~

on Ine cover is an exam-

retICulation. process. The
11 110Pldduce a speci'al
n here as a pat-
ound Another photo
~Ion page 188 shows a
"U! ou. Id. For more on this
I'((\lo 172. Photo by
I nncn, Kodak Re-
lory

,
 FOR YOUR SAFETY
Care is required in handling all chem-
icals. Photochemicals are no excep-
tion. For example, it is advisable to
wear protective gloves to prevent skin
contact with many photographic
chemicals. Safe handling information
for a particular Kodak chemical can
ordinarily be obtained from the prod-
uct label, the Material Safety Data
Sheet (available from Publications
Data Services, 343 State Street, Roch-
ester, New York 14650), and Kodak
publications such as Safe Handling of
Photographic Chemicals (J-4) and
The Prevention of Contact Dermatitis
in Photographic Work (J-4S).

Standard Book Number 0-87985-309-3

Library of Congress Calalog Number 73-87110
© 1983 Eastman Kodak Company, Third Edition
1973, First Edition
1975, Second Edition
 Page Page
chapter 4
PRINTING WITHOUT NEGATIVES . 90
Illlrodllotiotl 11
Photograms .....................•....................... 93
Aoknowlodgrnonts 15
Black-and-White Photograms . 93
Color Photograms . 93
hapter 1 Paper Negatives . 97
ONTROl TECHNIQUES. ................. .............. .. ... .. 16 Printing Slides ..............................•............ 101
Printing In 22
Printing In with a Glass Negative Carrier. . . . . . . . . . . . . . . . . . 22 Chapter 5
Local Flashing 22
COMBINING BlACK-AND-WHITE & COlOR . 102
Dodging 24
Dodging with Matte Acetate 24 Toning . 106
Dodging with a Glass Negative Carrier 26 Processing Prints for Toning . 109
Dodging with Dye 28 KODAK Prepared Toners ,.' ,, 109
Dodging with Filters 28 Using KODAK Toners , ,. .. 110
Masking 31 Mixing Your Own Toners • 114
Contrast-Reduction Masks 31 Producing Red Tones. . . . . . . . . . . •. •• 120
Area Masks 32 Producing Multiple Tones . 121
Contrast-Increase Masks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Recommendations for Toning KODIIK Ilnpol '11111' I1I IIII( loners 123
Reducing 34 Printing on a Monochrome Color Papor ..... 124
Reducing Films 35 Printing Color Negatives in Black-and-Whlto .••• 126
Reducing Black-and-White Prints 36 KODAK PANALURE Paper . 127
Intensification 38 Making Black-and-White Negativesfram Slid 127
Intensifying Black-and-White Negatives and Transparencies. . 38 Printing Black-and-White Negatives on Calor PIlPUI 129
More Information. ............................. ... .. .. ... . 40 Adding Color Later ,, . 131

Chapter 2 Chapter 6
IMPROVING COMPOSITION & APPEARANCE OF PRINTS ........ 41 CREATING HIGH-CONTRAST PICTUR,;;o ...............••...... 140
Vignetting ,. . 43 Using High-Contrast Films , •..••.......... 150
Printing Several Images with Vignetting ................. 45 Selecting the Film .....................•...•.......... 151
Diffusion 45 Retouching High-Contrast Films ...............• , •...... 153
Diffusing the Whole Print Area 45 A Variety of Uses for High-Contrast Films . 154
Diffusing Selected Areas of a Print 46 Prints and Slides ,., . 154
Distortion 46 Titles . 159
Convergence Controls 49 Creating a Bas-Relief ................•................ 161
Distortion for Creative Effects 50 Creating a Tone-Line Negative . 163

hapter 3 Chapter 7
ATING NEW PICTURES FROM OLD NEGATIVES & SLIDES.. 56 172
RETICULATION
Texture Screens 60 175
Simulating Reticulation with Texture Screens .
Commercially Made Texture Screens . . ..... ...... .. .. ... 60 177
Reticulating Black-and-White Films .
Making Your Own Texture Screens. . . . .................. 68 180
Reticulating Copy Negatives .
mbinatlon Printing 72 Color-Negative Films . 185
Adding Clouds to a Sky . . . . . . . . . . . . . ......... ... ...... 72 Reticulation by Inspection . 188
Combining Images for Creative Effects. ......... .. .... ... 76
Special Effects from Freezing . 189

7
 Page THe PROCESSES COVERED IN THIS BOOK:
IZATION & THE SABATTIER EFFECT . 190
'110 Sabattlor Effect in Black-and-White . 195 Page
Process
Prints . 195
Film . 197 1)1lIIUIIIl) with Matte Acetate . 26
Il1e Sabattier Effect in Calor .' . 212
Mrll<llI(J Masks . 31
Prints . 214
Slides . 219 II(Jlillclng Films with Farmer's Reducer , , 0 0 , •••• , , 35

IIIH/lInlng Prints with Farmer's Reducer " 0 •• 00000 ",. 0 ••• ,

38
Chapter 9
IlIlol1slrylng Black-and-White Film 40
POSTERIZATlON . 230 0 0 0 , 000' 000' 0 , , •••• ,

Posterizing Technique . 237 COlllblnation Printing from Separate Negatlv()" 0 '" 0 0 0 0 0 0 , , , 0 0 ••••
7
Tone Separation . 238 97
Mnklng Paper Negatives. . . . . . . . . . . . . . . . . .. "" 0 0 0 0 0'.·'······
Posterizing Black-and-White Prints . 240
Posterizing Color Prints . 244 IJt1lng KODAK Toners ,', .. 0 00 0 0 0 0 0 , •••••••••
110
Printing a Color Posterization . 244 114
Mixing KODAK Hypo Alum Sepia Toner T-1 a .. , 0,000 0' ••• •••••••
Printing Posterizations with Homemade Color Negatives . 250
Posterizing Color Slides . 253 Using KODAK Hypo Alum Sepia TonerT-1a 00'. 0000' 0 0········
114

Mixing and Using KODAK Sulfide Sepia Tonor T-7(\ . 0 0 0 0 0 0 0 ••••••••••

115
Chapter 10
Mixing KODAK Polysulfide Toner T-8 0
116
GUM-BICHROMATE PRINTING . 264
lJolng KODAK Polysulfide Toner T-8 , .. 0
116
Preparing the Chemicals and Paper . 268
Mixing the Emulsion . 268 Mixing KODAK Gold Toner T-21 0 •• 0
117
Printing on Gum-Bichromate Paper . 268
t Jolno I<ODAK Gold Toner T-21 , 0
118
Developing the Print . 269
Using Multiple Colors and Negatives . 269 Mlxll1(1 fine/ Using KODAK Blue Tonor I i'n . , , .. 0 0 •••• 0 •• 0
119

Illoc:onnlll(J Illgll contrast Films 0 0 0 ,

152
Chapter 11
Ilollmrllltlll[l I3ll1cl< and White Films . 180
PHOTO SILK-SCREEN PRINTING . 273
I tollclrllIlllllI Colur Noonllve Films .. , 185
Cleaning the Screen : .. 277 0 0 0"" 0 0 0 • 0 • , , 0 •••••••

Preparing the Photographic Image . 277 1lllllGlIlllllol1 IlY lnupnotlon ,... ., . , •. 0 " ••••••
188
High-Contrast Images . 277
11)1)!,IIIHlttllll I IIIH;1 wlllll<OI)I\I< 1'01 YCON 11tl\UI I'IIPIII , .. ,', . 196
Continuous-Tone Images . 277
Transferring the Image to Hi-Fi Green Film . 277 1110~;IIi1(1ltltl/ I lIocl wllh 1(01)1\1( III tHi X 1'11I11'11,11 ,. 0 , , •••••• 197
Exposure . 278
Hnl>nltllll I IIIH:I wlth KODAI( Conunorclnt
1'1111 Lltm G I r, , , . 203
Development and Washout . 279
Adhering the Film to the Screen . 281 IIHJ nnlHlttlor I fI(Jcl wlll: KOi)AIIIII 011110l llm ?G5G, 'type ~l , , . 209
Printing . 281
Applying Several Colors . 283
lhu !,nIHlttlor I'[[ocl wlth I(OI)AI< I I( IACOt on 14 nc and 7fll fljJor 1
. 218
More Information . 287 l hu Gnllillllor L rroct wlll1l<OllAI( VI 11ICOLOn Print Film 1\ 1I I
(LHI AI\ lhlck Baso) .. ,.,.,, . 219
M INFORMATION . 288 1'(H,lmlzll1(J I1lack-and-WllIto l'llllto " . 243
nomoving Fixer Stains from Clothing . 288 249
1'(Joltll'lzllHl Color Prints ,"", , .
lornparature Conversion Chart-Degrees Fahrenheit
to Dogrees Celsius . 289 l'ont()rl.'.IIl~J Color Slides , . 263
I\IlY Questions? . 289 272
Gum Illchromate Printing .
KOI ll\K nook 289
Photo Silk Screen Printing . 287

11 9
INTRODUCTION

l hln hook Is for people who have mastered the basic darkroom techniques, such
11\IJI(Jllllssing film and making high-quality prints, It will Introduce you to new
plllJlII[JIHphic techniques and stimulate your croatlvity In Iho da: kioom , Creative
1l1ll/If()Om Techniques will help you make betto: 1'1'11118 Ir0111110(lilllv(JI, VOII already
IHIVII, nnd show you how to create new picturou I/Om IIHJlHJ 11IJllflllvll!, You can
1:111111>1110 the techniques presented here in any WilV V()1I1 IlIlfllllllllllilll 1IIIIIels for a
l;olllll1ulng variety of new pictures, The posslbllltlun 11111111111I1i
You'll learn several ways of reducing r.()IIIII1I~1 I11 Vlill! 1'11111,\,IlIld IIOW to
1II1[HOve the composition and appearanco 01 VClIII [1111111"" IIV VIWIIIIIIIIU, dlllu-
';lOll, and distortion techniques.
You can create pictures in your dariW)(JIII wlllllIlll 11';[11\11I II0{lllllvl), One
ohnpter explains the art of making phOI()~IIfIIII!I, 111111,11111 "'i
I 11111llJllllllvus, and
pllnting slides.
Have you ever reversed the system and 111111111 I 1111111plllll IIUI11 a black-
md-wnlte negative or a black-and-white prlnt 11011111I 111111 11111[1 ulvu? It's possible
10 add color to the black-and-white prints YOII'VI ,1111IIIV IlIflci(J nnc to print
hlnck-and-white negatives on color paper. You cnn III U I 1(1I111!1I0W pictures by
lining black-and-white and color negativos 10(Julll()11
Iligh-contrast films offer you anothor crontlvo (tlllllll III 1111)dl1i1lloom, One
chnplor 01 this book is devoted to 1110many WflYU 111111 Villi dlil Ilhl1 Iiltlll contrast
1IIIIIn 10 make old pictures bettor or to rnako 01<1plctuuu: IlIlrl II11W 111111',
/\ tochnique that has regail10el populfllllV IIJC)IJIIIIV I'J Illr ',"1111111111 Illoct,
!:OIIlIlICll1ly cauod soterizetion. f3y ruoxponlnq 111111'1 ClI 1"1[1111 "11111111IIlJvolop-
11111111, VOII cnn produce both a I1O{j1l11VII 111111 11 [lIIIIIIIvIJ IIIIII!!" I11 V"III plotures.
IlJflllI how to produce these sulklnu 111111 111111"11111 1'1, 1111111, III 1111111 hlnokand-
whltu und oolo: bV I'ondlng tho ClHlplll1 111111111 "111111111111 I ,,(,ri!,
III 11111r,IHlI'IIII on rotlculatlon, VIIII'II IIlId ('1.11IIt'IW It, [JIIIII1WIl I1 built-in
tuxtur« 'II.IIJIIII III VOIII ncqatlvoe. TIIIIIII", ,dllll /I ",Ut;11111I1111IIIIW III IIIIII/U nega-
tlVII'i illICI '1IId!)!! 1111,lIl/lln lrost pollolll'l 1/11 11111'1 YOL;, 11\11Wllil I,IIIIW!, whnt excit-
1IIlIII11W [111:11111111 vou IlIfly bo ablo to clodlld
IIV 1/1,1111IIHI'oIIIIIIIIII011, you CHII {Ilv(J VillI! plilJlol)lllpiJ','IIIII'J\11I IIko appear-
11)(;11wllllll Will IIlv(I 1III1I1lllllc IJlllplHlnl'i III 110111(J1'11.1111"'1 11111chapter on
POUIIHIIIIIII)JI will 11111Villi how 10 POUI(J11/1JVIIIII (JXI:lI111(1IllIlI'llIvlJll find slides,
\1111It id'llI 1'lclll<lW, 1I111111'IVWIIV III IIHiI<o 1I111111pluOXpO:0111 IHl wllh 11camera that
wlIlI'l 1IIIIIIIIu oxpouo:
(111111hicluomnl« [lIIIIIIIIIII!i nnnthor okl tochniquo whlrh l: IJocoming popu-
1111(11]11111. You'll 1011111liow III 1IIIIko your own photoqrnphlc paper which is
dlJvlllopllil I" watorl WIlII ~I"III IJlc;IllIlI118l0, you can print III hlack-and-white or
I 111111, "lid you can comblno :,IIVIlIfII lmaqes on the samo paper.
"IHllo silk-screen prlntlllU, n combination of photography and graphic
utn, oluus an additional aron 01 uxpression for the photographer, Using this
pi (JOIHH1,you can make inexpennlvo multiple copies 01 the pictures you produce.
11110book will give you somo loons on how you can create new and interest-
Inn photos in your own darkroom,

11
c:i
cc
'"
Q)
Cl

'"
a.
c
.s
0;
N

'2
(J)
o
Cl.
 ACKNOWLEDGMENTS
We would like to thank the many peopla w//O r:tJlIlIl/llIl(l(I/(liltl': /1/111
information for this book. Members olll/() 1'/lIllol!l/I,,/1/1 1,11I'/lIly

tC+7~i'i -," - x L...,.Q@e®®~~,

-
of America shared the photographic 1001/11/(11111"
tried and found successful, and many l(oi/u/l 111111/1111
/lIIIIIIIIIY 1/lIVIl
11/1111
technical expertise. Professor Jamos I Mr.MII/11111 ,11.,1111111
"I! /I /I III

Rochester Institute of Technology, was nI/I 111111111/1' 11/11111111 /1/1/11I/11:1

to students who are experimenting will I IIOW /f/I I" 1/1/"1p. "111//11
gathering student pictures for use In 11i/1:11011/11/11'.111111/1 I 1111/(11/01
have evolved without the votunuu Y 11·,.':/.'.101111 " 1111I/lII/Y
photohobbyists interested in holpllHI Oll,f//. I, I 1/!lIIIIO/I
enjoyment from their II()/J/I~

ARTHUR ALEXANDER

Creating High-Contrast Pictures, page 140. Combination Printing, page 72.

WE WANT TO HELP YOU MAKE GOOD PICTUR

This book explores many different photoqrnphl: 11)(III Ilql /1-" lilt! ," Id IIOW-
which you can use to get good pictures. 11yllll IUlvlJ IIIIY '1'-"",11/11111ubout the
lechniques described here or about any phnuo 01 pi \111/1\11''1 lily, wllll1 III us. We
have the answers. Our staff of photographic SIl(l(;lldhl', III /lVlill,,1111I In nnswer
your questions and help you make good pictures.
The Kodak products mentioned have been tm;IIJtI I11 I' 1:111111,
IlIilnlfltories.
I quivalents of these products can also be used.
Kodak products are available through photo dealal:>, II,IIY 11/(1/1111available
rl/rectly from Kodak. If you can't find the products rnonllumu l III Iilln book, we
have a list of mail-order houses located throughout Iho 11111101\~ltlllos, so that
people who live in remote areas can obtain the matorlals \I\fly nnod.
Send your questions to Eastman Kodak Company, 1'110111tnlormatton, De-
nnrtrnent 841, Rochester, New York 14650. You'll get \110 nnnwors.

BARBARA JEAN

Printing Without Negatives, page 90.

Combining Black-and-White & Calor, page 104.

15
14
 I Techniques
"quos that will help you make exhibition-quality prints from herd-to-prlnt
ttvo« by controlling the contrast so that both the highlight and shadow
will print with a full range of detail and tones. The techniques them-
IVD."! do not show on the final print; they are used during or after the printing
Improve the appearance of the picture.

You can lighten the highlights in your print

with local reduction. These sails were
brightened up by applying KODAK Farrncr'n
Reducer, as described on page 36. Thon tl111
print was toned blue to give it even mor
impact. Toning is explained on page 106.

PAUL O. YARROWS

'hl~ plollllll WIlS taken with electronic flash, and the log reflected a lot of light.
I Itll 1llIIIIItillO highlights were given extra exposure to darken them during
"'.,lIllItiIlU (lIving additional exposure to selected areas of a print, which is
IIn" /111//11//(/ In or burning in, can turn a good picture into a great one.

17
 In the straight print above, tha canter of the flower is too dark, and highlight
on the leaf is too bright. The improved version below was made by
printing in the leaf for an additional 15 seconds and dodging the center of the III
flower for 8 seconds during the initial exposure. Dodging and printing in
are easy to do. By using these techniques you can improve your prints
and make them look more professional.

PETER CHIESA

19

BARBARA JEAN
 I1 '11111/ 1I111/lIl1vunWO 1111
porlectly ex-
I"ltlnrl, pi oporly dovolopod, and in-
1,IIIrln IllllJJecls having average light-
IIIU contrast, you'll be able to make
o()(1 prints without using the control
IMI:11Illques we're going to discuss in
111111 section, and you can move right
Oil to "Improving Composition and
Appearance" on page 41.
But many times the brightness
range of a subject is far beyond the
range of tones that you can reproduce
in a "straight" print. By using contrast
control, you'll be able to print the de-
tail in both the highlight and shadow
areas to produce a print having a full
range of detail and tones.
Where have all the clouds gone? You
remember they were there when you took
the picture, and they're visible in the
negative. You can make the clouds visible
in the final picture by printing in. The top
picture was given an exposure to properly
print the lighthouse and rocks, but the sky
turned out to be too light. The bottom
print was given the same exposure as
the top print and then the sky area
was given additional exposure to bring
out the detail in the clouds. You can often
tell how much additional exposure you will
need by studying your initial test strip.
The main part of the scene may look good
printed at ten seconds while the sky looks
best when printed at twenty seconds.
rho rock was very bright in the initial print, so the photographor prlntud It In to
tone it down. Later, he spotted out the white areas with KODAK Rotouchlng
Colors. For more information on adding color to prints, turn to pago 131.
21
 IN
Printing In with
" l,'vlI 1111111111111/11
uxpcsure 10 Glass Negative Carrier
II11ul1111111I1'1 111111wOllld otherwise
Here's a toclHIIl/lI1l that the pros use
1111 lOll 110111 "',,' IIlIVU no detail. For
when they have 11number of prints to
'''pll1, Cl flI1s11picture of a white
make from the SOITlOnegative and the
Ie/III{/ coke will often lack detail in
negative needs some printing in, You
IIIn c:lll~o when the rest of the print is
will need a glass negative carrier, a
wnll exposed. This can be corrected
KODAK Diffusion Sheet (003-inch),
by 1110lechnique called "printing in,"
and some petroleum jelly, Put your
You can easily make a tool for printing
negative in the glass carrier, and tape
III by cutting a hole in a piece of black
the diffusion sheet on top of the upper
cardboard. Many people find that their
glass, Work on an illuminator so you
hnncs make flexible printing-in tools,
can see where to place the petroleum
First, give the print its normal ex-
jelly, Over any areas of the negative
ponwro, Then, without touching the
that need printing in, apply a small
pi IIlI or the easel, hold your cardboard
amount of jelly to the diffusion sheet.
100101 your hands under the enlarger
Rub the jelly into the sheet and feather
IIIIHl about midway between the lens
the edges, The areas where you have
"If I 1110print. Start the exposure and
applied the jelly will become trans-
IIIIlVO your printing-in tool so that only
parent, which allows more light
1110area of the print which was too
through the negative to print in, The dif-
Ilghl receives the additional exposure,
fusion sheet cuts down on the amount
For your first trial, give an exposure
of light printing through other areas of A cute shot of a boy with his dog, but that pole growing out ()IIII~ /11111"
qual to the exposure you used for the distracting, You can often eliminate distracting elements In tllIl luu /'1111""1"
the negative, and the negative will
Whole print. Then adjust this time for of your prints with some local flashing, The print bolow Wit" 11"CIII1"
print in with detail in the highlights and with a penlight to blend the pole into tho baokruouuu
later prints if you need more or less
shadows during one exposure,
xposurs in the printed-in area, Keep
your printing-in tool in continuous mo- Local Flashing
lion during the exposure so that you
Local flashing can be a great help in
won't get a dark edge in the area of
eliminating out-of-focus highlights
Idclltlonal exposure,
shining through foliage and in dark-
11the line between the well-exposed
ening selected areas of a print, You
11111\ of a print and an area that you
can convert a pen-type flashlight into
WIll 1I 10 darken is rather intricate, you
a flashing tool by taping a cone of
I 1111 IIlnke a printing-in tool from a dry,
black paper around its tip so that its
111111 IIlllargement of the same size as
light can be projected onto the paper
111" rllllorgement you're printing, Or,
through an aperture as small as de-
111'/111 place a piece of stiff paper on
sired, You may need to reduce the
lilt! !11lIH)1 nno sketch the outline of the
light intensity of the penlight by tap-
I~" Y"II want to darken, After you've
ing matte cellophane tape over the
IV"" yllIl! final print its normal expo-
flashl ight lens, Try one layer of tape,
IlIn, 1'1/111 In the area that is too light
and then add another if the light is
IIl1ldll 11/1110cutout pri nt very close still too bright.
IIln pMIlIl1 YOIl are exposing, Move
First expose the paper as you nor-
11111111 PIIIII ollly very slightly dur-
mally would and leave the paper in the
Ill" r"I'!)1111!1l II may take some
easel, Place the red filter on your en-
"1" Ii IIJullll'llll1o effect you want.
larger over the enlarging lens and then

23
 11111 Illl1riliPII '111VIlli con see
Illfll lillllllllfltllllllll. With the
Itl 1111'11111111 111111, 1'11111
In areas
I WIll 11III dllll\llIl, then process
I'tll 1111111) II()IIII"I way.
IIIJI"llIl, pnnlcularly with your
I rtlw nttompts at flashing, to flash
Inll luul strips and develop them 10
rind, 1110results. Keep track of the
IIII!II""~J time as well as the general
IIOlJllllve-exposu re ti me, and alter you r
11)IHlnting procedure accordingly.

