitation of the film with the pause, the rhythm being of approx. " seconds of agitation for

each minute.

=tart developing with the 93 developer. The first chec$ will be made after +0 min. -f the developer

has started to act, continue developing in the same developer, by carrying out regular chec$s until the film is

fully developed.

The latent image on film becomes visible through a process $nown as developing K the application of

certain chemical solutions whereby the film is transformed into a negative. The process by which the

negative is turned into a positive image is called printing' the image is called a print. The film is developed

by treating with a reducing al$aline chemical solution, $nown as developing solution o developer. Thissolution reactivates the process commenced by the action of the light when the film is exposed. The effect is


22/24

to continue the reducing of haloids silver crystals wherein the metallic silver has already formed, so that the

large silver particles might form around the minuscule particles that carry out the latent image.

As the large silver particles start forming, a visible image becomes apparent on film. The silver

thic$ness and density stored in each portion depend on the &uantity of light received by such portion during

exposure. -n order to stop the developer#s action, the film is immersed into a light acid solution that

neutrali2es the al$aline developer. After rinsing, the negative image is fixed, the haloids silver crystals

residues are removed and the metallic silver particles are stabili2ed. The chemical solution employed for

fixing is usually sodium trisulphate, but ammonium or potassium trisulphate can also be used. This anti+fixing solution is then used to remove any fixing trace on film. The film must be thoroughly rinsed when the

fixing residues tend to destroy the negatives in time. -n the end, the immersing of the processes film in a

rinsing solution contributes to a uniform drying and prevents the forming of water stains and stripes.

Printing is achieved by any of these two methods% contact or projection. The contact method is

employed when we want prints to be exactly the same si2es as the negative. They are made by putting the

emulsion part of the negative in contact with the printed material and exposing the two together to a light

source.

-n the projection printing, the negative is first of all placed in a type of magnifying projector. The light

passes from the negative through a lens projecting a magnified or reduced image of the negative on the

printed material. The process allows the photographer either to reduce or increase the &uantity of light falling

on certain portions of the printed material. Mnown as a tric$1 or as a burnout1, these techni&ues render the

final print either brighter or dar$er on selected portions.

The printed material employed in the process is a type of photographic paper whose composition is

similar to that for film developing, but much less sensitive to light. After exposure, the print is developed and

fixed through a process &uite similar to that employed for film developing. :n the finished print, the portions

exposed to most light are reproduced as dar$ tones' the portions reproduced as bloc$ed by negative lighting

are reproduced as light tones, while portions exposed to moderate &uantities of light are reproduced as

intermediary tones.

Holor prints and color negatives are made either by the projection method or by the contact method.

The color transparency prints may be carried out directly by projection, using the Hibachrome or Type 5process, such as 5+3 from Moda$ or Type 34 from (uji. Alternatively, color transparencies can be printed by

carrying out an intermediary negative, or inter+negative, which can then be printed by contact or projection.

A third color printing process, called color transfer, is considered more complex and is generally used for

professional wor$.

Positive color transparencies and color negatives are printed on multi+layer emulsion paper containing

color forming agents. Ixamples could be the (ujichrome Type 34 process and Moda$ I$tachrome, which are

used for printing from color transparencies' and I$tacolour, (ujicolour and Agfacolour HE Type A, which

are used for printing from negatives. These papers are developed in color forming solutions without a

reversible process. 6hen carrying out such color prints, exposure errors are minimi2ed by varying the print

exposure time. The color balance is controlled by adjustable filters at the end of the magnifying device, in

between the light source and the negative.

-n the color transfer process for carrying out color prints, a dividing negative is prepared for one of thethree colors% red, green and blue. These color dividing negatives are either produced directly from the subject

in a single+use device, nowadays a relatively out+fashioned techni&ue, or else indirectly from the color


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transparency. Eegatives are then used to produce embossed positive images on a gelatin sheet $nown as a

matrix. Three positive matrices are produced% one is immersed into yellow paint, another one in fuchsine and

the third one in cyan. After absorption, each matrix is printed through a special easel ensuring perfect

alignment or framing so as to form a complete color image.

T-C/S 01* C$2$- 0G3 S(3C'C 3''3CTS

Any tric$ obtained on blac$ and white photo+sensitive materials can also be carried out on color

materials. The color enhances the expressiveness of effects, it

adds value to

them. >owever,

some tric$s

consist of

chromatic

distortion effects

and can only be

perceived bycolor, being

specific to the

color image.

=uch tric$s are usually achieved on special photo+sensitive

color materials. >owever, some can be obtained even on blac$

and white photographic materials through special treatments,

such as toning or chromogene bleaching.

Successi#e photography by changing the color filters

The procedure consists of multiple shooting of the subject at various time intervals, with various

colored filters. The images obtained through this procedure are characteri2ed by a strong chromaticdise&uilibrium among the colors of the moving and static objects. 9ue to this exposure manner, objects in

motion are captured in various places and each time in a different color, while static objects are additively

impressed in the same film spot. The procedure may be carried out on any type of color film and with any

type of colored filters. >owever, in order to create a shoc$ as poignant as possible, we need to use filters

with transmission strips as strict and special as possible. (urthermore, we need to choose a convenient

composition wherein the mobile element should have the main role in the frame and a relatively stronger

brightness. The triggering moment of the exposure must coincide with the climax of modifying the situation

in the frame' it must be anticipated by the photographer. Holor strobo+photography may also be considered a

particular case of this procedure.

Color strobo4photography

The process follows the decomposition of the

subject movement into several distinct phases and their

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recording in various taints of color, on the same photogram of the negative. Holor strobo+photography allows

the carrying out of very interesting effects. /nfortunately, &uite a number of photographers, preoccupied by

the solving of the complex technical issues raised by this procedure, ma$e the mista$e of treating the

decomposition of movement from a strictly technical point of view, captivated by the technical performances

of being able to stop1 the fastest movement. -t is often forgotten that the very $eeping of the dynamism

sensation and movement continuity brings an extra expressiveness. =troboscopic photography generally

re&uires the solving of certain very complex technical issues, such as exposure fre&uency, subject obstruction

and elimination systems. Holor strobo+photography as a tric$ procedure renders things even morecomplicated, because it aims at highlighting each moment of movement in another color.

Con#erting the black and "hite images into con#entional colors

Honverting the blac$ and white images into conventional color images may be achieved in several

ways. There are four distinct technical procedures, on the basis of which the most varied and interesting

variants of color tric$s can be achieved. esides the classical procedure of separating and transposing gray

tones on color photo+sensitive materials, two original procedures are also described, representing 5omanian

contributions to the enriching of creation means in photographic art% 9eflectography1, a procedure designed

by eng. Holoman :ndrejcsi$ and the Holor 9B1 procedure, designed by eng. 9umitru Boro2an.

n#ersing colors

y employing a counter+pattern procedure with color separations of the color images, the original

colors can be modified as one wishes, even without introducing any color dominant in the gray tonalities of

the image. Three color selections are extracted from the original color image, with the help of three strict

color filters, namely indigo, green and red on a special blac$ and white panchromatic material.

Chromatic effects achie#ed on black and "hite photographic materials

@arious mono and even polychrome effects may be obtained on regular blac$ and white photographic

materials with the help of special processing treatments K such as toning or chromogene developing.

Fotografia Color Engleza

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