DODGING Dodging with Matte Acetate

Wllh dodging you can hold back This is the easiest method to use when
1111111 from areas that would otherwise you're enlarging a 35 mm negative
IHlllt too dark. You can use your hand which needs a considerable amount
In a dodging tool for large areas. It's of precise dodging. By using a sheet
ilso easy to make a dodging tool by of matte acetate in contact with the
I(lping a disk of cardboard to the end enlarging paper, you can shade the
of a piece of coat-hanger wire or to a dodging onto the acetate with a soft
V4 -inch-thick narrow strip of trans- lead pencil; when the print is exposed
parent plastic. To use this tool for the pencil markings and shadings are 8acklighting often produces strong shadow areas.The racou11111 III 11I•• ·II,Idllw
W""
-
large areas, hold it close to the lens; incorporated into the print. The print and too dark in the print above. In the print below. \11011101111
dodged for 11seconds of the 13-secondexpcsuro 1011(11111111 lII""1
for small areas, hold the tool close to
the paper.
will be lighter in the areas of the pencil
shading. Not only is this technique a
-~ .. ~.. -...-....-
In dodging, you hold back light from precise way of dodging, but it's easily
the projected image during the basic repeatable on any number of the
exposure so that the paper receives same-size enlargements that you
luns-than-norrnal exposure in areas want to make.
thnt were too dark in the straight print.
Wl,lle you expose the print, hold your
dllclning tool by the end of the wire
111plnstic handle and allow the card-
tlflilld disk to cast a shadow over the
111,111 III the projected image which is
IOil rlru k. The handle should be long
1111111111 no your hand doesn't cast a
1'111"IW Oil the paper. Make sure that
111111111' 1110whole dodging tool in
ItI"lillll illIIll1g the exposure to make
Ill" udoe around the dodged
11VIIII'11l llslng wire for the han-
11111 I111111
c11I will also avoid getting
11Villi I ,,11111from this shadow.
 •••• Ulng with Mntto Acetate
1IIIIpUl1111lil!IlIl)juclod image and adjust the enlarger height as
11'11I11 1)1/,11111)
tho ,)(agative over and make a print. This print will have
IIIVIJ/:Ioci I"Hlgo.
AfltJi IIl1s prllll is processed and dried, tape it down on a flat,
Will! luumlnated surface. Tape a sheet of clean matte acetate over
1110 print so that the diffusing or matte side is facing up. Matte acetate,
such as KODAK Diffusion Sheets, is available from photo dealers .
•1. Use a medium-soft pencil and very light strokes to gradually shade
In the areas that you want to print lighter. For broad areas, cover the "you have a glass negative carrier, you cnn 111111111 1I Ililll 1111111111111111111
dodging device. Place the negative in the carrlur 111It!Wild· IIVIII 11111111111111111101
area with pencil lines and then smudge them into an even tone with Clyou can see the details in the negative. Add dOlllllly wllll IIIIIIII'~"I I, III IIlIld ()I
a ball of cotton. black china marking pencil applied to tho glOIl" UIIIIIIII Ill" 1111'1111 1\ III 1'11111111
with yourfingerto blend it evenly. Now YOll'IIIIIIIIIlv III 111111'"11111IIIIIIy
'1. After the retouching is complete, turn the negative over in the enlarger prints as you want, and they'll be autornatlcullv tllIlI 11111\ 11111111111111\ nt thu
to its normal position with the emulsion side down. Turn on the image where you applied the poncll III 1I,,"!1, I.
enlarger, and with the acetate sheet matte side down in the enlarger
easel, register the retouching with the projected image. Registration
may require a slight adjustment of the height of the enlarger because
the reversed-image print may have changed dimensions as a result of
being processed. After the retouching has been lined up with the
projected image, tape down one edge of the matte acetate sheet so
that the retouching can be swung like a page of a book into or
out of position.
5. Now make a dodged print by inserting the photographic paper under
the matte acetate with the emulsion side facing up. To achieve good
contact between the acetate and the paper, place a clean sheet of
glass over them. Make the exposure and process the paper as usual.

dglng with a
la88 Negative Carrier
large areas of black-and-white
lives, apply red lipstick to the
hIli" I )vor the areas of the negative
111111 Y"II want to hold back or dodge.
11Ifll1, 1110 lipstick evenly over the
I, '"IIIIIOilng it at the edges so that
tllrt 1ltlllUlllll won't show in the print.
For small areas, you can use a film
pencil, such as a Dixon Film Marker
(Black 2225) or an All-Stabilo # 8008
Marker, to mark on the glass over the
areas that you want to dodge. Mark
small dots for a stippled effect over
the area to be dodged. [f the negative
area to be dodged is very light and
needs a lot of dodging, you can use
a red or black china marker for the
stippling. This technique effectively
lightens eyes that are hidden in a
shadow, and other very small areas
on a negative.
27
 DOdgIng with Dy
determine the right amount of dye
II I~IIII hold back FtlODSof a black-
needed to get tho desired effect.
lid wlllto negatlvo with dye so that
IIIIIlln IlIode from that negative are au-
tllllllll/eol/y dodged Since applying Dodging with Filters
lIylhlng directly to a negative takes To increase or decrease the contrast
/lIlIelice and patience and always in- in a black-and-white print made on
volves the possibility of ruining the variable-contrast paper, you can print
lIogative, consider this method of
part of the photograph with one
dodging only if you plan to make
POl YCONTRAST Filter, and then
many prints from the negative.
change filters for the area you dodged
Dye retouching is usually done with or the area you want to print in. For
a red dye, such as KODAK Crocein example, on page 22, we mentioned
Scarlet. The bright calor is easy to see printing in a white wedding cake. You
on the negative. To apply the dye, might expose the whole print through
make a stock solution of KODAK Cro-
a No. PC2 filter, and then Use a No.
cein Scarlet by diluting a level tea- PC1 filter for printing in the cake.
Spoonful of the powder in 8 ounces
of water. You can Use this stock solu- In color, you can dodge and print in
tion to spot pinholes, to make vi- with Calor compensating filters. For
gnettes, and to opaque backgrounds. example, if the Calor balance on a
For normal retouching, dilute 1 print looks good overall, but you want
part of the stock solution with 10 the face of a portrait to be a little less
parts of water. Apply the diluted solu- yellow, you can dodge the face with a
tion repeatedly to the base side of the dodging tool made from a CC05Y or
CC10Y filter.
negative with a brush, moistening only
the area to be printed lighter, until the
density looks about right. Then re-
move any excess water and leave the
lIogative to dry.
After making a test print, if you find The horse at the top right is too blue when
printed with a color balance that gives a
/11111 you have applied too much dye, pleaSing result on the rest of the print.
1/1I>l1gethe area with water to reduce To improve the color balance of the horse,
"Ill dye slowly, or use a 3 percent it was dodged during the overall exposure
for the print on the boltom right. Then the
111111/011 of sodium hydrosulfite to re- horse was prinled in, using a different filter
1111 111I raplcly. Sponge the area thor- pack While the rest of the print was dodged.
Ill/lily wllh water to remove all traces
f 11111 'lClC/ium hydrosulfite and stop
Ill •• Il1dlll I"q action.
III r 1I111/llololyremove the dye, im-
11111 IIlIqnlive in a 3 percent so-
1'1,1111/11111 11ydrosulfite at 680F,
filii" 101 I minute in KODAK
I In'" dill/on, and hang it up

1111/1/1111
IlIllvlrlos excol/ent
f II will 111'111110 plllelice la

29
 1111111111 method of selective filtra- MASKING
If you plan to make many prints from
111'11I 1I1I1!llnes dodging and changing
any black-and-white or oolor nega-
Ill" III\0r pack. In the top picture on
tives that need some contrnnt control,
I'rllI" ;1!1, the horse was in the shade
you mlul1t WAnI 10 mnnk IIIIl Ilogative.
\1101 would have been too blue if
A I1lfll1l< III fI (1I1ll 1\1(11III llfllldwlched
1'IIIIIIId with the same filter pack used
wlth 1\111lI(JlIrlllVIl 1111(1dllllll llu con-
"'111111 overall picture. First dodge the
trol woll< wllIlll 111111111U!IIIVIJ1'1 being
IIIIIIHI or the area to be selectively fil-
prl!1Iu(\ MfI'11(llItI 111I11111111i1J11 111(1nooo
lilllld during the exposure for the
v1I1II11 print. Then change the filter for (\()(111111(\11111\11\1111111\1111
If YClII'IIIII',llllI 111111111111'\lJI 1111
/l1I(JI~t
I'rll 1\ III a combination of filters that
SOUle(l \11\ 11:.1"1.,111\111111111111WIH)11
III \I !I III the dodged area correctly.
makl11\1 11111'11,'"1111111111IIH11l fit f/
WIIII" printing this selective area, be
and Illi'llI 111111111111111111 II'l 11111\OIll Ih
11111III dodge the rest of the picture.
oasouom d 11" 1"111'1111\11 IJoo" CC50B
11\1. oaslest way to do this type of
filters OVIII 1111111\1111 'IIIIIIC() when print-
\1,111010dodging is to make a dodging
ing coloi 1I111\IIIIVIII, 1I111C1 I(ODAK Pan
111111 11\11of cardboard. Cut the shape
Masking 111111III Iq 11)AI( Separation
I 11111mea to be dodged out of the
Negative 1'11111.III1III1IV 1111(\It neces-
IIhll of the cardboard. In the picture
sary to uso 111\11111011 dllll',IIY filter with
111!l1{)U 29, this cutout would resem-
an enlargol Ilqlll 111111 I·. VIIIV hllohl.
101" I1\1) overall shape of the horse.
1\11.tho cutout from the cardboard to
\lhll:lJ of wire or a clear plastic strip contrast-Reduction M ••• k
Ilitll!!!) II for dodging the horse while to decrease tho contt "., I
11111 IlvlJlnl1 print is receiving its expo-
selected ar
\1111 1110n use the remaining large
A cOllll11';1 \lldlll 11111\11111',1< I" I1 IIlln,
1'1111:11 ClI cardboard to dodge the rest
low COIIIIII';I, \1111111111'111I1111pIHOllCY
, 11\11IIIIllt while the horse is receiving
made 110111Ihl! 1I1111,IIIVII bV c;ol1loct-
1111
".po!1ure, printing. IlIlh 11I11'i!' oIr1dll dllllt1lty to
the negativo 111 11\1' Lllllc!IIW nroas,
which allows IIw dlllnll \lIIIVIIIII!1ly hid-
den in dark sI1I11II1WI, III ',llIlw III the
final print.
You can rnako " 11I11111I!,1roduction
mask by contacl plillillll I your nega-
tive onto a piece 01 I- ( J\ 1AK Pan Mask-
ing Film 4570 a!; '.tlIlWI1 on page 32.
Make a test strip 101 your first expo-
sure and develop 1111luulp in KODAK
Developer OK GO dlllllod 1:4 for 4
minutes at 68·r. rrom Ihe developed
strip, select an exposure that is on the
thin side. A properly exposed mask
will appear thin and flat in contrast.
After you've determined the exposure,
make the mask by the same method.

31
 III prllll II lIo(JflIIV() nnd musk, place Making 0 Controst-Reductlon Mask
11111 III1IllI< over tho base side of the
III1II11l1vQand line up the images until
l!tuy match; then tape the mask in
light
, , I
8I " ••
" I I \ ••
, , I \ .••
pluco.' Use a glass negative carrier, , ,
r 1 ,
and place the negative-mask sand- 1 ,

wich with the emulsion side of the
negative facing the emulsion of the
paper. A properly masked negative
will produce a good print with one
uniform exposure time. No dodging
or printing in will be needed.
Area Masks-to control the
exposure in the shadow and
highlight areas
This is an unsharp mask which will
bring the highlights and shadows into
printing range so that the whole nega-
tive will print well with one exposure
Plate Glass' (%" thick)
I I
Negative with emulsion side up
I I
KODAK Pan Masking Film with
emulsion side up
I I
Easel covered with black paper or
printing frame
Vll/1I1I!fl/W7JWWIIWOOIOOl0l7l
Surround the negative with black paper to
avoid getting flare from the glass separating
the negative from the film.
Making an Area Mask
light
, 'I
0I \'" .••

time and no additional dodging or ,

."
I
I 1 \
\'"
•••

." I I \
printing in. In order to make an un- ." I I \

sharp mask, you'll need to use a
KODAK Diffusion Sheet (.003-inch).
A package of 12 8 x 10-inch KODAK
Diffusion Sheets is avai lab le from your
photo dealer.
Arrange your negative, diffusion
sheet, plate glass, and KODAK Pan
Masking Film 4570 as illustrated at the
right, and make a test strip to deter-
mine the exposure. Develop the test
strip in KODAK Developer OK-50 di-
luted 1:4 for 4 minutes at 68°F. A
plOperly exposed area mask will ap-
1"1/11unsharp, thin, and flat in contrast.
AIIIII you've determined the exposure,
11,,11,1\ 1110final mask using the same
"1111l1l1l1lOntof negative, film, diffu-
11111'111110t, and glass that you used
Iltl Ill" 111111 ntrtp.
11"111"11\1IIHl mns« with the negative
"" /11111111111"iuuulwlch" as described
1.1111'111"'Illlclllcllon Masks,"
t bottom right.
I 1 ,
Diffusion Sheet
L··.·.·.·.'.·... :.:.. ;.. ···.·.·.·.·.· ..... :.;.;.;.;·.·.',';,;",;,,:,:' .. 1
Negative (emulsion up)
I I
Plate Glass (%" thick)
I I
KODAK Pan Masking Film (emulsion up)
I I
Easel covered with black paper or
printing frame
rIIII!III(II!IIJmmmmIOOl1/lllll/1
The color and detail in the center of the
flower is lost in the print at the top right.
It would be a simple matter to dodge this
area if only a few prints were being made;
however, the photographer wanted to use
the negative to print greeting cards. Dodging
each print would have been very time
consuming, so an area mask was made on
KODAK Pan Masking Film 4570. The area
mask and oolor negative were sandwiched
togolhor In reglsler and used to make the
greeting cards and the print at the

33
 Masks- the exposure, make the mask using Ing Films with Farmer's Reducer
overall contrast the same procedure.
11\Wllltll light:
Register the mask on the base side
, lIonk dry film for 10 minutes in a tray of water.
of the original negative and print the
It """Iy KODAK Farmer's Reducer with wet cotton or immerse Illm ln
negative with the emulsion facing the
I tlnv of reducer solution. Use the reducer full strength for reductnq
paper, as usual.
Ihul1, low lighting ratio, or a combina- 111111)negatives; dilute it 1:4 for prints (see p. 38) and local nroru.
11011 !l1 II10se factors, you can make a III It noqatlve.
!llId quality print from this negative I 11
11!10for 1 minute in running water.
IJy pllnting it with a contrast-increase 1I11100ereduction is desired, repeat steps 2 and 3.
11111';1<. A contrast-increase mask is a Ilx lor 5 minutes in an acidic hardening fixer.
Light
IIl1{1l1tive black-and-white mask. To WIt!lll film for 20 minutes, or use KODAK Hypo Clearlllll AIllJllllo
111111<0
11111
El negative mask from your origi-
nouatlve, use a reversal film, such
1'1 I(OI)AK High Speed Duplicating ,
~
,8,
I
I 1\
'
uuluce washing time.
uumorse in diluted KODAK PHOTO-FLO Solution 111It!111111(1 10 dry,

r . :',',
I 11111 ;>1)75 or 4575. I '

Plate Glass (V4" thick)

Making a contrast-increase mask
with a reversal film. Use KODAK High
!ipoed Duplicating Film 2575 or 4575
10 make a contrast-increase mask in
one step. This is a graphic-arts film,
find is available from graphic-arts
suppliers. When you're working with
It, remember that it is a reversal film,
like a slide film. When this film is un-
derexposed, the image looks too dark;
when it's overexposed, the image is
loo light. You can handle High Speed
Iluplicating Film under a 1A or OA
'illfelight filter.
Fo make a contrast-increase mask,
«untact-print your negative onto the
1111111 Speed Duplicating Film (emul-
11111 10 emulsion) as illustrated above
IIUlll Make a test strip to determine
Ill" uxposure, and process the film in
1\'11IAI< IIC-11 0 Developer diluted 1:6
1111.\ mlnutes at 68°F with continuous
i\jlll1lll1l1. Follow the instructions on
IIln 111111 Instruction sheet for the rest
, lIil1 processinp steps.
IIlId contrast-increase mask will
PI'ilI111111110nt completely transparent,
1111"""tll llllOwlng only in the high-
Hulll _Hilt. Alltll' you have determined
I I
Negative (emulsion down)
I I
KODAK High Speed Duplicating Film 2575
or 4575 (emulsion up)
I I
Easel covered with black paper or
printing frame
VZZZZZZZZZl11ZZZZZZZZZ1Z7/zZZZZZZZ/ZZ0C02
REDUCING
Reducing is a method of lowering the
density in a black-and-white negative
or print. Reducers, such as KODAK
Farmer's Reducer, also lower the over-
all image contrast on negatives very
slightly. You should never use a chem-
ical reducer on calor films and papers
because of the complex composition
of calor emulsions.
CAUTION: It's easy to ruin a negative
by overreducing, and it does take
practice to learn just how a particular
reducer will react.
We suggest you practice on a spare
film before trying to reduce a valuable
negative.
Ing Films
Reducer. This reducer is
d In packet form. To prepare it
, dissolve and mix as directed
111" lnbot. Store the solutions in
111t11l11l containers until you're ready
1111"1111) working solution. Make a
IIIU solution by mixing equal parts
nlullon A and B. Mix only the
11111 you need, because the work-
1I11111on remains active for only
III I() mlnutes.
11 VCIIII negative has been dried,
IIllIoloughly in water for at least
11I1111110[1 before beginning the re-
1\111110 reduce an entire negative,
1110wet negative in a small tray,
Ill" working solution of the re-
I IIVOI the negative, rocking the
nunuovsty. The reduction will
,""Idly, so watch the negative
Iy "'111Inke it out of the reducer
11 nil you reach the desi red
1111rnductlon. Fix the negative
11*"1Wll!itl it for 20 minutes in
IIIU Wrlt",. Put it through KODAK
'(I I1 () ~lolution, and hang to
To reduco louul 1111111'11)1\1113 nega-
tive, dilute \1113wOII·III\! 1111111\1011 with
water 1:4. Lay Ihu Will 11I1\lrtllvf)Oil
sheet of glass 01 \1111111111"'1111111 <11111<
room tray. It's vOlY 11111i'IIII11YI)II put
the negnllv() 011rill IIIIII1111111i111'1Il you
can oaullv '''"1 11111 111<1111 \11111tlll~iflg
placo. IloWIlVIII. 11111:111,01"111,,,1 uotu-
tions do 1101',11111'111111 Ihll oloctrlcal
parts of tho 1111111111111\111Wllh!l clamp
piece of cotton, wlfill IIWIlY rtlly water
from the area YOII WIIIII ill In<lllcO.
If the area Is W 11I111
, JlIII, lip 1110ro-
ducer on a brush, 11111"1111111 Is large,
use a cotton swnl I IIIIII1I1V(Jthe ex-
cess reducer (rOII1\1I" illll!.11 or cotton;
then apply it with I1 ClIlIlll1uOUS mo-
tion over the aron III 1111 roduced. Re-
peat the procoduru untll you have
achieved the CIODIIII<Iciogree of re-
duction, washlnu 1110IlIOO with wet
cotton each tlmo before ol"plying fresh
solution, then washing as described
above. To stop the reducing action,
wash the area several times with wet
cotton.

35
 Iv. Reduoor. WIII1 KODAK Ab-
IVlllhllillCOI you can reduce dense
11$1111 III n nogativo without having to
I"rl)( 11111 1l(3gative. This reducer comes
111n pnste form and is ready to use
IIUIII out of the jar. Since Abrasive Re-
cfIH;or works by actually "grinding"
IWHY portions of the negative,
uhould try it on scrap negatives until
you've learned to control the reduc-
tion. Tape your negative to an illumi-
nator so you can see the reduction.
Pick up a small amount of the Abra-
sive Reducer on a tuft of cotton; for a
small area, use a cotton swab. Work
the reducer into the cotton by rubbing
it on a glossy surface such as a piece
of glass, and then rub the area of the
negative you want to reduce until you
see the desired result. Be careful not
to overreduce; too little is better than
too much. When you're satisfied with
the reduction, remove any excess re-
ducer with clean cotton.
Reducing
Black-and-White Prints
Soak dry prints in a tray of water for
10 minutes before applying the re-
ducer. Make a working solution of
Farmer's Reducer by mixing small
amounts of Solution A and Solution 8
you in equal parts.
To reduce the overall density of a
slightly overexposed print and to clear
veiled highlights, soak the print in re-
ducer, diluted 1 :10 with water, for 5 to
10 seconds with continuous agitation.
Put the pri nt on the back of a ti Ited tray
in the sink, and rinse the print in run-
ning water often to check progress of
the reduction. Repeat this procedure if
you desire further reduction. Rinse the
print in running water for 1 minute, fix
for 5 minutes in an acidic hardening
fixer, wash for 1 hour (you can use
KODAK Hypo Clearing Agent and cut
down on the washing time), and hang
to dry. Some additional density loss
may occur in the last fix.

JUIIN PHI!

You can lighten the highlights in prints very effecllvoly wllh I'IIIIAK
Farmer's Reducer. The boat in this picture was tocatty 11111.11111 with
Farmer's Reducer to brighten it and make It the centor 01 11111111 ••1

Ighton local areas, such as stain on the print, '.11Will I, 11111reducer

I 1tllll11ights or shadow areas,
Iv 11111 inducer with a damp wad of
III 11cotton swab. A 1 :10 dilu-
"H'II lor the highlights, while a
111111111 can be used for darker
1'1111 11Ihe wet print on the back
PETER CHIESA
11101 rinse the print with run-
110"0'0nn unusual application of overall print reduction. Believe it or not, 1nl Imtween appl ications of
Ill" plll.10(JlflpI1on the left was planned! The pholographer needed an illustration
'''111pllllllt) nnlon entry form, so he took the picture of another photographer 1t11l·,Il. fix, and wash the print
"11111111111 IIIIIIII\od with india ink the areas of the print he wanted to reproduce. 11111111 nbove.
,,,,," 1111_"III,lId 1110print in a solution of Farmer's Reducer until the photographic IlltcfllLllon may cause a yellow
w,,,. 11111111 11
cl nwny nnd the only thing left was tho India ink outline. This is
1111·1",,11111 111\0clrnwlng If you're an artist with a camera instead of a pen.
into the print fOI fI 1111111 IHlllod while
the reducer is IlHJ'.1 11!11v() and then
rinse with watoi fllld 1IIIIJlJlly fresh re-
ducer. Warm 10llP IIIIJlors generally
reduce more rapidly 11trill cold-tone
papers. If you pion 10 (ono your prints,
do any reduction beioro toning. Re-
duced prints tone difforently than
prints that have not been reduced. We
don't recommend toning for prints
that have been locally reduced.
37
 Ing Prints with Farmer's Reducer
III wllltu II~Jhl:
!iollk dry prinls in a tray of water for 10 minutes before applying
1110reducer.
Moke a working solution of KODAK Farmer's Reducer by mixing
Solution A and Solution B in equal parts and then dilute the working
solution with water, either 1:10 or 1 :4 (see pages 36 and 37).
3. For reducing overall density, soak the print in the diluted reducer
for 5 to 10 seconds with continuous agitation. To brighten local areas,
apply reducer with a damp wad of cotton or cotton swab.
4. Put the print on the back of a tilted tray in the sink and rinse with
running water to check the progress of the reduction.
5. Repeat steps 3 and 4 if you desire further reduction.
6. Rinse print in running water for 1 minute.
7. Fix for 5 minutes in an acidic hardening fixer.
8. Wash for 1 hour. You can use KODAK Hypo Clearing Agent and cut
down the washing time.

INTENSIFICATION Intensifying Black-and-White

Intensification is a process of strength-
ening the density and contrast of a
photographic image on a black-and-
white film negative or positive. Be-
cause of the particular composition of
color images, intensification is not
possible with color materials. Most
methods of chemical intensifying in-
crease the effective density propor-
uonal to the existing density of the
IllIoge; the highlights are intensified
IIIOln than the shadows and the over-
III contrast of the negative is in-
I 1I1/1'ill(1.You can do all stages of the
11I1!'"'lllylng process in white light.
Negatives and Transparencies
KO OAK Chromium Intensifier increas-
es the density and contrast of black-
and-white films, producing a light yel-
low stain over the negative. If you
don't like the results, you can wash
the stain off and start over with no
damage to the negative. This intensi-
fier comes in packet form, and con-
tains a bleach and a clearing bath. In
addition, you'll need a quick-acting,
nonstaining developer such as KODAK
DEKTOL Developer diluted 1 :3. Fol-
low the instructions on the package
for mixing the working solutions.
1'111 these pictures were madefrom the same roll of film, whloh WII" nt:c:ldontally
The film must be fixed thoroughly
IIl1dnroxposedbecausethe photographer set the wrong ASA IIpllll<lIn his meter.
in an acidic hardening fixer and thor- "n
I prints on the left are flat because they were made trorn thlu, IIIHlllloxposed
oughly washed prior to intensification. negatives.The prints on the right show a full ronllllll! 1IlI11
because the negatives were intensitlud.
If in doubt, refix the film. If the film has
been dried previously, soak it in water
for at least 10 minutes. Handle the
film carefully by the edges, because
any fingerprints will be intensified and
become very obvious with this pro-
cess.

39
Intenl"ylng Black-and-White Film
Improving
III wlllio lIollt:
Composition
I 1IIII1lorse the film in the Chromium
iJlACk image is bleached yellow-3
;1. I1lnse the film in water.
Intensifier Bleach Bath until the
to 5 minutes at 68°F. &
:3. Immerse the film in the Chromium Intensifier Clearing Bath until the
yellow stain has been removed and a nearly white negative image
Appearanc
remains-about 2 minutes at 68°F.
1\. Rinse film in water for 30 seconds.
5. Redevelop film in KODAK DEKTOL Developer diluted 1:3 until the
of Prints
white image is darkened completely.
'''111110 Is a means of isolating the subject and elimlnl/III/U III/wontod back-
1. Wash for 10 to 20 minutes in running water.
11/1// IIroas. Diffusion techniques will allow you 10 IWIt/lI/ ttio lines in a
I. Put the film through KODAK PHOTO-FLO Solution and dry.
//11/1 or create a blurred background for creativo ottnotu,
NOTE: No fixing is necessary, and the complete process may be
repeated if you desire additional intensification.

MORE INFORMATION
Processing Chemicals and Formulas,
KODAK Publication No. J-1, has more
information on reducers and intensi-
fiers, and instructions on mixing your
own solutions.
In addition to the methods men-
tioned here, there are several different
ways of controlling the image through
~ e-
retouching. For information on black- ... ; ...

~I
. -·r: _,_ #.--:.~..:..
and - white retouching techniques, iiot'-:--:.•.•:.....;.,~..,..-;_.
write for a free copy of KODAK Publi- ", .•....._, .. - .. _--
' ..
cation No. 0-10, Retouching Black-
and-White Negatives. Send your re- ~. - ·~z.~;.
quest to Eastman Kodak Company,
Dept. 412L, Rochester, New York
14650. Be sure to ask for the pam-
~~~~~:~ ;-~ ~~.-
phlet by title and code number.

DARnAUA "AN e PAUL. KUZNIAR

11III1I1Y
want to deliberately distort a photograph during printing for creative
l1f1octs. The technique used for this picture is described on page 50.

41
 1IIItl I hnplor will help you add those
1111tuuchos that can turn good pie-
ItllIlIl 11110 great ones. You'll learn how
III «tuulnnto or diffuse a background,
lid IIIIW 10 soften facial lines for flat-
1t.1I11l1 pOltraits. You'll also learn dark-
1111uu.lmlques for correcting distor-
111111 1'IIIIlilcing distortion for creative
11111 1'1,flllcl creating moving subjects.

VIGN!TTING
111111111\1 Is a printing technique used
lillllllfllo distracting or unwanted
l'IIII1I"Id. This technique is primar- t
NEJL MONTANUS
tltlllll tor enlargements of people
I lI't, popular for printing high-key
t
~':I
IInll'l which are made up mostly of
hi 111111111.
11UIII easily vignette a print by ~ ..."~,..,,,
1'''"1111 the image from the nega-
111111111111 a hole in an opaque card-
III I;llt the hole in the cardboard
11111 uhape as the area you want
111111110hole should be the size
I will ulvo you the effect you want
"yelll holo the cardboard halfway
11 1110enlarger lens and the
I (:111the edges of the hole in a
1111pnttern so that the image
IlIclllfllly into the white paper.
flul 11 Ill) , keep the vignetter in
1IC1II'1motion during the print

With vignetting, you can turn a backyard

snapshot into a portrait. Vignetting is very
helpful for Isolating a subject and eliminating
busy, unwanted areas in a photograph.

43
 veral Images diffusion is used to subdue blemishes
tt1ng and wrinkles in the subject's face or
I IIAII lIRO the vignetting technique to soften the effect of harsh lighting
1111111 portraits from more than one or coarse retouching. 81111111
diffusion
IIvn on a single sheet of enlarg- slrnulatos Iho effocl of u nott-tocus
11111'"1.Assume you want to pri nt carnorn IOI1D.
III \11100 negatives. Decide where
11WRI1I onch image to appear on the Diffusing tho Wholo Print Area
11'11111, and draw circles on a sheet Diffu!lll1\1 lI11vlI 111111111/lvllIl,II)lo from
'wl1l1f1 pnper on the enlarger easel to you: pl\(1111 11111111111, III
IIIAltI 1110 location of each image. transpruunl IIlll111l1vII lillIlIVI) ClI 111
I Il1n first negative in the enlarger transprunnl WIII!'I"" 111,,"1 101 nom
, Adlll!!1 it so that the image you pacl<II(1IH/ 1111111 1lIlIldltol'. Ilold 1110dlf-
1I fllln n circle. Remove the white tuslon tilllllll 1I'ld", 1111111111010111(1 Ions
I ul paper and make your expo- durlnq 11111 11:-1111,,111", IIl1d move It back
Inlll for the first negative. It isn't and fOllllllllilllVIIIIIIII1Y Imperfections
".""'U1I1fY to use 'the vignetting tech- from prll1llll1l',ll;lll'ly 11111110 print. This
\l1!!fill your exposure test. Now, us- method PIlld1l1 1I11lilllllil diffusion, and
\1111vignetting technique, make you can 1111,11111 11111III 111110W11 of diffu-
flltll exposure on the enlarging sion by wrllll\IIIIIIIIIII 1IIIIIoilnl you are
I Il1l1t will be your final print. (It's projecting \t1l1l111111'(11111nn nlno use a
ul kloa to put a small "X" in one piece of gray III II\.II I· IIVIIlIl 'ilocking
nu on the back of the enlarging as a dittusei. ~;II"I'" I1 .11111'\1111110le
I III help keep it properly ori- in a piece of Ccll<llllllltllllllilili'1J I1 In
I ) Aftor you make the exposure, place. The arnount ol dlllll'''"II\!, 1:011
Il1n paper with the circles on it trolled by the distnnco 11111111 dlllll'lll1~J
111the easel and adjust the en- material from tho lnru., Ill" 1111111111 111
nd oasel position for the sec- material is to tho lOll!" Ill" WIJ,,'or 1110
ploturo. Follow the same proce- diffusion effect will 1111
you did for the first negative. Take care nol III 'IVIII<llllIl80 the
you'vo exposed the second neg- print, or the hiOllll!llilll will 1)0 de-
follow this same procedure for graded. Becauso dlllll'lllIll tends to
lhlrd negative. Then, process the reduce print contuv.t, Y"II will prob-
ably want to US(] " 1111\11111 contrast
I
grade of paper thnn VOII'd 11!10to make
an undiffused pi illl I III Iho most
'" ••UIION pleasing effect, eliltll'!lI 1110Image for
Illusion, you can soften or blur
\Inns In an image. By diffusing part of the eXpO!,11I1t Ilmo-try one-
third-and givo till) IIl1l1fllning expo-
I"clod image when exposing
"Hooment, you're actually sure without dlffll!lI()II.
Ino nome of the light from the
BARBARA JEAN

1111 can create diffusion so subtle that the viewer is not aware of it, or you might Inlo the highlights. In pie-
W'III' to make it Obvious for a creative effect. This print was enlarged through a lography, diffusion is most
.'lIlIlt of olass which had petroleum jelly smeared on it except for one small, 10 produce a hazy effect to
,·h1l11111111\. The glass was moved up and down between the enlarger lens and
11111 111'1""!llIrlng the exposure, and the clear area was centered over one flower 11oarly-morning scene. Par-
" 11wllllld ha Sharper and stand out. The color In the center of the flower lOll can also be used to blend
WII" 1I!lIIad later with transparent dye (descrlbod on page 131).
IIIlharound areas. In portraiture,
45
 A

11 III,,"d IO(j(Jl/wl troublesome

/1111111 dliillftcllllO areas of a back-
11I111 by cl/llus/on. rhe easiest way
III 1I1ir. Is with a glass negative
IIlm nnd a small amount of pe-
1101"11111 Jelly. Apply the petroleum jelly
1111 1110 top of the upper glass of the
lIoontlve carrier over any area that you
wnn: to blend in. Feather the edges
of Ihe smear so that they won't show
111the print. The amount of diffusion
depends on the thickness of the glass
In the carrier and the amount of pe-
Iroleum jelly you use. Thicker glass
You can diffuse selected areas of the print
'lIves better results because it pro-
by using petroleum jelly smeared on a sheet
vides more diffusion. You can also of glass. Feather the edges of the petroleum
nurround a center of interest with pe- jelly so that the diffused area will blend into
the areas that are being printed straight.
Iroleum jelly and produce an interest- Hold the glass between the enlarger lens and
Ing type of vignette. the paper and move it slightly during the ex-
posure. If you have a large negative and a
glass negative carrier, you may want to put
the petroleum jelly right on the glass carrier. The straight print above had a very busy background which Ill" "III.I"Illltl.III'1
DISTORTION
wnnted to subdue without eliminating the surroundings complululv 1111'Id. lilll
You can correct the distortion caused below was printed through a sheet of glass with p011Cl11I1I1I1 I' IIv
when parallel lines are photographed moared on it. A clear area was left in the center of the glass. IllIlllILl ,"1111111",
the photographer centered the clear area over the main blol"III'1 11111
at an angle and appear to be converg- moved the glass up and down slightly.
ing. You can also use distortion to im-
prove pictures of people who have
IJOen photographed from an unflatter-
IIlO angle. For example, if a person
rppears short and stout because of
Illllng photographed from too high an
111\110, you can create a taller and
,1I111111orappearance. You may also
lit! 10 use distortion for creative ef-
I", I'. by greatly exaggerating a part
111 plt:llIre or by adding an effect of
f'III""1 10 the picture.

Here's the petroleum jelly on glass tech-

nique again-easy to do in black-and-white
or color.

47
 vergence Controls
WIIIIII you take a picture with your
11III III pointed up or down, vertical
11111111 III the picture appear to be con-
'Ultl!}. You can correct for this when
111'111 ol1larging. First, tilt the enlarger ,~
I \'
III IIY lifting up one edge until the I
11I1:/l1lines in the projected image
ppllllr parallel. Then place something
IIldlll that edge to hold the easel in
1111:11 locus the image at a point one-
hlld ol Ihe way in from the high edge. 1\.
II IIllly be able to keep the image in
1111 over the entire picture area by
11111 11small lens opening. However,
,11.,unsel is tilted at a considerable
II
11110, you must ti It the negative car-
I II1 your enlarger. (You won't be
l,
hln III correct for severe converging
) Tilt the negative carrier until the
\ ~!~::..
Il~;.;.••.
on the easel appears sharp.
lncldontally, tilting the enlarger ea-
I ICI correct for converging vertical
will probably give a "slimming"
rei!: I 10 your subject. When the easel
1.(::/
IIIIIHI, the proportions on the print c.
11/11 those in the original scene only
11 11\0 enlarger lens-ta-negative
hi 11I:11Is equal to the camera lens-
Illm distance when the picture was
III ~>ll1cethe enlarger lens is likely
"MVII npproxi mately the same focal
III II!; Ihe camera lens, the enlarg- 1:1
11I1!!ito negative distance is likely
Ill' IlllHltor than the camera lens-to-
1IIIIIII1I1Ce(due to the shorter "sub- Means for correctlnu '1IIIVI1IUlflCllines in-
BARBARA JEAN

You can create a more subtle type of diffusion by painting a sheet of glass with
I «/llIllInce" involved in enlarging).
Clear nail polish. Leave a clear area for centering the glass over the area
IIf Ihe print that you want to look the sharpest. Move the glass slightly during 11111111 ousel tilted, you'll get a great-
printing for an even diffusion. One advantage of using nail polish instead of II\r1\Jlllllcation of height than width,
petroleum jelly is that it's not as messy. and once you've painted 111111111 III the slimming effect. This
the glass with polish it will last a long time.
IIII'"II"llllrroct can be helpful in mak-
«1111\11 IIfllIering pictures of people
'''ltY hnve been photographed
'" III'qlo that makes them ap-
111111 find stout.
clude:
A. Fixed easel bul 1111,"1 nnlurqor. The lens
is tilted to make 11111
IlIIlIUn plane uniformly
sharp even at a 1(\1
flU InlHI nporture.
B. Tilted negatlvo IIl1d IlIlu(1 oasel. Sharp-
ness over the Imago arnn In provided by tilt-
ing the negative In tho Imllcnted direction.
C. Fixed negative but tlltod Ions and easel.
Notice that this condition Is similar to A
except that the enlarger is upright.
D. Fixed negative and lens but tilted easel.
In this case the depth of focus is quite shal-
low and lens must be well stopped down.

49·
 _ the easel. Ever think of add-
Ihlre! dimension-movement-to
1"1111III the darkroom? You can add
11111111 by putting your easel on
r"1 dowels or round pencils which
" ,""111) It easy to move during the
1"11111/11. If you allow the print to re-
III hllll for half the exposure time
1 lilnn move it during the second
1101 1110exposure, you'll produce a
1ft 111III[JOwith horizontal streaks,
It rnnkes the subject look as
though it was traveling very fast. This
lechnique is most effective with a sub-
ject that would normally be moving,
such as a racing car or El running
figuro.
You ann nlso produce (l fooling of
rnovomont hv 1l1f1I<II1CJ lIl1ll1lplu oxpo-
suros 011110llfllllCl 1l1l1l1(J(I nnd movlnq
tho O(IIIUIIHllwIlIlIIIJXIJ(JlllIlIllI, 11'0best
to solno: I1 VIIlY 1lllllldlllllllllIJIJlloI 1111s
technlquu, jlII"I',,""y wllll 11 plnln
backqrorun] ("01) pflll" HO)

BARBARA JEAN
Notice how the buildings lean in on the print on the left. When the picture
on the right was printed, the easel was tilted to correct the converging lines.

Dlllorllon for Creative Effects

pictures you can create with nega-
Ihe above method of con-
tives you've printed "straight" before.
oontrol on some subjects,
Another way you can distort the im-
I'n" (~Ioote very dramatic pic-
age for creative effects is to bend the
r uxnmplo, in a picture of a
paper before exposure. Bend the pa-
hl/l! lino his hand for a hand-
per toward the base side (convex
'" 1:/1111111the easel to make "'lOnln this "exploding" view of the Empire State Building, the photographer
bend) to stretch out the image; bend
1 111111\ VIII Y Inrge. Exporlment 1111,,111
nn exposure on the paper, and then moved the enlarger up and made
toward the emulsion (concave bend) ""'hnr oxposure. He repeated this many times without moving the paper,
",,!IIIII'I"" IIlld sec whnr now but always dodging the main building. Then he dodged the rest
to condense and shorten the image.
of the paper while printing in the building.

51
 t'

PAUL KUZNIAR

I "'M I 111111 print is mado Irom a black-and-white high-contrast negative, Three

l"I~llltlll wuro mado, onoh through a different color filter. After each exposure 11111 nose I was moved slightly to give the feeling of movement in the runners.
III 1i1"llIllIllIfmation on printing black-and-white negatives on col or paper, turn to page 129.

53
 It's also possible to incorporate a feeling of movement III 1111'I 111111 .lId,," you
create from high-contrast images. This negative WflH(,oplllol 11.'1111""
nlcctronic flash (refer to page 253). Three exposures wer o IIIIId,. IIIIlIlIUll ynllnw,
green, and red filters, and the film was moved slightly altu: I"" 11,··"".11111

1111-I" 1111 was also made from a black-and-white high-contrast negative, and it was
"ilII'." III 1110sarno manner as the runners on page 53. The bottom area was masked out
1'1"" "llIok pnpor while the bird was exposed through the filters; then the bird was
"11I"km' wl1l1paper while the bottom half of the negative was exposed to
wllll" 1111111
10produce 1110black In the print. There are other variations
on this Subject on pages 150 and 194.
11IIII1U IIIlrlng the exposure wasn't sufficient to give the feeling of movement, so the
IIIIIIIoUI"phor placed the easel on dowels and moved it while exposing the print.

55
 IgNew
es from Old
'atives & Slides
Wny,'1 of creating new images from existing ones. Texture screens add an
vmut! toxture to the photograph. Combination printing involves using two or
II/11ll1l1ogatives to make one print so that you can add clouds to a bare sky or
IJIIIIIIIIO Images for creative effects.

Ihls is a combination print and a combination of techniques. The girl was

photographed lying down so her hair could be spread out. That negative was
prlntod with a mask so that only her head and shoulders, but not her hair,
WClru oxposed. Then a second mask was made which exposed only her hair,
1I11!l tl1l1tmask was printed with a negative of leaves. During development,
Ill •• flllllt WI\Ogiven the Sabatt/er Effect (described on page 195) after one minute
IlIlItltl c10llsltyto the background, which had been covered by the masks.
If you bracket your exposure when taking pictures, don't throwaway those
!lnlltly overexposed slides. You may be able to create a picture lIke 111/8
one
which was made by registering two "thin" transparencies of the same oubject
and then rotating them Slightly until a moire pattern formed.

57
 This combination print was
conceived in an airport.
The photographer took a
picture of the tunnel in the
, WA Building at Kennedy
Alrport, While waiting for
llill pIIIMO, ho saw in a
111111111/1110 1\i81 tho Image
111111 110IHullloti for 11oontor
IIIIIIIIIIIIhl 111I1I1I1t1()El
I Ill'''' Ill' 11111111 III 1111I
1llIlun:11I1I /,11111111111111111011
111111111111111111111111111111
111,,11I 1I111111~1 111111 111101
/,1111111111111111111111111 plollll("
11111111111111111111111011 oontrnat
Texture screens like this I11111 11IIvlI I11111111111111 Oil th
sunburst screen can create 111111 ~III"IIIII PIIIHlI.
dramatic impact and lead the
viewer's attention to the
center of interest.

VUIII;"" t IllIll" 111111111

1111cl
mynllllY III V"III 11/111111
grnphll wllll 111111"'1111111111
prlntlnu

CAROLE G. HONIGSFfI.lI

IIll. In n oomblnation print made with a texture screen, The plane was printed
1111111Elhigh-contrast negative, and then that negative was removed from
Ill" 1Il1ll1lfjor, The background was printed from a film sandwich of a moire
/1111111111
whloh produced tho circle design, and a bromoil texture screen
which croatod the pattern in the circles.

59
 You can add a new dimension to your blacK-and-white and color prints with texture
screens. This print was made with a Mona Lisa texture screen in contact with the paper.
Most advanced darkroom enthusiasts
have enough old negatives and slides
to keep them busy printing in the dark-
room for several years. But you've al-
ready printed all those pictures, you
say? You may have printed them
straight, but after you read this chap-
ter, you'll want to get them out and
use them again to create new pictures.
TEXTURE SCREENS
You can make some interesting and
unusual enlargements by printing
through a "texture screen," which is
a device that gives the print a tex-
tured appearance.
The texture itself can be prepared
in 0 variety of ways using cloth, wire,
"lass, net, plastic, or most any trans-
lucont material with a grained appear-
anco. Some texture screens are corn-
morclolly available in film sheets; oth-
rs nro good do-it-yourself projects.
60
Commercially Made
Texture Screens
Commercial texture screens come in
two types; small screens which are
laid over the negative and printed with
it, and large screens which are printed
in contact with the paper.' Small
screens give good results and they
are less expensive than large screens.
Small screens are easier to use be-
cause there is much less area to clean,
and it's easy to keep them in com-
plete contact with the negative by us-
ing a glass negative carrier. Place the
emulsion of the texture screen next to A color print made with a grain texture screen placod
directly on the paper during printing.
the emulsion of your negative in a
glass negative carrier, and print them
as one negative.
"Texture screens are available from photu
dealers. Some mail-order companies Alnll
supply them including these: Spiratone, 1111
135-06 Norlhern Boulevard, Flushing. Now
York 11354; and Texturefects, 160 Wycliff WilY
Magalia, California 95954. They will senil I1
free pamphlet showing the various lexlllll
available.
61
 Print from a Mona Usa texture screen alone.

), ~ ~
Y'~-'
1
'<
\

A color print made with an etch texture screen placed

directly on the paper during printing.

,~ :••·.cilJj~DH1.'"6lili
Print from canvas texture screen alone.

63
 LYNN BROWN

A black-and-white print showing the effects of a mezzotint texture screen.

1\ color print made with a canvas texture screen on the paper during tile exposure.

65
 PAULA LYONS

A plooo of textured glass placed on the paper added the texture to this scene.
DONALD J. MAGGIO The paper was prefogged slightly to add to the mood.
110111
prlnta were mado with a grain texture screen on the paper during
tiHl printing, Tho bottom print was jiggled slightly during
the oxponuro to add the feeling of movement. 67
 1·llId III tuxturo screen.
dlldlllllll IIIHI printing in,
YIill will/le I when printing a
IlvlI wllhou: It toxture screen. A
tllln fWllltlll IIHly cause a slight loss
,,'1111contrnsr, so you may want to
t jlltpor of a higher contrast grade
1111111 you would select if printing the
flllllrttlvo normally.
111108texture screens are used on
«lIltnct with the emulsion of the en-
1(1I(llng paper on the easel. You may
need to place a sheet of clear glass
over the texture screen to hold it in
contact with the paper. Otherwise you
could get a blurred texture effect
where the screen isn't in good contact
with the paper. You can keep the
-icreen in position during all or part of
the exposure, depending on the de-
gree of effect you want. If you want
the screen in place for only part of
the exposu re, divide the total expo-
sure time in parts so that you can re-
move the screen when the enlarger is
off. Make sure you don't move the pa-
per between exposures.
Making Your Own
Texture Screens
You can make a simple texture screen
by stretching a sheer cloth tautly over
11frame that can be placed over your
nnlarqer easel. The cloth should be
II1 contact with the paper. Flocked ny-
IIII1 cloth, which has designs woven
111111 It, will add an overall texture and
11'111 Iuproduce a cloth design in white
III ylIlIl print. Your local yard-goods
If"" will have a variety of materials
111111 Y"II can use for texture screens.
11 V( III wnnt the design to print black,
1I!i1l t print the flocked nylon onto a
1'1,,(t'I 01 I<ODALlTH Ortho Film, Type
IInl ptll1t1ng the original negative,
flllllllVII till) noriattve and then print the
high-contrast negative texture screen
onto the same sheet of paper.
You can easily make other varieties
of texture screens by photographing
textured surfaces. For example, us
strong sidelighting to bring out tho
texture of a material such as charcoal-
type drawing paper, or a sheet of un
printed KODAK EKTALURE Paper,
X surface. Take a close-up picture 01
this and you can use the negative as El
texture screen. Put the texture screen
in the negative carrier together with
the negative you are goi ng to enlarge,
and print them both at the same time.
This procedure gives your print Cl
much more pronounced texture effect
than a contact texture screen.
A sheet of clear plastic with a tex
tured surface makes a good texture
screen. A plastic-supply company will
have a variety of textures to choos
from, and they'it cut the plastic to th
This homemade texture screen is a piece of clear texturocl ,,11,"\10)
proper size to fit your easel. Simply which was placed on the paper during the exposure. Plastic """,,11111
place the plastic over your enlargino have a large variety of textures to choose from.
paper, with the textured side towarel
the lens and the flat side on the pa
per, and print through it.
Build a dot-type texture right into
your negative by printing a slide onto
KODALlTH AUTOSCREEN Ortho Film
2563. This is a graphic-arts film anci
./
~ '~"1:.":
~. .,. $,~;~::.?r·~
it's available from a graphic-arts sup
plier. * As the name indicates, this fllrn
has a texture screen built right into
it. Develop the film in KODALlTII
Super RT Developer (also avallablo
from graphic-arts dealers). Since YOllI
original was a slide, you'll get 11
negative image on the KODALlll1
AUTOSCREEN Film, and you can prlm
this film without going through anv
other intermediate steps.
A print made from a high-contrast negative with a piece of
• Listed under Printing Supplies in the yollll
clear textured plastic on the paper during the exposure .
pages of your telephone book.
69
 I
Here's a print made from a
texturo scroon alone. The 1\
texture scroun wos made
by contacr-nrtnuos a piece 'j
of IOnAOIOIlI11rll)tissue on a •
l1100tnf 111"IH)OlltlflSt film. I
I

The lens-cleaning tissue

texture soreen was sand-
wiched with a col or nogatlve
JOHN FlSII
and they woro onlorgod
This texture screen is built right into the negative, which is on together to proctuoo this
KODALlTH AUTOSCREEN Ortho Film 2563. calor print.

BARBAAA H.ut

An onsy way to add a texture to your calor pictures is with a montage.

11111 pllotnorapher sandwiched a calor slide of a wooden sidewalk with a slide of
pink dnlales. and then had an internegative made. The internegative
IIIIA tllo texture built In, and it's easy to print because you only
have to hondle (and clean) one piece of film.

71
 Ing Clouds to a Sky
,,11111rt cloud negative, making sure
111111 1110direction of the lighting on
IIHI I louds is the same as the direc-
111)11 01 tho lighting on the subject in
ylllll lomground negative. Often you
1'/111IIIV(J('sethe cloud negative, if nec-
1I'ltIlIIY, In order to make the lighting in
11111 Iwo negatives correspond. Then
'1/111Ilocl as follows:
I 'le dormine correct exposure for each
1I11111111ve
with the enlarger set at the
dUlllOe of magnification you're going
10 use. Record the enlarger position Clouds can add drama and interest in a
(degree of magnification) and the cor- photograph, and you can add clouds to your
prints in the darkroom. When adding
rect exposure for each negative. clouds, it's important to make sure thal the
direction of the light on the clouds and
. Expose the foreground area of the the foreground is the same, or the picture
print and, at the same time, use your won't look natural. The clouds were added
hand or a card (cut to the contour of to this print in the darkroom, and then the
print was toned with KODAK Blue Toner
1110sky) to hold back light from the (described on page 119). A dodging tool was
!1J<yarea within about one inch of the cut out of black cardboard to prevent the
lighthouse from receiving any additional
horizon and any foreground buildings exposure while the cloud negative
01 Irees that project into the sky. Hold was printed.
your hand or the card a few inches
ibove the easel, and keep it moving.
l hls leaves a gray-tone margin into
wl "ch you can blend the clouds.
I lluplace the foreground negative
Wllllllio cloud negative. Print the cloud
1I1I(llIllvD and, at the same time, use
Ill" hnnd or a card cut to the contour
III 11111loreground (use the other half
tllIllI nloce you used to hold back the
I,V) III hold back light from the previ-
IIlIly nxposed foreground area. Hold
[11 hnntl or the card a few inches
.IHIVI1 11111 oasel, and keep it moving
1""'
i tllll oclges of the two images
""""d 1@()(1l1lly.
 (lood photographers usually try to avoid getting a white "bald" sky in their
1'111111108, but you can't control the weather conditions. If you see a good picture lIt 1111 one slide and the clouds and sun are on another. After sandwiching
wlllt 11 hold sky, take it anyway. You can fill in that empty sky later in the darkroom IhlllR together, you can have a color internegative made by your photoflnisher,
III IIlIlko n elldo montage. This slide is a montage. The birds, waves, and rocks and then you can make a print in black-and-white or color.

75

lnut wily to obtain a double
111/1print Is to make a montage
PIIIIIIIII two or more slides together,
n hnvo an internegative made from
tl1tl montage. Because slides are posi-
!lVD Images, they allow you to see ex-
lC)tly what the combination will look
IIko before you go into the darkroom.
1'I1lstechnique makes it easy to make
oombinations in calor without having
to worry about printing the correct
color balance of two separate color
1I(J~atives. All you have to do is make
I "straight" print from the internega-
IIvo because the images will be com-
bined on it.
If you have problems with Newton's
rings in your slides, dust the film with
a spray of fine talc. Brush off the ex-
cess talc and then mount the slides
together. Fine talc is available from
graphic-arts suppliers.
Combination printing from separato
negatives requires that you visualiz
the combined images before you go
into the darkroom so that you know
where to begin when you get there.
The best candidates for combination
printing include at least one negativ
with a large area of blank space. This
space is where the image of the sec-
ond negative goes during the printing.
If the blank space in the negative in
a clear area and if both negatives ar
the same size, you may be able to
sandwich the negatives together in Cl
glass negative carrier and print them
both at once.
If the blank space in the negative !.
dark, or if the images on the two nega
tives need to be enlarged by differenl
degrees, you'll have to print them sep
arately. Follow this procedure. --'.>
ombination Printing from Separate Negatives
Put the negative with the blank space in the enlarger and compose
the picture on the easel. Put a white sheet of paper in the easol and
ketch the boundaries of the blank space. Remove the sketch.
Make a test strip to determine the exposure of this negatlvo,
note the position of the enlarger and the exposure, and then remove
the negative.
:\, Put the second negative in the enlarger and place the sketch Oil lI1
asel. Compose this negative in the area indicated on 11\0nkutch.
Remove the sketch and make a test strip. Be sure to record Ill!
position of the enlarger and the exposure.
~. Print the second negative onto a fresh sheet of PA[lOI. I )o(IU() nny
areas of the negative that might overlap and print 11\101lI1l1I!lof th
first negative. Mark the paper so that you can plaoo It IHlc:I<Ir1III
easel in the same position, and put it in a Iight1l0111II()x Ilornov
the negative.
h. Place the first negative back in the enlarger in IIHlllllllll1 poaltlon that
you used for step 1. You can use the sketch to twljl YOII ruoompose
the picture. Place the exposed paper back on \1101III'IId 111111\ original
position and pri nt the fi rst negative. If the blank flIlJ(I Will ill 11111
n out
black, dodge it during this exposure.
(I. Process the paper in the normal way.
The print of the man IlIklllll IlIl1vMalllokod
depth. so the photOI1II1I'III" IIlIuIIuml uorno
leaves on a white bnoklJlllllllllllll11 pllulO-
graphed them. Then \ill 1'111111111 11111
Iwu
negatives together 10 1""'111111" pI1/1I
winning print.
77
 11 1111101I11llply print two im-
11 1111111I111l1J1ClI paper if you
1 1111$ IIIIIII/UII tu overlap and show
unothor,
!lUll 111111
'11/1/ ullhcuottec subjects to a
lilt. IlIldl us a flock of birds in front
unnot. print the silhouette onto a
tlnMt ()I KODALlTH Ortho Film, Type RICIlARO rELOMAN

t 1111lIllm should be clear where the This was a plonnorl cometnanon

Ilhlllct appears and black in all other print. The 11911lil1(1 on tllO portrnt;
made tho foco 1II(IuInlo tno
1111I111.
(For more information on using background 111111 (ltlllltOti Cl muddy
IIILIII contrast films, refer to page 150.) image. Tho !IIOOWill! prlntod 10 El
l 'rlnt your original negative, and high 00111111111,111111uio nogalivo
of craokorl 1111111IIIIIIud tho mlddlo
II!lJlI print the high-contrast negative. tones Cl!! woll "" 11111 texture.
1IIH1ttllSe the background of the high-
1IIIIIInst negative is solid black, it
dOOll not
hlwl<ground
require
area during
any dodging
the exposure.
in the
f-~j
1110black background acts as a mask,
protecting the original image from any
overprinting. '''''1111' I<IIIIT7HR

ROBERT KRETZER

Once you've tried combination printing,

you'll probably find yourself taking some
pictures with this technique in mind. The
photographer knew that the picture of the
hockey players needed a foreground, but
there just wasn't a suitable one around.
He took the picture anyway and saved it.
Later he found just the right foreground
and photographed it. Then he made a
IIngative on a high-contrast film to increase
~-
the contrast and eliminate the details in
thn area where the hockey players were to
!In printed. The negatives were then printed
nno at a time to create the final picture.

79
 " \A- ~.

-t~\
- , -
~,~_/

J A~
I

) =s
( ."

/ f .L
1'.

~'
~
V
~/

\.'.-
~,
'>., ,~
~

I 11 '\ '\ RUDY PAHOYO

This multiple- exposure print was produced In the darkroom from a KODAK
PLUS-X Film negative of a single soaring hanglider. The negative was exposed
onto KODALlTH ORTHO Film, Type 3. This image was then exposed by
uocessively lowering the enlarger head and shortening the exposure time as the
sel with the photographic paper was moved according to a sketched overlay.
A straight print was made from the negative containing the window. No dodging
was necessary, because the sky was clear. Then the photographer prlntod
the girl's face in the window area, and used a vignetter during the exposure
to allow only the head area to print.

81
 The model woarlng black
was photogrnphod four
times against n blook
background so that tile
only donslty rooordod In
the nogntlvoo wns hor
faco and hnlr, Tho four
negatlvos woro sand-
wlcnoo logothor and
prlntod to create this
composition.

The picture of the water and rocks was printed first and the area where the face
was to appear was dodged during the exposure. Then the girl's face was printed
and everything but her face and hair were dodged during the exposure.

Iloth Images were printed from high-contrast negatives and no dodging

wnn necessary. The negative with the smokestacks was given a long exposure
to produce a black tone; then the negative with the cars was given a
short exposure to produce a gray tone.

83
 LESLlE FRIED

Although this looks like a

combination print, it is not.
Actually, it is a print made lrom
a paper negative. A slide was printed
on color paper and the paper was
processed normally. While the paper
was wet, it was contact-printed onto
another sheet of color paper and
exposed to liltered light (lilter pack 01
+
20M BOY).Then the second print
was processed normally.

A combination print made lrom a color negative. The color negatlvu Wllft prlntod,
nnd then a tone-line high-contrast negative was printed in reglstor 10produce
the black tones. The tone-line process is described on POgUlIl:l,

SHELDON JACOBVIT('II

hi. In It oomblnatlon print with a photogram. (Making photograms is explained

"\In u" 11:1) The only part 0.1the photo made from a negative is the two people
1II111111Uunnds. Blaok pnpor letters 10r the word "LOVE" were laid on the
I.'UIIIU pnper, and tho photographer placed his head directly on the paper
wlllln no made thu exposure to produce the outline 01the lace.
85
 "'t~,
~,

·~t~

..•...•
'.'.,,:.
.. '.

~..'

!"

r
The color negative was contact-printed onto a high-contrast film; then the color
negative and the high-contrast positive were sandwiched together in register and printed.
,.\~
l.f ••••• '

Selective development is another way you can create new pictures in

the darkroom, and that's how this print was made. The photographer
projected the image on a piece of heavy paper and traced the face.
The face area was cut out to create a mask. After making an exposure
on a piece of enlarging paper, she left the paper in place in the easel
and swung the red filter over the enlarger lens so she could turn on the
enlarger light and see the image. Using a cotton swab saturated with
developer, she developed the important facial details (eyes, nose, and
mouth) by swabbing them with developer. After the facial areas were
developed to her satisfaction, she placed the paper facial mask over the
face and sprayed the rest of the print with developer in a plastic
squeeze bottle. The print was fixed and washed normally.

OUNGOR H. OEM1REZER

87
 Jt
it
1 .1 rlUNl.lI1"

Another way of combining images is with a collage. Maku YOIII 1'IIIIlII III lI1
normal way, and then cut them up and mount them in an unununl 11I11111I1Hlllol1.
w. COWAN

The picture above is from 5 separate negatives; tho ClIlllllltlllw

is a combination of two photographs.

I \
.
,
.•.
~ ~:
,~
~
'\~

"i
I wo are just some of the combinations t~at this photographer was able to create
by using the same subject In many different ways. The negatives were on
~ high-contrast film s.o it was easy to mask out unwanted areas with opaque or
ItlnOk tape. For more tnformatlon on usrnq high-contrast films, turn to page 150.

89
Printing
Without Negatives
A photogram is a shadow picture made in the darkroom without a camera.
A paper negative is an image recorded on photographic paper; then that
paper is used as a negative to make another print. Printing slides is another
way of making prints without negatives.

A photogram on KODAK
POl YCONTRAST Rapid Paper.
The dried weeds were not pressed
flat-they were just laid on the
paper and the paper was exposed.
The butterfly is a costume
jewelry pin.

I
-.----
.".1
._1".-1
lengths of string atrnlohod
across the paper cronlnd the
fence, and then Iho photographer
placed his hands 011 uio paper
during the exposum.

,11 .• '" '1'.1

,.,~ .1
1\ 1'I!IIIIIUlnm modo 011I(ODAK RESISTO Paper and hand-colored
will! I/lIllnpOlflllt wntur oolors. For information on coloring
1l11l0k'IIIlIIwhlto prints, turn to page 131.
BARBARA JEAN

, ~.~ 111
.1
ROBERT KRETZER

91
 PHOTOGRAMS
Black-and-White Photograms
Photcqrarns are photoqraphs made
without a camera. A photogram is a
nhadowqrarn made in the darkroom
hy placing opaque objects on a sheet
of photographic paper, exposing the
paper to light, and then processing It.
( .-. I he resulting print will have a dark
iJockground and a silhouette of the
objects in white. By adjusting the ex-
,/ ~ ~_.~." i';
posure. you can create a black back-
'-:JT
uround or any shade of gray.
It~'; ~-t\ ~-- You can also make a photogram by
.-.--..",.'.
"'--'··'--"'T
\ .
\ placing a flat object in the negative
carrier of the enlarger and projecting
II onto the paper. A glass negative
carrier is necessary to hold the sub-
[net in a flat plane. The best subjects
01ANE CARLSON lor this type of photogram are flat na-
A three-dimensional print created from a
Combining translucent and opaque photogram. The pots are plastic foam coffee lure objects, such as leaves, feathers,
objects is effective in a photogram. cups cut up and colored with a fell marker. Irnnsparent insect wings, weeds, and
urasses. Since a negative is not used,
lmaqe degradation is held to a mini-
mum and enlargements produced by
thls method will be extremely sharp.
You can make more sophisticated
photcqrarns by arranging objects on
I sheet of glass suspended above
1110paper to obtain a softened or
blurred outline. By combining this
lochnique with objects placed direct-
lyon the paper, you can simultane-
nusly produce sharp and blurred im-
uos. You can also make multiple ex-
posures and add or remove objects
ICl obtain overlapping silhouettes in
llltorent shades of gray. Photograms
1:1111 be printed with negatives, too.
IlI1ply place H(l~ objects on the pa-
Pili, place your negative in the en-
1111110r, and print them both at the
11110time.
LAWRENCE MELKUS
IU. ,_ iI "IIIIllill1nliol1
pr'll1l wlll1 a photogram. For more Information
1111 0011I1111111111111
prlnllng, lurn to page 72.
Color Photograms
You can make color phoroorarns on
color paper, and negativo or roversal
color film. If your darkroom Includes
facilitlos fOI calor [,)r11111110, you can
make colo: plWlolJl rI III I) III 1110same
way that you 111111<0 11111(:1<(l11e!wl1lt
ones. Of courno 10 I ucmcl rho (JOIOI,
you'll neod 10 uno 1\ oolor pllpOI fll1cJ
process it In ccloi chomlcnln.
If you do not have faclllllos fOI col
or printing, make your colo: pl1010
grams by using a color reversal film,
such as KODAK EKTACHROME Film
(Process E-6). We suggest a reversal
film because you can see the final re-
sult as soon as the fi Im has been
processed; then you can easily copy
the photograms onto 35 mm film, For
the greatest flexibility in composition,
use 8 x 1O-inch sheet film. Put the film
in the enlarger easel just as you would
a sheet of paper. With the enlarger
head about 3 feet from the baseboard,
try an exposure of 5 seconds at f/5.6.
For your first photograms, rnako on
exposure series to determino the best
exposure for your equipment. You can
have the EKTACHROME 1~lIm pro-
cessed by a photofinishor or custom
photofinishing laboratory, or do I1your-
self using the KODAK EKTACllnOME
Film Processing Kit, Procoss E-6.
To reduce 8 x to-tncf films to a
usable format, copy tiro pl1otograms
onto your favorite color-sllde film. A
copying technique is Illustrated on
page 253. With this mothoc you can
even combine more than one image
to create a never-ending variety of
pictures from photograms.
93
 KEN !:ITAIlIl AND WALT LATOSKI

Color photograms such as this can be

made by laying fresh flowers on 8 by
10-inch sheets of KODAK EKTACHROME
Film (Process E-6) and exposing the film
to white light.

95
I
11

The Paper Negative Process

Use the appropriate safelight for the paper.
1. Starting with-a normal negative, make an enlargement, croppod and
dodged as you want the final print to bo. Uso a poncil to darken any
detail or area which needs to be subduod.
2. Make a paper negative by contact-printing the onlurqomon! 01110
another sheet of paper. You can do additionnl [lollclll()tOJl(:IIIIl(l (JII
the paper negative to make the final print Ilgl1!ol III !IH) filiI/Ill III
retouching. Do not use papers with any prlnllno Ol11111l 1l1I(:I~,
3. From the retouched paper negative, make Iho Ilnnl pi il1ll)y C;OIlIIICI

PAPER NEGATIVES aim should be a transparency that op

Prints made from paper negatives
look like charcoal drawings. Your orig-
A sheet of high-contrast mal image can be either a negative
film was exposed to white
ClI a slide. The paper-negative tech-
pears normal in density, but has easi-
ly discernible detail in both highlights
and shadows and is very low or flat in
contrast. The lower the contrast, par-

u~
light and then processed.
While the film was wet nlque offers considerable potential ticularly in the positive, the easier it is
(and the emulsion soft). lor local control and retouchi ng. to retain the details of both ends of
the drawing was scratched
on the film, and this
As in any artistic technique, there the tonal scale in the final print. Con-
print was made from that ue some pitfalls you should avoid sequently, you should use the softest
film drawing.
when making a paper negative. grade of paper-No. 1 contrast. Don't
In the first place, you want the con- be concerned at this point about the
ROBERT KRETZER

trust and the shadow and highlight de-
loils of the final paper-negative print
10 match those of a carefully made,
lop-quality "straight" enlargement
This is a collage of three
trorn the same negative. There's no
photograms printed on color
paper. The photograms were point in being evasive about it-this
made by placing glass crystal close match is not easy to achieve! If
ornaments directly on the paper
you have had any experience in mak-
and exposing through colored
filters. Then the prints were cut 1110 copies, you probably know it's
up and combined in the design ionerany advisable to make both of
you see, and copied to produce
a slide.
tho intermediates low in contrast and
lulrly heavy in density. Since they ac-
Illftlly are used as transparencies,
jlHfge these intermediates by trans-
"tilled light, not by reflected light as
vou do an ordinary print.
VIowed by reflected light, each in-
lurmediate should seem far too dark.
llill 110ld each dark positive or nega-
\IV!) up to a fairly bright illuminator
lie! judge them by transmitted light.
I V!lI1the darkest shadow areas should
ppoor luminous with full detail. Your
IUlllllllnt C. F.NRICH
flat appearance of the picture; in go-
ing from step to step, the procoss has
a tendency to gain contrast and, un-
less you intentionally keep tho inter-
mediates at a low contrasl, Iho final
print will be extremely contrasty and
unusable. Then, too, it's on OflSY mat-
ter to make any necossnry adjust-
ments in contrast in the Ilnnl print by
simply choosing an approprlato grade
of printing paper. Paper nojjatives can
be easily retouched with n soft pencil
to build up the highlighl areas.
You can control tho texture and de-
tail shown in the final print by the way
you expose it. For maximum texture,
expose the print normally with the
emulsion side up. For minimum tex-
ture and maximum detail, flash the
print through the base with the light
from the enlarger, then turn it over
and expose it, emulsion side up, to
the paper negative. To soften the de-

97
 (1)

(2)

Picture (1) is a straight print made from the

original negative. The photographer enlarged
the original negative onto a sheet of KODAK
SUPER-XX Pan Film 4142 (ESTAR Thick
Base) which was the same size as the final
print, and the film was developed in KODAK
Developer DK-50 for seven to eight minutes.
You can retouch this film using a pencil for
fine detail and a chamois stamp (available
from art-supply stores) rubbed in black
chalk for the large areas. Or, you can tape
a piece of matte acetate to the film and do
your retouching on the acetate.
The film positive was contact-printed onto
a sheet of single-weight paper to produce
the paper negative (2). After the paper
negative was dry, the photographer rewet the
back of the print and put it between two
blotters under pressure to flatten it while it
dried. Then he did extensive retouching with
black chalk and pencil on the back of the
paper negative, which is shown in (3). He
ndded clouds to the sky, and density to the
houne and road. To set the retouching so
1111t1 It wouldn't rub off, he ran the print
Ihlllll\111a tray of water once, using the same
kind of motion you would use to develop a
1,,11"r film in a tray. After the prinl dried,
h" fI"tlflnod it again using the method
,"""lIlIlIIrr1 above.
r 111'" Urnpaper negative was ready for
I"IIIIII,U, Itlld the photographer made contact
;"1111_hV IIlIlng a printing frame. The finished (3)
1"111' r. _hown In (4).
 "AUL KUZNIAR DARDARA JEAN

These two prints were both made

by the paper-negative process.
The photographer has been work-
ing with the paper-negative tech-
nique for many years and has re-
fined it in a number of ways which
produce consistently good results
for him. More recently, he prefers
using a film positive and film nega-
tive (refer to the chart below)
rather than a paper negative. By
using a sheet of matte acetate
taped to each fi Im positive and
It's easy to make black-and-white A print such as this color-slide close-up of a white flower
film negative, he can do the ex-
prints from color si ides. Just can be made on KODAK EKTACOLOR 74 RC or 78 Paper,
tensive retouching for which the
put the slide in your enlarger No internegative was used; the slide was printed
paper-negative technique is
nnd print it onto black-and-white directly onto the paper.
known, and the finished photo-
pnper as you would a negative.
graph shows the same texture that
it would if it were made with a
paper negative. Inil and obtain the minimum texture, ties. You can blend fact and fantasy
The photographer increases the oxpose the paper through the base in a negative print to show reality in a
apparent texture in the final print
with no separate flash. form that otherwise can't be seen. The
by contact-printing the enlarged
film negative onto KODAK The texture and appearance of a more abstract the subject, the more
EKTALURE Paper with a textured print made from a paper negative is suitable it is for negative printing, Bold
surface such as R or X.
controlled by the surface of the paper simplicity is preferable 10 complex d
you select for the first step. For very sign and, in gonoml, pICIIIIOt1 of poo-
111110texture, select a smooth-surface pie do not look (JODe! 11'1 noqntlvo
pnper such as a J, F, or N surface. For prints.
heavily textured effect, use R or X To print a slido 011hlnok nnd white
Camera Negative urface. pal YCONTRAST Paper, A paper,' simply placo 11111 ';lIdo in the
urlace (light weight) is the paper enlarger and print il nu YOII would a
most commonly used for making pa- negative. Your result will 1)0 n 110ga-
•
Enlarged Film Positive on
KODAK SUPER-XX Pan Film 4H
(ESTAR Thick Base)
por negatives. tive image.
When you make n (;ol(lI print from

Enlarged Film
I \
Enlarged Pal'
RINTlNG SLIDES
on't limit yourself to printing nega-
a slide, you'll need 1(-)ui.o n piece of
unexposed, processed oolor negative
Negative* Negativ tlvo~:; try making a direct print from a film, such as KOD/\COI all II Film, in
I
Final Print
\ lido, You can print slides on either
hlll(;I< and-white or color paper for
the light path. Color pnpot Is designed
to be used with coloi noqatives that
luuuutic effed.s. Of course, ~our print have a calor mask. You can't produce
will 1>0a negative image because your a wide range of colors when printing
Ildf) Is a positive image. a slide unless you use the color mask.
II1 negative prints, shadow detail Place the mask in the filter drawer of
*You can use KOOAK SUPf II htlll 01eater clarity than in positive the enlarger or between the light
Pan Film 4142 {ESTAR Thick 1111 1"1111';,Negative prints also accentu- source and the lens, if possible. Put
or other sheet films for this 111"1
'n IlICl structural aspects of a subject your slide in the enlarger and make a
Id '1IIons its graphic, abstract quali- print in the normal way.

JOHN G. MUl.OEn
101
 nlng
k-and-White
olor
Tuchniques for making black-and-white prints into colorful pictures by using
toners, hand coloring, and printing black-and-white negatives on color oeoei,
soocte! photographic papers allow printing color in black-and-white, aMI
/linking monochrome cotor prints which show black and one color.

A black-and-white high-contrast negative was turned into a color slide by PAUL KUZNIAR

placing a small piece of yellow filter behind the flower and copying
the film by the method described on page 253.
rnntlvity in photography is often the result of Simply taking several "old"
C/hlllquosand combining them in a new way. This slide was made by copying a
hlnck-and-white print through a yellow filter. The print was made by
mdwichinq a black-and-white negative with a linen texture screen.
Mpurlment with your old pictures and try to visualize them in new ways.

f(
103
 You can produce calor
prints from black-and-
white negatives by
printing them on
monochrome calor
paper. This technique
looks best with high-
contrast negatives of
simple, graphic subjects,
and it's described on
page 124.

ARTHUR UNDERWOOU Brown toner is very effective on prints containing old wood, because it makes
the wood look so natural that the viewer might think it's a calor print.
111111I\11 Mid calor to a black-and-white print by using toners. This print is on
IIIIK MI IMUST Paper. It was sepia-toned and then blue-toned to produce the
•. ,,1111 1111'1I to page 120to see two more variations of this picture with toning.

105
 " 111111 /ldd color to black-and-white
1111111, nllhor ovor the whole print or
III "Mirwlod areas. You can also make
0101 prints from black - and - white
IIMll,lIlvos, and transform your color
IIdllo nnd negatives into black-and-
willlo prints to get more use out of
VIII" pictures. This chapter is all about
11III1111g black-and-white into color and
,:()Ior Into black-and-white. It will help
VOII make new prints from pictures
Villi 11Bve in your file and show you
IH)w versatile photography can be.
BARBARA
hlnnk-nnd-white print on KODAK
11""'1110Pnper was colored by immersing
" 11111!tAY 01water that was colored with
~."', ••• Wntor Colors (refer to page 131).
Iltl* I•• i.ombtnatton print (described on
lillUI! In) IHI(/ n combination of techniques.
III
TONING
You can make many black-and-whlh
prints more interesting by chanqlnu
the color of the existing image throuul:
toning. Toning will help you cronl«
moods and impressions in a pictun
In some cases, a slight change in 11111
color of the image gives the deslnnl
effect; in other cases, a bold chanq«
transforms a drab picture into a spot
tacular one. The color produced IIV
toning depends on the toner you 011
lect, but each toner yields a nurnlxu
of variations on its characteristic 11111'
when used with different kinds of pn
per. Some toners, such as KO ON
POLY-TONER, produce different hUI
according to the dilution you use.
Toning helps to recreate the (11
mosphere and mood of the oriqtnnl
scene. Impersonal objects and cold
subjects-abstract designs, glass, 101
formations, marine and snow scenou,
With toning you can cront
stone, night views-all invite the unl1 moods in a picturo. Noli
of a blue toner. Toners that produce how blue toning adds to tho
brownish tones help render tl1l1 mood in the bottom plcturo.
Both prints wero modo
warmth of flesh tones; they are usorl on KODAK MEDALIST
for portraits. A warm-brown tone 011 Paper, but the print on Ih
top was not toned,
cream-white paper provides a genii
ine feeling of warmth and sunnine
for any sunlit view. It imparts an espu
cially friendly atmosphere in pictur
of people. The combination of a sui
fide toner followed by a qold-typo
toner, such as KOOAK Blue Tenor,
will produce a fiery red color for SUII
JEAN sets and fireside pictures.
Toning is a technique that will 911
hance many photographs, but ther«
is no need for this extra treatment UII
less it will improve the picture.
PAUL D. YARROWS
107

Blue toner usually improves the appearanceof marine and
snow scenes, ice formations, and night pictures.
rocessing Prints for Toning
Process the print normally following
1110instructions on the paper instruc-
lion sheet. Using warm-tone devel-
pors, such as KODAK SELECTOL or
DAK SELECTOL-SOFT Developer,
111place of a colder-tone developer,
uch as KODAK DEKTOL Developer,
Will yield a warmer black-and-white
1",1100.
Improper fixing and washing is
rol>nbly the main cause of stains in
IIlIWc! prints, so always use a fresh
111111\1 bath but avoid excessive fixing.
I" lho prints for the recommended
""11 5 to 10 minutes.
r "ICOS of hypo remaining in the pa-
" nllor washing can also cause
'"11111 111a toned print. Wash the prints
0110 hour or use KODAK Hypo
rlllll Agent according to the di-
1I11I!!ion the package. This prod-
1111111
pholographers haveusedtoners for years to help render the warmth
I 11111only reduces the washing
.1"0""111111111,
This print on KODAKPANALUREPaperwas sepia-toned. 1IIIIIIIso removes residual chem-
PAUL D. YARROWS
icals so your toned prints will have
cleaner, whiter highlights and borders,
KODAK Prepared Toners
Kodak toners are easy to lISO be-
cause the chemicals arc ploll1lxcd-
all you have to do is dilute thorn with
water, following the instructions on
the package. These t0l10lS can be
used in white light. The following ton-
ers are available from your photo
dealer: KODAK Brown Toner, KODAK
POLY- TONER, KODAK Rapid Sele-
nium Toner, and KODAK Sepia Toner.
Be sure to soak dry prints in water
for at least 10 minutes before im-
mersing them in any toner. Refer to
the chart on page 110 for toning pro-
cedures, subject suggeslions, and
recommended papers for use with
Kodak toners. When using toners, be
sure to work in a well-ventilated room.
109
r '-.'.....--~
_ __.: =~ ::;-cper1y
;:;z;-:,,-: .n KODAK Hypo Clearing Agent and
-,,03. --e :emperature of the HCA should be 55-
'-as:' temperature is 55-70°F, although in most cases
zsnes are acceptable except for the wash after selenium toning.
Rapid Selenium
Portraits
Sunl it Scenes
Papers For cold-brown tones on
Recommended KODAK EKTALURE,
PANALURE Portrait,
and Portrait Proof Papers.
Print Exposure Causes slight increase in
and Development print density, which may
require slight reduction of
developing time. Degree
depends on grade of paper.
Wash before This toner is sensitive to
Toning si Iver content of clear areas
and also to acid retained in
the print. Treat SW with
HCA 2 min. wash 10 mtn:
DW with HCA 3 min, wash
20 min. Wash RC prints
4 min.
r_= lJsaj. HCA = KODAK Hypo Clearing Agent
'" cO:-:Ja1 usage, dilute the
toner stock solution 1 :3.
Complete toning occurs in
2·8 mm, depending upon the
paper grade. Intermediate
tones can be obtained with
dilute toner, such as 1 :9,
but uneven. incomplete
toning may occur with some
papers. With dilute toner,
toning continues for a short
time in the wash; allow
for this action.
Post-Toning Rinse toned prints
Steps
thoroughly in water if they
are to be treated in HCA
and if you plan to use the
HCA bath later for
black·and·white prints.
Final Wash Wash prints toned to
completion at least 30 min
at S5-70·F Wash partially
ce a: 65-
:=:. :;-:z:
<::===
~
~
~ "Cold-tene papers yield red tones; warm·tone papers yield ora
--==
USING KODAK
fixed; two-bath fixing is
POLY-TONER
Portraits
Sunlit Scenes
Wood
For sepia tones from cold
to warm on KODAK
EKTALURE, Portrait Proof.
and PANALURE Portrait
Papers.
POLY-TONER 1:4 or 1 :24.
Usually little change in
exposure or development
required. POLY-TONER 1 :50
causes loss in density;
compensate by increasing
print development. Degree
depends on grade of paper.
Th is toner is relatively
sensitive to both hypo and
silver salts. Wash 1 hour at
65-70·F or SW-HCA 2 min.
wash 10 min. DW-HCA
3 min. wash 20 min. Wash
RC prints 4 min.
SW = Single Weight Papers DW = Double Weight Papers
Immerse and agitate the
prints: POLY-TONER 1:4-
about 1 min at 70·F,
POLY·TONER 1:24-
about 3 min at 70·F,
POLY-TONER 1:50-
about 7 min at 70·F.
Rinse prints in running water
(about 2 mm).
Treat the prints for about
3 min in HCA solution (use
fresh bath and maintain for
this purpose only) or in a
sodium bisulfite solution
containing I oz per qt,
Hardening: Treat prints for
2-5 min in a bath composed
of 1 part KODAK Liquid
Hardener and 13 parts
of water.
Wash 30 min at 65·70·F
(4 min for RC prints).
as.
- -----
-
TONERS
Because of the rapid washing of resin-coated (RC) papers,
KODAK Hypo Clearing Agent offers little advantage and is
not recommended. Prolonged fixing and washing should be
avoided in order to realize all the advantages of the water-
resistant base and to prevent physical damage.
Sepia Brown
Portraits Portraits
Sunl it Scenes Sunlit Scenes
For sepia tones on most Kodak For sepia tones on
papers-particularly recom- most Kodak papers.
mended for KODABROMIDE,
KODABROME II RC.
KODAK MEDALlST. Mural,
POLYCONTRAST,POLYCONTRAST
Rapid. POLYCONTRASTRapid II RC.
PANALURE, and VELOX Papers.
Causes some loss of print Causes some loss in
density; compensate by contrast; compensate by
increasing exposure. Degree increasing print develop-
depends on grade of paper. ment. Degree depends on
grade of paper.
Particularly sensitive to hypo This toner is relatively
content, which causes excessive sensitive to both hypo
loss of print density. Wash RC and silver salts. Wash RC
papers 4 min at 65-70·F. Wash papers 4 min at 65·70·F.
other papers 1 hour or SW·HCA Wash other papers 1 hour at
2 min, wash 10 rnin: DW-HCA 65-70·F or SW·HCA 2 min.
3 min, wash 20 min. wash 10 min; DW-HCA
3 min, wash 20 min.
Sepia
Brown
Bleach in Solution A until
WARNING: This toner
blacks of shadows have
contains potassium sulfide.
disappeared (about 1 min).
The gas given off during use
Rinse thoroughly in clean, cold,
is both disagreeable and
running water (at least 2 min).
poisonous. Use the toner
Place in Solution B until original
in a well·ventilated area.
density returns (about 30 sec).
Immerse and agitate the
Rinse prints thoroughly.
prints for 15-20 min at
68·F, or 3-4 min at 100·F.
Rinse prints in running
water (about 2 rnln).
Hardening: Treat prints for
Treat prints for about 1 min
2-5 min in a bath composed of
in HCA solution (use a fresh
1 part KODAK Liquid Hardener
bath and maintain for this
and 13 parts of water.
purpose only). Hardening:
Treat the print for 2-5 rnln
in a bath composed of I
part KODAK Liquid
Hardener and 13 parts of
water.
Wash RC papers 4 min at
Wash RC papers 4 min at
65-70·F. Wash other papers
65·70·F. Wash other papers
30 min at 65·70·F.
30 min at 65·70·F.
 KODAK EKTALURE
Paper toned with
KODAK POLY-TONER.

KODAK MEDALlST Paper toned with KODAK Blue Toner.

KODAK EKTALURE Paper toned with KODAK Brown Toner.

113
 Ixlng Your Own Toners KODAK Hypo Alum Sepia Toner T-1a MIXING KODAK SULFIDE
11 don't find the colors you want
Villi This toner produces cold, chocolate SEPIA TONER T-7a
tone papers usually tone Ilt(Jwt1 while
III 11111
prepared toners or if you prefer brown tones very similar to those pro- This is a formula toner intended for warm image-tone papers 10110vollow-
III "do II yourself," you can mix your duced by KODAK Sepia Toner which toning black-and-white. Cold image- ish brown.
IIWII loners. Here are the formulas for is available in prepared form.
"OIl1Gpopular toners to get you started.
Stock Bleaching Solution A
MIXING KODAK HYPO ALUM SEPIA TONER T-1a Water 2.0 Iltr
KODAK Potassium Ferricyanide (Anhydrous) . . . . . . . . .. 75.0 gram
Avoirdupois
u.s. Liquid Metric KODAK Potassium Bromide (Anhydrous) 75.0 gram
2800 mL Potassium Oxalate 195.0 gram
Cold water 90 oz
480.0 grams *KODAK 28% Acetic Acid 40.0 mL
KODAK Sodium Thiosulfate (Pentahydrated) 16 oz
"To make approximately 28% acetic acid from glacial acetic acid, add 3 parts of glacial
Dissolve thoroughly, and add the following solution: aceti c acid to 8 parts of water.
Hot water, about 160°F 200z 640 mL
KODAK Potassium Alum, Fine Granular Stock Toning Solution B
(Dodecahydrated) 40z 120.0 grams
Sodium Sulfide (Anhydrous) . . . . . . . . . . . . . .. 45.0 grams
Then add the following solution (including precipitate) slowly to the Water 500 mL
hypo-alum solution while stirring the latter rapidly: Prepare Bleaching Bath as follows:
Cold water 2 oz 64.0 mL Stock Solution A 500 mL
KODAK Silver Nitrate, Crystals 60 grains 4.0 grams Water 500 mL
Sodium Chloride 60 grains 4.0 grams
Prepare Toner as follows:
After combining the above solutions,
Stock Solution B 125 mL
add water to make .. . . . . . . . . . . . . . . . . . . 1 gal 4.0 litres
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.0 litre
NOTE: Dissolve the silver nitrate completely before adding the sodium
chloride, and immediately afterward add the solution containing the
milky white precipitate to the hypo-alum solution as directed above. The USING KODAK SULFIDE SEPIA TONER T-7a
formation of a black precipitate in no way impairs the toning action of
First, wash thoroughly the print to be toned. Place it in the bleaching bath
the bath if the proper manipulation technique is used.
(Solution A) and allow it to remain until only a faint yellowish brownish
USING KODAK HYPO ALUM SEPIA TONER T-1a image of the dark tones remains. This operation will take about G 10 13
minutes.
NOTE: This toner causes loss of density and contrast which can be
NOTE: Do not use trays with any iron exposed; otherwise, bluo spots
corrected by increasing the exposure (up to 15 percent) and increasing
may be formed on the prints.
1/1edeveloping time (up to 50 percent).
Rinse the print thoroughly in clean, cold running water (At least 2
In room light: minutes).
I. Pour the toner into a tray supported in a water bath and heat it to Treat the print in the toning bath (prepared from Solution 13) until the
120°F. Using the toner at temperatures above 120°F will produce original detail returns. This will require about 1 minute. Givo 1110print an
blisters and stains on the print. Separate the prints occasionally during Immediate and thorough water rinse; then treat it for 2 to 5 minutes in a
the first few minutes. hardeninq bath composed of 1 part KODAK Liquid Hardenor and 13 parts
lillp wet prints into the toner and tone for 12 to 15 minutes-do
I not water, or 2 parts KODAK Hardener F-5a stock solution and I G parts water.
continue toning longer than 20 minutes. Ihe color and contrast of the finished print will not be affected by the use
I lrnln prints and wipe them with a soft sponge and warm water to of this hardening bath. Remove the print from the hardener bath and wash
III!nOVe any sediment. 1I for at least 30 minutes (resin-coated papers wash for 4 minutes) in
WII!111resin-coated papers in running water for 4 minutes. Wash other running water at 18.5 to 21°C (65 to 70° F).
jlllpotS for 1 hour or treat with KODAK Hypo Clearing Agent as For a packaged toner with similar characteristics, obtain KODAK Sepia
rQ(l(lfnmended. ner.

115
 K Gold TonerT-21 It has little effect on cold lonu pnpors.
""lllI yields a pleasing range of Gold toner is one 01 tho 11IwI lunntcal
trom warm black to neutral formulas that tones both IIIIIIIII(Jllls
11 with most warm-tone papers. and shadows at a unlform I'IIIi

MIXING KODAK GOLD TONER T-21

Solution A
Avoirdupois
U.S. Liquid MO/l/o

m water, about 125°F. . . . . . . . . . . . . . . .. 1 gal 4.0 litre

A portrait-type paper AK Sodium Thiosulfate (Pentahydrated) 2 Ibs 960.0 gram
toned with KODAK Rapid
Selenium Toner. AK Potassium Persulfate 4 oz 120.0 grams

I >Insolve the hypo completely before adding the potassium persulfate.

FRANK D.
KOOAK Polysulfide Toner T-8
I ills single-solution toning bath pro-
.Iuces sepia tones and has the ad-
vantaqe, compared with hypo-alum
loners, that it does not require heat-
III Ihe solution vigorously while adding the potassium persulfate. If the
CHRtSTHOFF, JR.
nlutlon does not turn milky, increase the temperature until it does.
Cool the above solution to about 27"C (80°F) and then add the solu-
111111 below, including the precipitate, slowly and with constant stirring.
ing, although raising the ternperatun
1111I bath must be cool when these solutions are added together.
to 100°F reduces the time of tonlnu
from 15 to 3 minutes. For a packaqrul Id water 2 oz 64.0 mL
toner with similar characteristics, tllll
OAK Silver Nitrate, Crystals. . . . . . . . . . .. 75 grains 5.0 grams
KODAK Brown Toner. lum Chloride . . . . . . . . . . . . . . . . . . . . . . .. 75 grains 5.0 grams

NO rE: The silver nitrate should be dissolved completely before th

MIXING KODAK POLYSULFIDE TONER T-8 odium chloride is added.
Avoirdupois
U.S. Liquid Metric Stock Solution B
Water 960z 750 mL Avoirdupois
Sulfurated Potassium (liver of sulfur) . . . . . . 1 oz 7.5 grams U.S. Liquid Motile

KODAK Sodium Carbonate (Monohydrated). 145 grains 2.5 grams W.ter 8 oz 250.0 mL
Water to make . . . . . . . . . . . . . . . . . . . . . . . . . . 1 gal 1.0 litre Id Chloride 15 grains 1.0 gram
Dissolve the chemicals in the order given. NOT[: Gold chloride is a deliquescent chemical; it will liquefy rapklly In
normal room atmosphere. Store the chemical in a tightly stoppered
USING KODAK POLYSULFIDE TONER T-8
holtlo in a dry atmosphere.
In room light:
I. Slip wet prints into the toner and tone for 15 to 20 minutes at 68°F
or for 3 to 4 minutes at 100° F. Agitate continuously.
'J Rinse prints in running water. prupare a working solution, add 4 tainer and discard the precipitate .
•1. Soak in freshly mixed KODAK Hypo Clearing Agent-use the Hypo IIllnn (125 ml) of Stock Solution B Revive the bath at 111101 vals by add-
Clearing Agent for this purpose only. wly 10 the entire quantity of Solu- ing Stock Solution B. ne quantity to
t1 Prepare a hardening bath by adding 1 part of KODAK Liquid Hardener " A while stirring the latter rapidly. be added will depend upon the num-
10 13 parts of water, and treat the print for 2 to 5 minutes in this solution. lnro using the bath, allow it to ber of prints toned and time of toning.
I, If nny sediment appears on the print, wipe the surface with a 11<1 'or about 8 hours. By this time, For example, when loning to a warm
oft sponge. llow precipitate will have formed brown, add 1 dram (4 ml) of Stock
WlIsh resin-coated papers in running water for 4 minutes. Wash other 11111 bottom of the container. Pour Solution B after each 50 8 x 1O-inch
pupors for at least 30 minutes at 60 to 70° F before drying. 111111 solution off into another con- prints or equivalent has been toned.

11 117
 KODAK Blue Toner T-26
Ihls toner gives a pleasingrange of oped in a warm image-tone developer,
blue colors with warm-tone papers, such as KODAK SELECTOL Devel-
iuch as KODAK EKTALURE and oper. The toner slightly intenslfies the
KODAK Portrait Proof Papers, devel- print.

MIXING BLUE TONER T-26

Part A (Solution) Avoirdupois
U.S. Liquid M()/I/r:
Water . 1.002 31.0 mL
Gold Chloride* . 6.0 grains 0.4 arame
Dissolve the gold chloride with stirring.
NOTE: Gold chloride is a deliquescent chemical; it willllqully Iflplcfly In
normal room atmosphere. Store the chemical in a tiglTlIy ulojljl()lOcl nlass
bottle in a dry atmosphere.
Part B (Powder) AvoirdUI)oll,
u.S.l./qlllrl M()/rle
Thioureat . 15 grain 1.0 gram
Tartaric:j: . 15 grain 1.0 gram
Sodium Sulfate, Anhydrous . 230 grain 16.0 arams
'Gold chloride can be purchased as a 1.0 percent solutlcn 110111pillllll /lllIlply tiouaos
Such as Light Impressions, 131 Gould Street, Hochester. NY I~(JI(). YIlII \;1111I/tlll [;'111111
01 the 1.0 percent solution in place of Part A.
I [ASTMAN Organic Chemical No. P497; available from pholochurnlunl 1111111111
I EASTMAN Organic Chemical No. 420; available from photochomlcnl dlllll111

To prepare a working solution, add Part A to I U.S. qunn (1)/1(1 Itll ) of

KODAK MEDALlST Paper toned with KODAK Blue Toner. water at about 125°F. While stirring, add Part Band contlnuo UlllilltU 11I1111
the chemicals are dissolved completely.
NOTE: A fine white precipitate may appear in the solution whon II In Iwpl
overnight. This does not impair the properties of the toner.
USING KODAK GOLD TONER T-21 Parts A and B may be mixed ahead of time and stored tllljllllrllllly In
In room light: IIOl1tly closed glass containers. If all the toner is to be mlxorl 111111 11'IIHfHt
1. Pour the toner into a tray supported in a water bath and heat the water ono time, there is no need to mix B separately. The cornponouln ul I'urt B
to 110°F. During toning, maintain the water bath at this temperature. rnny be weighed out and added to the gold chloride solution ClIIIlll 11 hns
2. Slip wet prints into the toner and leave until the desired tone is boon prepared with 1 quart of warmwater.
visible-keep prints separated throughout the toning procedure.
Use an untoned black-and-white print for comparison to help you USING KODAK BLUE TONER T-26
determine how much toning has taken place. In room illumination:
3. Rinse prints in warm water. Some sediment will form in the toning tray, I Slip the wet prints into the toner and leave them there until 1110 dosired
especially if many prints are toned. The sediment is harmless, but it lone is obtained. Keep the prints separated during the tonll1()
may form a scum on the print surface. If so, wipe the print with a wet procedure.
sponge or a wad of cotton immediately after toning. Illnse the prints in running water and wipe them with a wot sponge to
~, Wash resin-coated papers in running water for 4 minutes. Wash other remove any sedi ment.
papers for 1 hour in running water, or use KODAK Hypo Clearing Wnsh resin-coated papers in running water for 4 minutes. Wash other
Agent as recommended. pupors for 1 hour in running water, or use KODAK Hypo Cloarlng Agent
" 10 prevent formation of spots, be sure to sponge all the water off tHl recommended.
III prevent the formation of spots, be sure to sponge all the water off
1110 prints before drying them.
lillI prints before drying them.

I1 119
 _ Red Tones
11 Villi nlll lncllnod 10 oxperiment, try
"" 1I1'11I:llIlJlIlnr!Od tones. Sepia-tone
IIIn 1'IIIIt 11I1(1wash it in the normal
Wr1Y, thon blue-tone the sepia print.
IlltllOlItllt is a red to orange calor, de-
I'lllldlllfj on the type of paper used.
(:nld tone papers yield a rich red coi-
1)/, whereas warm-tone papers give a
111010orange hue.
I<ODAK Sepia Toner or KODAK
Brown Toner can be used for the firnl
stage. Then, after the print has bson
washed thoroughly, toning wilh
KODAK Blue Toner T -26 yields the rod
calor in about 15 to 30 minutes. Thero
is usually a loss of density in thl
shadow areas of the picture with thl
method of toning; therefore, YOII
should start with a print exposed 20
percent longer than normal.

This print 0111<O1l1\1<

POl YCONTI11\}11 1111111<1 l"nl10r
was selecllvoly tOlloll, 11111 bottom
of the print WIIII tlOVllIlHI wllll
Maskoid Frlskul, 111111 11111111111
print was toned with I(OI)I\I(
Brown Toner. Thn r,l~kol WII
removed, and 1110who It
print was toned with 1«(>l11\I(
Blue Toner.
ARTHUR UNDERWOOD

ducing Multiple Tones

11 it combination of colors on the
IIIIl print, try selective or multiple
1I11l\).Selective toning consists of
111110 only certain areas of the print
hllo the rest of the print is covered
1111rubber cement or frisket. Multi-
III tnning involves selective toning
11111I10re than one toner. You can
1IIIIIIce various colors by the action
These prints and the example shown on page 104 were all made on KODAK
MEDALlST Paper and loned with KODAK Sepia Toner. The top print shows 1111111 loner on the image previously
the effects of the sepia toner. The bottom print and the print on page 104 were IIl1d by another. For example, as we
also toned in KODAK Blue Toner for 20 minutes. If you compare the two
prints, you'll see that they look different. They were toned in exactly
Itllltlnned before, an area that has
Ihe same way, but the results are differenl because the print on page 104 1111 toned sepia can be changed to
was printed darker. When making prints for toning, make several d \ly further toning in blue toner.
different exposures and tone them all. Then you'!l have a variety to select
from after you see how the toner changed the print. lulnctlve toning can be used to
separate the foro[JI()llIld 110111the
background. For oxnmplu, you could
tone the waves in El '.III",CI'PS a rich
blue, while keeplnq \Ill) locks over
which the waves aro iJIII[\I(ing a nat-
ural gray calor. TIHl punnlbittties are
almost limitless!
You'll get the bost iouuus with sub-
jects that have a clom 11110 of demar-
cation. A sail agalr1f11Iho sky, build-
ings and mountains fI(]alnst the sky,
and still-life subjects aro the easiest
types to start with.
The only materials you'll need, in
addition to the toners, are a bottle of

1t!1I 121
 IhillY lope. Remove rubber cement
1IIIIbing your fingers across it while
hi nllll in the wash. Once the coating
'"'I1()ved, you can dry the print in
unua: manner.
WhoJ1you want to use two or more
"",n, you must follow this procedure
, MIICh separate toner.
mmendations for Toning
AK Papers in KODAK Toners
1111I
following chart, the Kodak ton-
chocked as recommended for use
Ih 1110various Kodak papers are
that will produce a tone accept-
able to most people. 8111CO1110tones
vary considerably in MII-! color and
strength, some exporlmontnuon is
necessary to determine the 0110 best
suited to a particular uso.
If you plan to tone resin-conlocl (nC)
papers, keep toning times 10 fI mini-
mum to prevent solution edgo 1'0110-
tration and physical damage, when
toning beyond 8 to 10 minutes, lonve
a larger margin for trimming duo to
penetration of the toner.

NING CLASSIFICATION CHART

KODAK TONERS
Developer Poly Sulfide
or POLY Sulfide Sepia Hypo Selenium Gold
Process 1 :24 Brown T-8 Sepia T-7a Alum 1 :3 T-21 Blue
SELECTOL F M M F F F F M F
DEKTOL M F F F F M S S S
Both prints were toned with KODAK Brown Toner. Before toning, the area
DEKTOL M F F F F F M F M
of the model in the picture on the right was carefully covered with
rubber cement to protect it from the toner. After the print was toned DEKTOL S M M F F F S M S
and washed, the rubber cement was rubbed away. SELECTOL F F F F F F F M M
DEKTOL S S S F F S N N S
rubber cement and some thinner, or a smooth it out, and then immediately DEKTOL M F F F F F M M M
DEKTOL S M S F F M N N S
Irlsket material, such as Photo Mask- move on to another area. SELECTOL F M M F F F F F F
old Liquid Frisket (available from art- For uniform toning, you should soak DEKTOL S M M F F F S M S
uupply dealers); a fine brush and a a dry print in water for 10 minutes, DEKTOL M M M F F M M M N
DEKTOL S F F F F M S S S
wider one, and an appropriate print. However, to minimize the risk of hav
RPP S M M F F S S S S
Maskoid Frisket is easier to use ing the toner creep under the edges 01 DEKTOL M F F ) F F S N M S
than rubber cement because it is a the mask and ruin the job, place tho RPP S M M \ F F S N M S
1IIIIIIant red, making it easy to see dry print directly into the toner. Don'l DEKTOL S F F F F M N N S
DEKTOL M M M F F M S S S
whlr.l) areas of the print have been be alarmed if the print buckles ancl RPP S M M F F M N S S
IllvllIod. If you use rubber cement, curls due to uneven wetting as a re DEKTOL S M M F F S N N S
111111 I1with rubber-cement thinner. Di- suit of the mask. If you can hold th 214 S S S F F N N S S
SElECTOL M F F F F F M N M
111111 1110rubber cement about 1:1 with portion of the print not to be toned oul
DEKTOL N N N F F S S N N
111111Ilfll, And mix well. of the toning solution, there is lesn RPP N N N F F S N N N
11'111 It small, soft brush that points chance the toner will bleed throuqh
N No Tone Change
11[1wOIl uno does not lose its bristles. the coating. Make sure that the tonal S Slight Tone Change
IIIH IrllllO brush will be a time-saver is kept flowing evenly over the un M Moderate Tone Change
F Full Tone Change
',ll IIIIIIIU In broad areas. Apply the coated portions.
IllIdllll onment or frisket in two or Wash the print as recommendecl, RPP Processed in the KODAK ROYALPRINT Processor, Model 417
214 Processed in the KODAK EKTAMATIC Processor, Model 214
lIIii111 tlllII coats, rather than one heavy and then remove the rubber cernanl
(illt 1)11not work the rubber cement or frisket material. You can rernovn *Other contrast may produce slightly different tone changes.

I IlItlt Ilow it on with the brush, Maskoid Frisket by picking it up wllli

I I
123
 A print on 1\1!l11I111I
Superprosa Mol/llllll
Paper=sapphhu ouh«
The paper W(HlOXPIIIIIIlI
from a higll-0011t1111l1
negative and prollll""'1I1
in KODAK DEK101
Developer (1 :2). 8111I1'111
compositions on 111\111
contrast film print b01l1
on this type of papor,
Other versions of this
photograph are shown
on pages 206, 207,
and 208.

Bold designs with a graph c

quality look very dramat c
when printed on metall c
paper. This print is from a
high-contrast negative on
Argenta Superpress
Gold Paper.

PRINTING ON A
MONOCHROME COlOR PAPER
fhere are monochrome photographic in a large variety of colors in both
papers available that have a color matte and metallic finishes is Arqenta.
built right into the paper. These pa- If your local photo dealer doesn't carry
pers are used exactly as other black- monochrome color papers, you call
md-white papers, but instead of pro- contact the manufacturer by writing to
clllclng a black image against a white Argenta Corporation, 8 Munchen 21,
11I1C.1~(Jroundthey produce a black im- Willibaldstrasse 22, West Germany,
lUll ngainst a colored background. Argenta paper is processed thu
1IIIIy me particularly appropriate for same way as KODABROMIDE Papol
I'IIIIIIII(J high-contrast images because You can handle this paper under t\1(I
1IlIIy holp contribute to the graphic light of a KODAK Safelight Filter, No
'IlIllllly or the image. Continuous-tone 1A (light red), or equivalent. You Cflll
I dill I, uno-white negatives and color dry the metallic and iridescent oapoi
Iljl~"lllvl)l1 do not usually have enough with a matte finish or ferrotype them,
! i 1111111'11 to produce good prints on Monochrome photographic papo:
Illill\i11'I1pors. are also available from Luminos, "
)1111 III1Ind of paper that's available Wolffe St., Yonkers, NY 10705.

125
 INO COLOR NEGATIVES K PANALURE Paper
ACK-AND-WHITE 11n oolor negative is printed on
Wlltill (:olor l1ogatlvos are printed on I( i>I\NALURE Paper-which is
m.luornatic paper sensitive to
11111'(11 rlunlonod for black-and-white
III 11I! , and blue light-all the coi-
IIlIljllllvl)S, such as KODABROMIDE
l tllO picture are rendered in rela-
1'111"11,tl10 increase in apparent grain
IIlIIIlll of gray. The print will look
1111111110 balance of tones in the mono-
1111/11 It were made from a black-
I:IIII>ltIO print are often unsatisfactory.
wllllll negative.
lliln Is because most black-and-white
III me two kinds of this paper.
pllllllng papers are sensitive mainly to
IIll10 light. In other words, these ma- AI( PI\NALURE Paper (F Single
10110ls "see" a calor negative as 111),Ulossy, and warm-black in
1I101Ighit had a blue filter over it. As a III lor general purposes. KODAK
ruault, objects that were red in the AltmE Portrait Paper E-white,
ollolnal scene print too dark, and ob- 'UIIlOd lustre, and double weight
Illcts that were blue in the scene print 101 portraits or other subjects that
I()o light. Red lips and ruddy com- Itn /I brown-black image tone.
pluxlons are too dark, blue eyes are 11 (;/111handle PANALURE Paper
loo light, and blue skies with white hn 1III11tof a dark amber safelight,
clouds lack detail. /I KODAK Safelight Filter, No.
II~ amber). Follow the process-
lructions on the paper instruc-
lIoot.
with KODAK PANALURE
• With PANALURE Paper you
I filters during the printing ex-
10 alter the balance of tones
I offects similar to those ob-
by using filters over the cam-
IW. For minor changes in tonal
, use KODAK Calor Compen-
llltors. For more dramatic ef-
1I1l0 the same filters as for ordi-
mora work.
lluhlon the gray-tone rendering
IDr, use a filter of a calor simi-
IlInt of the object in the scene.
Ikon the rendering, use a filter
olor complementary to that of
hlne!. Remember, however, that
YOll change the rendering of
lnr, you also change the ren-
Those prints were all made from the same color negative. The black-and-white o/ other colors in the scene.
I',ll1t on the left is on KODABROMIDE Paper; the blue sky is reproduced too light mplo, if the subject in a por-
nnd the red jacket and hat are too dark. The print on the right is on KODAK rI .loop red lips and blue eyes,
I'ANALURE Paper, which is a panchromatic paper. This paper is sensitive to all
IIllIrn 80 It can reproduce the colors in a color negative in the relative tones of gray. IIIIIY be too dark in the black-
and-white print. You can 11(ll1lon the
lips with a red filter, but at tho same
time you darken the eyos. 111n case
such as this, a CC40R (rorl) filter
yields about the maximum couoctlon
that can be applied without IlInl<111
the eyes too dark. If you want n OllOllfl
orthochromatic rendering with drukor
reds and lighter blues, use two CCGOC
filters over the enlarger lens.
MAKING BLACK-AND-WHITE
NEGATIVES FROM SLIDES
One easy way to get a black-and-
white print from a slide is to have a
calor internegative made, and print
the negative on KODAK PANALURE
Paper as described above.
Another way is to make your own
black-and-white negatives from slides
by printing the slide onto a sheet film,
such as KODAK Commercial Film
61270r4127.
Simply enlarge your slide onto th
sheet of film, just as you would print
a negative onto a sheet of enlarging
paper. Place a sheet of black paper
behind the film to prevent hatntlon,
and cover the enlarger with 0 cloth to
minimize stray light and foO. Mako a
test strip to determine tho exposure.
Process the film accordinq to the In-
structions on the film instructtcn sheet.
KODAK Commercial rllrn Is a blue-
sensitive film, so you con handle it
under a red safelight (KODI\K Safe-
light Filter, No. 1) and soo what you're
doing. This film will not reproduce red
and green in their propor tonal values,
so if areas of your subject are red or
green, use a panchromatic film, such
as KODAK PANATOMIC-X Film or
KODAK SUPER-XX Pan Film 4142
(ESTAR Thick Base). Since these films
are sensitive to red, green, and blue
light, they must be handled in total
darkness.
127
 RINTING BlACK-AND-WHITE
NEGATIVES ON COlOR PAPER
ome black-and-white subjects look
vIIJY effective when printed in calor.
Ill/ can make calor prints from black-
11(I-white negatives by printing them
HI KODAK EKTACOLOR 74 RC or 78
Pnpors. The resulting print will be one
olor, but it will show a range of tones
t ihat calor. Because this paper is de-
1(JIlodto be used with calor negatives
Wlllch have a built-in calor mask, the
1I1!11< is usually necessary for good
010/ prints. Make the mask by having
ploce of unexposed color-neqative
Irll processed Place the mask in the
11111/ drawer of your enlarger or be-
""11 Ihe light source and the nega-
carrier if possible. Use this mask,
nlhor with your standard fi Iter pack,
Iho onlarger whenever you're print-
lilnck-and-whlts negatives on col-
pnpor. Once the mask and filter
k me in place, simply print your
k uno-white negative, just as you
Id nny color negative. Process the
/ III the normal way.
lJ can get saturated colors by A col or print such as this can be rnado rrom
a black-and-white negative by printing 011
11110through "Sharp-cutting" fil- KODAK EKTACOLOR 74 RC Paper thrOllol1 El
1 hose fi Iters transmit only one magenta filter and a mask made from n ploc
of unexposed, processed cotor-nounttvo film.
01 the spectrum, and they pro-
Ihnlr complementary colors
11"00 in conjunction with a black-
This print was made from a negative on KODAK Commercial Film. A color slide
hlln negative and color print
was enlarged onto a sheet of Commercial Film with an exposure of 5 seconds
at f/22, and the film was processed in KODAK Developer DK-50 full strength. '110 following table lists some
Variations of this same photograph are on pages 190, 191, and 203. nd ths colors they will produce.

'ihnrp-Cutting Filters
lollowing To produce
Wlli\TTEN Filter this col or
110(1 Cyan
IllnOI;nICK c. ENRICH

I Ilroon Magenta This print was made from a blnck-and-whtts

111110 .....•.•... Yellow negative by printing each half of the
negative separately throuqh tho appropriate
I:YIlr1 Red filters onto KODAK EKTACOLOR Paper.
The figure was hand-c%rod alter the
MII(jonta Green print dried.
op Yellow Blue

IPO
129
 DARDARA JEAN

A photogram like this can be made on KODAK RESISTO Paper; photograms are
covered on page 93. The print was soaked in a solution of orange transparent
watercolor and water for several minutes, rinsed in clear water and then air-dried.

ING COLOR LATER ors. * These dyes will calor prints or

no time the only way of produc-
calor print was to hand-calor a
k and-white print, and this meth-
III still being used in portrait stu-
flame photographers are also
rlrnonting with hand-coloring se-
nreas of prints and slides to
uco unusual visual effects. How-
Ihls technique does not work
n KODAK POl YCONTRAST
11RC Paper.
U can calor black-and-white or
prints with KODAK Retouching
ir Marshall's Photo Oil Colors,
tructions are included with the
It's easy to add calor to small
, prints with watercolors, food
"Both of these products aro nvnlloble by mail if
, or felt-tipped marking pens.
me also several transparent
IIIlIdo for photographic uses,
A color print made from a negative on black-and-white film and printed on Nlcholson's Peerless Trans-
KODAK EKTACOLOR Paper without using any filters or color mask. Wilier Colors, and Martin's
mntlc Transparent Water Col-
slides.
You can also glue colored tlssu
paper over the surface of a print us
ing a colorless glue, such as rimer's
Glue. One effective way of adeJlng cal-
or to black-and-white is cornblntnp
tissue paper with a "print" mode on a
large sheet of hiqh-contrast film.
Photography is a rnodtum !lwt al-
lows expression in an lnllnlto variety
of ways, so don't confino yourself by
traditional techniques of print finish-
ing. Experiment with cotcrs on a spare
print and see what interesting effects
you can create.
you can't find Ihe corers loenlly In art-supply
stores. Nicholson's Peerless Iransparent Wa-
ter Colors are available 111liquid or dry form
from Peerless Color t.aborntory, 11 Diamond
Place, Rochester, New York 14609. Martin's
Synchromatic Transparont water Colors are
available from Sails International, 4093 N.
28th Way, Hollywood, Florida 33021.

In 131
 Iloth those black-and-
wlllhl prints were colored
with the same shade of
1)1110, transparent water-
oolor. You can obtain
light pastel colors by
putting a small amount
of oolor in a tray of water
nd soaking the print.
Uno lust enough water to
cover the print. You'll get
more intense calor by
liPplying the calor with a
wad of cotton directly
from the bottle to the
urface of a wet print.

PAUL KUlNIAR

11prints were printed in exactly the same way on KODAK EKTACOLOR Paper.
The white areas in the sky were colored in with a wet brush
nnd KODAK Retouching Colors. You may have used retouching oolors
III .pot calor prints or increase the calor saturation as we did here, but you can 133
1[1'1 also use them to add calor to a black-and-white print.
 A print made from a color negative
and printed on KODAK PANALURE
Paper; it was colored by swabbing
the surface of the wet print with a
wad of cotton saturated with
purple, transparent watercolor.

DARDARA JEAN

This photogram was hand-

colored on the dry print using a
piece of cotton saturated with
green, transparent watercolors
to color the leaves. The stem and
flower were colored with a cotton
swab saturated with transparent
watercolor. Cotton swabs work
well for coloring small areas and
filling in details, but they show
streaks if you use them on
large areas.

rhlA photograph shows a number of different techniques. The picturo Is printed

fill fin 8 x 1O-inch sheet of high-contrast film. The film is glued to a whlto board
Wllh rfJd tissue paper placed behind the apples and between the film and the board.
" oombinatlon of images on high-contrast film served as the original negative.

Inil
135
 eAReARA JHH

This print was made as an extra proof, and it was colored in with an orange
felt-tipped pen just as an experiment. It's easy to use a felt-tipped pen to color
fine lines in a print, but large areas will show the strokes of the pen.
Save your extra prints and experiment with them.

llilll posterization was made from a black-and-white original. There are a number
01 techniques discussed further on in this book that will show you how to turn
hlnok-and-white negatives into color slides and prints. They are: The Sabattier
I "nct-page 190, Posterization-page 230, Gum-Bichromate Printing-page 264,
IO{ and Photo Silk-Screen Printing-page 273.
Two prints from the same negative-the color and mood were altered by
IIlillnging the filter pack. Both prints had color added later to the lighthouse
light and windows. It's easy to bring out details in color prints with
KODAK Retouching Colors and a wet brush.
137
 The owls' eyes become the
center of interest and most
I colorful area of the print when
they're intensified with yellow
KODAK Retouching Calor.

PAUL D. YARROWS

The yellow skis really add

impact to this calor print.
They were brightened up with
yellow dye after the print was
made. This technique of adding
calor works equally well with
prints or si ides-try it sometime!

DARBARA JEAN

Another way of combining black-and-white and calor is with a montago. TI11s slide
Is a film sandwich of a calor slide and a high-contrast film positlvo. Tho film
positive was made by contact-printing a black-and-white negatlvo onto
high-contrast film. For more information on techniques with hlgl1-contrast
films, turn to page 154.

139
 ng
m•••

•
h-Contrast
ctures
IIlgh-contrast pictures are black-and-white with no intermediate tones, and
tnoy're made by printing continuous-tone negatives or slides onto high-con-
trus: film. High-contrast films are the basis of many of the other techniques
utsoussea further on in this book.

By using a high-contrast film, the photographer was able to isolate this

composition. The original negative was printed on KODALlTH Ortho Film 6556,
Type 3, to produce a high-contrast positive film. Then, that film was contact-
printed onto another sheet of KODALlTH Film to produce the high-contrast
negative used to make this print. KODAK Opaque was used liberally to paint
out the unwanted areas of the picture.

~~=-'';'"''~)'~·;l:ii;~sJ,··.
ROBERT KRETZER

Illgh-contrast films offer the opportunity of creating many different compositions

from one original image. This tone-line print was produced from the same
This straight print made from the original continuous-tone negative original as the photograph above, using the process described on page 163.
has potential but it lacks dramatic impact.

11\0 141
 MICI1AEL TYBURSKl
t1lll1ple compositions can become dramatic
pllCllographs in high contrast.
It's easy to print multiple images with
high-contrast negatives because no dodqlnu
is required. The high density of a high-
contrast negative is a built-in mask.
A montage made from a color slide and a positive printed on KODALlTH Film.
A black-and-white continuous-tone negative was contact-printed onto KODALlTH
Ortho Film 6556,Type 3, to produce the high-contrast positlvo of the boat.
Then the positive was sandwiched with a slide containing two flowers
to produce this montage si ideo
143
 KEITH BOAS

This multiple-exposure print was made from a single high-contrast negative.

After each exposure, the enlarger easel was moved (refer to page 51). To achieve
the midtones, each exposure was kept extremely short. The original picture,
taken on slide film, was printed on a high contrast black-and-white film
to produce the high-contrast negative .

•••
•••
•••
•••
...:;1/

ilia
••••••
===
l!IiJlaIIJQJ

Ill" original picturo, takon on KODACOLOR II Film on an overcast day,
"n" "" lntoroetlnq pattorn butlitlle snap or color. The photographer turned
tlllllU" IIIto rr bold graphic dosign by first making a high-contrast positive from
h. IIIIUIIIIII oolor nogrrtlvo. He then contact-printed this positive with another
"""t or thn nnmn 1ll\lll-contrast film to produce the negative from
whloh this illustration was printed.
A combination of high-contrast films was used to create this print. A series of
high-contrast films was printed from the original image using different exposure
times; then these films were contact-printed onto additional sheets of
high-contrast film. From the series of negatives and positives created,
the photographer selected the lightest negative and the lightest positive and
sandwiched them together. That film sandwich was used as a
"negative" to print this picture.

145
 variety of sizes, but the 4 x 5-inch
IlIull I 1IIII!lIllI prlnl Is a black-and- sheets are generally the most conve-
1.\111 1'11111 with no Intermediate gray nient to use. When working with high-
\111\1111, IIlld w1l11oullhe gray tones, only contrast films, it's best to make the
11111 11111.11111101 shapes of the original largest negative that your enlarger will
pllll\II\IIllpll arc reproduced. The sol- accept because it makes retouching
id I J\rl(:l~ find stark white tones com- as easy as possible. You can also
IIllIlId wllh the sharply outlined sub- contact-print negatives and slides on-
1111:1 IIlflke high-contrast prints eye- to these films; this method allows you
11\\!;lllng. With this process, you can to reproduce several small images on
111111 cluttered negatives into clean, one sheet of 4 x 5-inch film. Use the
drlll!lnlic pictures; salvage flat nega- contact-printing method only if no re-
IIv()(1 and underexposed slides; corn- touching is required. By contact print-
111110 Images from several photographs ing, you can also produce bas-relief
10 croate a new composition; and turn
images (refer to page 161).
11II\Gkand-white negatives into color
IlIlI1ls and slides.
I'roducing high-contrast negatives
111<1positives is the foundation for This Pennsylvania Dutch scene needed to undergo a couple of rather simple
darkroom procedures before the photographer could achieve the
runny of the techniques described in final high-contrast effect that he wanted.
1110following chapters in this book.
It's very important that you develop a
IJBSic knowledge of producing good
high-contrast images before you at-
tempt more sophisticated photo pro-
cesses such as posterization. In order
to produce a successful posteriza-
tion, you must be able to control the
printing of high-contrast film.
High-contrast films and paper are
asy to use because most of them
~•. ~ .:' ,~ .• ,.l;'(, .." ', '••" ~ 1~1 I
are orthochromatic. If "ortho" is a part ,"~'~."" .'f,'~:""\);
of the name, the material is not sensi- ~~~.11~~.'~',',j ,
live to red light and can be handled
under a red safelight. Check the in-
ntruction sheet packaged with the rna-
Inrlnl for the safelight recommenda-
111l1I,The obvious advantage to being
IIIlIIl to work under the light of a safe-
11\1111 Is that you can see what you're
1\111110 find watch the film developing.
KEITH BOAS
IlIllll-contrast films and developer
\Ill IIvllllable from graphic-arts sup- Blurting with a KODACOLOR 11Negative, he made a black-and-white positive
on a piece of high-contrast film. Next he contact-printed this positive onto
1'1\r111l(listed under Printing Supplies nnother sheet of the same film, ending with an extremely high-contrast
11111111 yol1ow pages of your telephone black-and-white negative. The final enlargement, made on KODAK
11111 J\'.). or your photo dealer may be 1'( 11YCONTRAST Rapid II RC Paper, was printed for a good black (with no filter)
_lIetdeveloped normally. To simplify the subject and make it more appealing,
111111 10 order these products for you. 1111 photographer elevated the enlarger and cropped for a pleasing composition.
(l\ ll\L1TH Films are available in a
147
11\
 TONY CAPUTO

1'0remove unwanted
bnckground elements in
high-contrast pictures, use
11 retouching material such
HR KODAK Opaque (see
Jll\ge 153). Here opaque
WI\Sapplied to the
hnckqround of a high-
contrast negative which
wile later contact-printed
111110 another sheet of the
lime film to produce a
pnaltlve image. The
ponltlve was then enlarged
III make this prize-winning
111"1111.

Two slides sandwiched together produced this high-contrast variation.

The original KODAK TRI-X Pan Negative (35 mm) was enlarged to an B x 10-inch
black-and-white print. Next the print was copied onto a high-contrast
black-and-white film. The resulting negative was then copied onto another
frame of the same film to produce a high-contrast positive. A color slide of a
unset was then sandwiched with the high-contrast positive to create this picture.

lhose horses didn't just

happen to be visible
Ihrough the opening in ~
Ihn fence. The fence was
Illurged on one sheet of
high-contrast film and
Ihn horses were enlarged
11I11I"tthe right proportion
1111 Mother sheet of high-
contrast film; then the
IWII films were combined
to make this print.
CA-ROLE G. HONIGSFELU

149

~ USING HIGH-CONTRAST
DARBARA
One of the big advantages of working with
high-contrast films is that you can
completely rearrange the composition
picture. In the original slide, this gull was
flying out of the picture. After enlarging it
onto KODALlTH Film, the photographer
cut the negative apart and taped the
gull in this position.
FILMS
J E:AN
With high-contrast films, you can make
negatives directly from slides. Or you
can print a negative onto the film to
of a
produce a high-contrast film positive.
Then contact-print the film positive
onto another sheet of film to produce
a high-contrast negative. You use both
the high-contrast positive and nega-
tive for some of the techniques de-
scribed in this and later chapters.
One of the biggest advantages of
using high-contrast films is the ability
to eliminate distracting areas of the
picture quickly and easily by painting
them out with opaque. It's also easy
to combine two images from different
films or to rearrange the composition
of an image by simply cutting the film,
rearranging the image into a new
composition, and then taping the
pieces of fil m along the edge. By com-
bining these techniques of cutting and
rearranging images with the ability to
paint out areas of a picture or add de-
tails in other areas, you can create an
almost unlimited variety of new pic-
tures from negatives and slides YOlI
have on file.
Selecting the Film
There are several high-contrast films
-.
available and the film you use will de-
pend on the original image you select
as well as the final result you're try-
ing to achieve. For general use in
making high-contrast positives or
negatives from negatives and slides
or for making contact negatives (or 'l
positives) from high-contrast film pos-
Itives (or negatives), use KOOALlTH
Ortho Film 6556, Type 3, or KOOALlTH
Ortho Film 2556, Type 3.
If your original image is in color
nnd has a lot of red in it that you want
to record in detail, use KOOALlTH
Pan Film 2568 to make the high-
oontrast negative or positive. Because
this film is panchromatic it will ac-
urately record all the colors in your
original as various shades of gray,
while the ortho fi Ims record reds as
black, often without much detail.
KOOALlTH AUTOSCREEN Ortho
Hlrn 2563 is a high-contrast film which
produces a dot pattern automatically.
lJse the film if you want a built-in tex-
turo screen. Because of the built-in
pnttern, you can't retouch this film
with opaque as easily as the other
hlllll-oontrast films. Use KODALlTH
AlJTOSCREEN Ortho Film as a posi- ALlCE HALL
IIvo for silk screening. Refer to page High-contrast derivations work best with
3 for more information on photo Simple compositions, and hlgh.contrast films
allow you to eliminate details that often
Ilk screen printing. clutter the background.
151
r:n

Retouching High-Contrast Films move these stains by IIIlll1UlnlflO th

It's easy to retouch the pinholes that film in a very dilute solutlon ol roducor.
are so common on high-contrast films. After the stain disappotuu, wllnh nno
You can use an Eberhard Faber Thin- dry the film following thc tnuuuollons
rite Marker 690 black or KODAK on page 35. Processing atnlnn rllo n
PROCESSING Opaque. KODAK Opaque comes in warning signal that your chomlonlu (11
red or black and either color works exhausted or that you need 10 1IIIlI!
well. Stir the opaque and then take a your hands more carefully oflol YOII
KODALlTH ORTHO FILM 6556, TYPE 3 mall amount on the tip of a brush and handle film in the fixer and 1)()loll
KODALlTH ORTHO FILM 2556, TYPE 3 retouch the pinholes. You can spot you put a fresh sheet of film into IIIIl
oither the base or emulsion side of developer.
KODALlTH PAN FILM 2568
KODALITH AUTOSCREEN ORTHO FILM 2563 the film.
You can also paint out large areas
Use a KODAK Safelight Filter, No. 1A (light red) with KODALlTH Ortho of a film with opaque to eliminate
and AUTOSCREEN Films. Use a KODAK Safelight Filter, No. 3 (dark distracting backgrounds. Since the
green) with KODALlTH Pan Film. opaque acts as a mask, it's easy to
1. Develop the film in KODALlTH Super RT Developer for 2% minutes at oliminate any clear parts of the irn-
68°F with continuous agitation. IIge. Just paint out the unwanted clear
2. Rinse in KODAK Indicator Stop Bath for about 10 seconds. ureas with opaque. To cover large
3. Fix for 1 to 2 minutes in KODAK Rapid Fixer at 65 to 70°F. ireas, you may find it easier to use
Agitate the film frequently in the fixing bath. Scotch Brand No. 616 Lithographer's
4. Wash about 10 minutes in running water. rape which is available from graphic-
5. Treat in KODAK PHOTO-FLO Solution and hang to dry. HtS dealers. Simply place the tape
over any areas that you want to mask.
You can remove density (black
ircas) on high-contrast film by treat-
Ino the area with a strong solution of
reducer. such as KODAK Farmer's
ltoducer. Removing density with re-
ucer is not difficult unless there is an
roa of density that you want to save
lose to the area that you want to re-
move. Because reducer is a liquid and
lends to run, it is harder to control
lhnn retouching with opaque.
10 remove density (black areas)
Wilh opaque, make a positive (or neg-
uvo) from the original high-contrast
111111 Since the area you want to re-
IIlVO was black on the original, it will JANE A. DIFLOURE

hn oloar on this second film. It's easy You can paint out large areas on the
opaque out the clear area, but then high-contrast negative with opaque to
11'11have to print this image onto eliminate distracting detalls.
nothor sheet of high-contrast film to
I II back where you started.
11 your high-contrast films show yel-
W processing stains, you can re-

153
A VARIETY OF USES FOR
HIGH-CONTRAST FILMS
As we said earlier, knowing how to
produce good-quality high-contrast
images is the basis for many of the
techniques mentioned in the following
chapters of this book. High-contrast
films open new horizons to the pho-
tographer. Here are some quick and
easy thi ngs that you can do with the
high-contrast images you create.

Prints and Slides

It's obvious that you can use a high-
contrast negative to make a print. If
you print a positive, you'll get a nega-
tive print. Because high-contrast im-
ages are more graphic than realistic,
it often doesn't matter whether you
start with a negative or positive to
produce a positive or negative print.
In fact, if you've put the image through
several stages of high-contrast films,
you may completely lose track of
whether the image is negative or posi-
tive. It certainly won't matter to any-
one viewing the print as long as you
have produced an interesting image.
Another way you can use your high-
contrast films is for making slides. If
you've produced 4 x 5-inch images,
try copying them using transmitted
light on color-slide film. Refer to page
253 for one method of illuminating
films for copying. You'll need a close-
lip lens or other close-up equipment
10 ullow you to fill the picture area with
11111 Iil10ge. Try different colored filters
Ill/Ill 1110camera lens or cut up pieces
II1 1I1111111n filters and place them be-
llilld 11111 clear areas on the film to pro-
rhu 1111IIIIIlticolored image.
11 YIIII'VO contact-printed 35 mm
iI' I!OII'1/ nuqatives onto high-contrast
llIlil Villi 1:1111 mount the piece of high-
IIIIJilll 111111 Itself and use It as a
11111 'IJ I1Ild 1111 overall color, mount
a piece of gelatin filter material with
the film. For the best results, bind
high-contrast slides in glass. These
slides tend to "pop" more during pro-
jection than conventional slides.
You can also add calor directly to
high-contrast film (and other films too)
with water-soluble dyes, such as
KODAK Retouching Colors and dyes
made for photographic use (two are
listed in the footnote on page 131).
Some people have also used vege-
table food coloring with success.
To apply one color over the whole
film, simply dip the film in a solution
of the dye. To add different colors to
several areas on the film, use a cot-
ton swab or a brush. You can apply
the color to either the emulsion or the
base of the film.
A grainy negative on 35 mm film was enlarged onto KODALlTH Film, 011(/ the
KODALlTH Film was developed in KODALlTH Fine Line Developer. ThO tllm was
agitated during the first 15 seconds in the developer, and then stltt-oovulopod
with no agitation for another 2Y4minutes. This produced a positive film which
was contact-printed onto a sheet of KODAK Separation Negative Film 4133,
Type.2.· The Separation Negative Film was developed in KODAK Dovoloper
DK-50 (1:1) for 21'2minutes to produce the negative that made this print.
• Note: You could also use KODAK Commercial Film for this stop.

155

DAVID M.
This picture was planned in advance, and
a picture was taken of each building on
negative film. These two negatives were
nlarged onto high-contrast film to produce
poultlves, and then the positives were
nnntflct-printed onto more high-contrast
11111I to produce two high-contrast negatives.
11111 foreground negative was printed to a
"llIok 1l11l10uette, and the background
IIlIulltlvtl was given a shorter exposure
III fill 11
11100a light gray tone.
Slides like this can be made
on KODAK EKTACHROME 64
Film by photographing a
high-contrast negative. Cyan
and magenta gelatin filters
were placed behind the boats
(clear areas in the negative)
so that they were recorded
in different colors.
HOWARD LAY
HON1GSFELD
This picture happened when the
photographer was experimenting in the
darkroom. The original negative on KODAK
PLUS-X Pan Film was enlarged onto
4 by 5-inch KODALlTH Film. That KODALlTH
Film was contact-printed onto another
sheet of KODALlTH Film. These two films
were sandwiched together in register and
contact-printed on a third sheet of
KODALlTH Film. The resulting third sheet
of film was used to make this print.
You can also use high-contrast film to create a montage with a corer slide.
11irdsor trees printed on high-contrast film can add a foreground or center
of interest to sunsets and other scenes.
157
 Titles
This effect can be achieved You can make dramatic title sllcluo IlY
on KODAK EKTACHROME64 copying lettering onto high-colltlflnl
Film by photographing a
high-contrast negative through film. The easiest way to make tllUll<
an orange filter. titles is in the camera rather than III
the darkroom. Copy your titles onto
KODALlTH Ortho Film 6556, Type 3.
This film comes in the sheet-film
sizes that we mentioned earlier and
in 35 mm 100-foot rolls. To use the film
in a 35 mm camera, you'll have to load
High-contrast films often make lengths of it into a 35 mm magazine,
effective slides as a montage.
The skyline of New York is a such as a KODAK SNAP-CAP Maga-
high-contrast positive contact- zine. Expose and process the film ac-
printed from a black-and-white
cording to the directions on the film
negative. The moon is one color
slide, and the trees are another instruction sheet. Mount and color
color slide which was taken with your titles as explained on page 154.
a multiple-Image lens-three films
and a combination of darkroom
and in-camera techniques to
create a photograph you could
never see in your viewfinder!

The photographer created this slide for a travelog by tracing a map with a black
marking pen, and then photographing the tracing on a high-contrast film. Selective
coloring with dyes emphasizes one country while showing its surrounding area.

159
 ""1"'_ 1111110 mudu I)y 0 double exposure.
1"" I'li1l1011l1lp11U1
took a close-up of the
IIIIWIII plllluII' In 0 rug for the background
""IIIU 11oolor slide film. She then made a
I IIlill uxoosure on the same frame of film-
1111" 111110
of a high-contrast film title having
This is a bas-relief rnado by
010111 loltering and a black background.
contact-printing the transpn.oucy
I Ii" IIddlllonal exposure in the area of the
onto high-contrast film. Tile
r.luru loltering completely overexposed the
resulting negative was thon
lido IlIm and left the letters transparent.
sandwiched with the transparency
The black background in the second
and copied to produce tills slldo.
oxposure acted as a mask to protect the
rest of the flower pattern image from
being fogged.

This bas-relief was

made from a slide and,a
high-contrast negative;
then the photographer
liad a col or internegative
made so he could make
a color print from it.

!'AUL O. '(A""0WS

ating a Bas-Relief
bns-relief is a picture with the sub-
I outlined by a dark or light line
d with a somewhat distorted over-
11 lonal gradation. You can create a
relief in black-and-white or color
rative or si ide) with the use of
Igh-contrast film. Contact-print the
Iulnol image onto a high-contrast
1nl and process the film as directed
BARBARA H.AN 6 PAUL KUZNIAR
puge 152. After the high-contrast
You can 'also adc rettering to prints with high-contrast film. Photograph black Irn In dry, place it with the original
type aqainsta white background on KODALlTH Film to produce a negative with
clear letters on a black background; then contact-print this negative onto I", find arrange the images so that
another sheet of high-contrast film to produce black letters on a clear y'ra just slightly out of register.
background. Sandwich this high-contrast positive (with the black letters) with po Ihe edges of the film together to
your negative and print them together to produce white letters on your print.
()l1vlously, you'll have to plan ahead to make sure the size of the type fits into the p them from slipping. If your origi-
plnture where you want it. This print was used as a title picture for a print show. 1 1II10ge was a negative, place the
nnndwich in your enlarger and
print it. If the original imago was a
slide, bind the film sandwich botwaen
glass and you have produced a bas-
relief slide.
If you want to go ono step further
with high-contrast film and bas-relief,
you can create some very interesting
images. Contact-print your original
image onto a sheet or hlqh-contrast
film. After it is processed, print this
sheet onto a second sheet of the same
film. Bind the negative and positive
films together with the images just
slightly out of register. Put this film
sandwich in your enlarger and print it
to produce a high-contrast has-relief
print.

IIIIl 161
 Creating a Tone-Line Negative
A print made by the tone-line process
looks like a pen-and-ink drawing. This
is a multi stage process, and it requi res
considerable experimenting to get the
proper exposure of the various films
involved.
Start with a black-and-white nega-
tive and make a contact positive on
any black-and-white film. KODAK
Commercial Film 6127 is an easy film
to use for this step because you can
100-WATT
process it under a safelight. For more

r
FROSTED LAMP
information on this film refer to page
127. The contrast and density of the
positive should be as close as possi-
ble to that of the neqative. Register the
3' /1f
Images of the negative and positive
with the base sides together, and tape
them together along the edge.
Place the film sandwich into a print-
Ing frame with a sheet of high-contrast
film, as illustrated in the drawing at the
right. Place the printing frame on a
17/
~ POSITIVE TRANSPARENCY
turntable and rotate it during the expo- ~ ORIGINAL NEGATIVE
sure or move the light source in a ~ HIGH-CONTRAST FILM
VTZ Z 11ZIZfJJ}7777J1
circle over the printing frame. Expose TURNTABLE
VI/ 1J/17I//IZj
the film to the light from a 100-watt
frosted bulb placed 3 feet above the
printing frame at an angle of about
1\5 degrees as illustrated in the draw-
Ing. You'll need to experiment to de-
tormine the exposure, and you can use
mall pieces of film until you get the
xposure you want. Follow the instruc-
lions on page 152 for processing the
hl'(Jh-contrast film. This processed
film is your tone-line negative, and
you print it just as you would any
l1oqative.

Iltl_ ~llillI In n bas-retlol-tho subject is outlined by a dark line and the highlights
'" ""H'k I,om A hlqh-contrast negative sandwiched with the original slide.

163
 \,~\v
'.;~ .~~
...

~~~V~,,~ ..

1110tone-line on the left looks like the negative used to print the tone-line print
on the right. To produce a print that looks like the tone-line negative, you'll need
10 oontact-print that negative onto another sheet of high-contrast film, and then
use the resulting film (positive) to make your print.

1111 167
 STANlEY W. COWAN
High-contrast film was used for all the stages (except the original)
in creating this tone-line.

NEII. MONTANUS AND KEN STARR

I'hls is a tone-line made from a film sandwich where the negative and positive
Here's a tone-line printed in register with the original color negative. The color
films had different densities. Because the densities didn't match, some detail
negative was used as the original image to create the tone-line. After printing
throughout the subject, as well as the tone-line outline, was exposed.
the color negative on color paper, the paper was given a second exposure from
the tone-line negative to add the black detail to the print.

I"" 169
 ,
l

\
J
I

~~

LVN AOAM!

These high-contrast techniques offer you unlimited opportunities for croatlng

new photographs. Experiment with combining techniques mentioned In this book.
This photograph shows a combination of techniques.
Two black-and-white photographs were made of the model, and one was cut up
to serve as a pattern. The photographer printed 35 mm negatives onto KODALlTH
Film to produce small positive images; then these positive films were arranged
into the cut pattern of the model's leotard. The films were taped togothor with
clear tape. These taped KODALlTH positives were contact-printed onto another
sheet of KODALlTH Film. Using the pattern again, the negative film was then cut
The tone-line helps isolate the subject, and the diagonal composition out in the shape of the leotard, and the clear areas of the image wero painted
adds to the feeling of action. on one side with paint. When the paint was dry, this negative film was
glued to the original mounted enlargement with rubber cement.

171
ltu
 lation
Hut/cu/otlon is distorting the emulsion layer to create an
ovorett pattern in the film. The distortion is produced during
processing by extreme changes in the temperature of the
solutions.
-,
" ~.
....•..

':Y :)~::~,;,'
:~;:;:"
.: -,

SOB ClEMENS AND FREOERICK C. ENRICH

This print was made from a negative on KODAK TRI-X Pan Film.
The film was reticulated using the process described on page 180; A print from a reticulated black-and-white negative, The reticulation pattern
then it was frozen, Save the reticulation process for those pictures ndd interest to a photograph that has a strong design with large, plain areas
1:/111

which have simple composition.

173
I"'I
Reticulation is a distortion of the
emulsion layer of a film, usually
caused by extreme change in temper-
ature during processing, which causes
silver grains in the emulsion to "clump
together" into a regular pattern. The
resulting pattern is called reticulation,
and it ruins the film for normal photo-
graphic purposes. However, reticula-
tion can enhance some photographs
with the texture that it adds. The tex-
ture can add interest particularly to
photographs having strong design
with large plain areas. It can also en-
hance the mood of a scene such as a
seascape or a sunset.
Because reticulation is undesirable,
unless you're trying to produce spe-
cial effects, photographic manufac-
turers have worked to improve films
so that they resist reticulation. Twenty
years ago, reticulation occurred often OAIlIlARA JEAN

and easily if the temperature of the
processing solutions varied slightly.
Today, black-and-white and colorfilms
have been improved so much that
moderate variations in temperature
You can add texture to color slides with montage. This rose was slightly
overexposed. Putting a close-up of a concrete block over it added texture and
density. Adding texture with a montage rather than with reticulation allows you
to see exactly how your original image will look with a pattern without changing
that original image. If you don't like the results, you can change your mind
and the original image hasn't been altered.

will not damage film or cause it to

reticulate. You have to create extreme
temperature changes during process-
i ng to achieve reticulation.
Since the techniques described in
this chapter are strictly experimental
and the film might be ruined in the
process, you may want to copy you:
original photograph and reticulate th
copy negative or slide. In addition to
reticulating, this chapter includes (I
method of freezing the emulsion fOI
the photographer who likes to experl
ment with "way out" techniques.
IMULATING RETICULATION
WITH TEXTURE SCREENS
y far the easiest way of producing a
iular pattern on film which sirnu-
IIIlos reticulation is with a texture
roen. Texture screens allow you to
dd a regular pattern without altering
olJr original image. They work equal-
IV woll with black-and-white nega-
IVtllI, color negatives, and color slides.
we mentioned earlier, you can
ko your own texture screens or or-
r roady-rnade screens. For more in-
unnllon on making, ordering, and
11ll) loxture screens, referto page 60.
With color slides, you can easily
add texture by making a montage.
Photograph any interesting textures
you see, such as the patterns in a ce-
ment sidewalk, cloth, wall coverings,
and rugs. Sandwich these texture
slides with other slides that need addi-
tional interest to create a good pic-
ture. Make a variety of exposures of
the texture, from a normal exposure
to a light exposure, so that you can
match the texture slide to the density
of the main slide to create a well-ex-
posed montage.

175
 A print made from KODAK TRI-X Pan
Film, which was reticulated using the
ETICULATlNG process on page 180.
LACK-AND-WHITE FILMS
A little knowledge of the film's struc-
lure and what happens during pro-
ossing can help you obtain success-
ful results with reticulation. A black-
net-white negative is composed basi-
Photograph ice crystals on a window; then you can put the
ice-crystal pattern over any subject by making a montage. lily of grains of silver suspended in
iolatln emulsion and spread on a
lnnr plastic base. When the film
mulsion is wet, it becomes very soft.
A hnrdener is usually included in the
IJMfH to harden the emulsion and make
11 loss fragile. Extreme changes in
'.llIperature while the film is in its
JJlont state will cause uneven swell-
md shrinking of the gelatin and
orlucc a relief pattern in the emul-
I1 coiled reticulation.

177
 ..~...
.~~~i:;
..~
.'.-
,:,...- ,,',

-r- t.' •• "'''~'.:.,;, '\'

,/ ~~:;, .:.: .
"Y~1":' .• ;:'f
.•... .: .; ..j.~';,'t.:.•....
": '·.•.r.\·;.~~

"~:":'.Jf:.i' •.. ;
r
/) ,)'
"i('
,,'
:;::··l
t."

,r
I.P ..•• ··"
.. '
• ,; .'\~ t- I..
•,.I,l

··"~t
••••~:;. r
l~"

.:.~: ..'
,,~~:
.

.t•
I"

';01
"~':J ..~.,.i.,:..
,.••~
I •

':S
"
,.;:'.' .•- ,:.,::£-:,;:"",J
'..
,,}/~

./.,...' : c,
':';;.::;:;>:.',!.:.'~::," I'
','I..'
_!t..'.'- 'f
.. '

':'~;:., . . "

,''.:

:-:~

'"
," r.~~<
..."
.....
.:,.;.:;,i•.l'~•••:l.;"
::~.'~'::;.':.::'.:::'~.;:,:'.:,<~<;~
. :..... ;.'.,:...
80D ClEMENS a FREOERrCK C. ENRICH
Tile reticulated pattern shows up distinctly in the large. plain areas of the windows.
A print made from reticulated KODAK PLUS-X Pan Film. KODAK PLUS-X Pan Film was reticulated and was then placed in the freezer for
about 10 minutes. Reticulation created the overall spotted appearance and the
hllll/lng added another pattern. Refer to page 189for more information on freezing film.

179
 ICULATING BLACK-AND-WHITE FILMS
Iltll1 I<ODAK PLUS-X Pan or KO OAK TRI-X Pan Film.
III 101111 de.rlmess:
I uno
KODAK Developer 0-76, and develop the film accordi ng to the
film or developer instructions .
•', nlnse the film in an acetic acid stop bath for 1 minute at a temperature
of140t0180°F.
3. Immerse the film in a cold water bath (below 40°F) for 1 minute.
1\. Note: This step is optional; it emphasizes the reticulation pattern of
the emulsion. It doesn't change the pattern; it just makes it more
prominent.
Immerse the fi Im in hot water (180 to 190° F*) for 1 minute. Then
quickly immerse it into another cold water bath (below 40°F).
5. Fix the film in the normal way with a fixer that contains a hardener
such as KODAK Rapid Fixer.
6. Wash the film in running water for 20 to 30 minutes.
7. Do not use KODAK PHOTO-FLO Solution. Dry the film quickly
using a portable hai r dryer. Lay the fi Im (emulsion side up) on a clean,
lintless cloth, and di rect the warm ai r back and forth across the
surface of the film. You can also freeze the film before drying or
when it's partially dry; refer to page 189.

'You can measure these temperatures without a thermometer by watching the water as
you heat it. The water will be about 180°F when it begins to swirl, and 190°F when
small bubbles start forming along the sides of the container.

RETICULATING COPY
NEGATIVES
Dll1ce the process of reticulation can KODAK PLUS-X Pan or KODAK TRI-X
I)() somewhat unpredictable and non- Pan Film.
iuvorslble, you may prefer to develop After you have exposed the film,
Vlltl' original film normally and then reticulate it by following the steps at
dll,;ldo later which images on the roll the top of this page. If you do not like
VI ill wnnt to reticulate. Start with an the way the reticulated result turns out,
11.\0,111111 print in either color or black- you haven't lost the picture becaus
IIld whlto. Using even illumination, the original negative (processed nor- A copy negative was made from the straight print on the top and then
reticulated by following the steps on page 180. Since contrast Increases
11 Ij 'V IlIln print by photographing it on mally) sti 11 exists. somewhat in copies, choose original pictures that have good shadow
and highlight detail.

Ino
181
 KEITlI BOAS

You can exaggerate the reticulation pattern by substantially enlarging

the negative and printing only a portion of the image.

1Cl produce this streaked pattern, the photographer squeegeed the reticulated
film with his fingers while the film was still wet. Handle the film carefully
during all steps in the reticulation process-the film emulsion remains
quite soft until completely dry.

Il'fl 183
 RETICULATING
COlOR NEGATIVE FILMS
Many modern color films are hard-
ened in manufacture. For this reason,
it is difficult to reticulate them by the
methods formerly used with unhard-
ened color negatives and slides. You
may find that you can achieve the ef-
fects you want by using texture
screens such as are discussed and
illustrated on pages 58 through 71.
For those who wish to experiment
with the effects of reticulation, we have
devised a procedure that works for
some films. It will work with KODAK
EKTACOLOR Film and KODACOLOR
Film that have been developed in
Process C-22. It will also work with
KODAK VERICOLOR 11 Film and
KODACOLOR 11Film that have been
KElTH BOAS
identical. For this reason, you may
wish to experiment with expendable
negatives or a scrap piece from the
roll from which you want to make
reticulated negatives. If you overreti-
culato the film, the emulsion will sag
on the support or fall off tho support.
Reticulation o llccts can 1)0 best
achlovoc If you uso fl condonsor style
enlaroer.
THE RETICULATION PROCESS
Materials Needed
KODAK Sodium Hydroxide (Packet 10
make 1 litre of 5 Normal solution)
CAT No. 190 1040
KODAK Indicator Stop Bath (16 fl oz,
makes 8 gallons)
CAT NO. 146 4247
Isopropyl alcohol (rubbing alcohol)

processed in KODAK FLEXICOLOR® Thermometer that reads 0 to 212°F

Remember to keep your subjects for this process as simple as possible,
and select subjects that will be improved with a pattern added to them. Chemicals. It will not work for color (-18to 100°C)
Many intricate subjects become busy and look jumbled when print films and color slide films. We Hot water bath
they are reticulated.
know of no simple way to reticulate the Two 1-quart processing tanks or
modern hardened print and slide films. glass jars
The procedure to be described here 100 mL graduate and
uses a dilute solution of sodium hy- 1000 mL graduate
droxide at an elevated temperature to KODAK Film Clips
reticulate the developed color nega- CAT No. 149 2594
tives and KODAK Indicator Stop Bath Rubber gloves
solution (treated with isopropyl alco- Eye protection
hol to keep it from freezing) at low
Mixing the Solutions
temperatures to "set" the pattern. You
can control the amount of emulsion 1. Sodium hydroxide (the reticulating
oftening by the temperature and the solution)
oaking time in the reticulating bath. a. Mix 1 litre of 5 Normal sodium
he other affect on softening is the hydroxide according to the in-
hardness of the negative, which de- structions on the packet. This is
ponds on its age and condition of your stock solution.
torage, before and after processing, CAUTION: Follow safe handling
nd on the type of film. Negatives from precautions on packet. Sodi um
Iho same roll (or box, in the case of hydroxide is corrosive; avoid
110etfilm) will react similarly, but neg- contact with skin and clothing.
lives from different rolls or boxes Wear safety goggles and rubber
mny not. gloves.
f1epeatable results can only be ob- b. Add 36 mL of the stock solution
Ined if all the conditions of the pro- to 964 mL of water to make 1
(Jure, including film hardness, are litre of working solution.
11print made from a copy negative reticulated to produce a coarse pattern.
III I 185
 IIll'lIlIlIl
Add 3? mL of KODAK Indicator
~iI()p l3alh to 200 mL of isopropyl
lioohol.
11 r o the solution from Step 2a,
Ildd 768 mL of water and mix to
make 1 litre of reticulation stop
bath solution.
Maintaining Solution
Temperatures
rho reticulation solution is used in the
lornperature range of 140 to 160° F (60
10 71°C). Since the soaking time in
1IIIs solution may be as long as half
III hour, you will need a hot water bath
III which to immerse the container so
10 10 hold the solution temperature
constant. The bath may be a sink
oquipped with a standpipe or a water
bath especially constructed for this
purpose, complete with an immersion
heater.
The reticulation stop bath solution
is used at a temperature of 25°F
(-4°C) for 1 minute. To obtain this
temperature, follow this procedure:
1. Put the reticulation stop bath solu-
tion in a freezer until it becomes
solid.
Remove the frozen solution from
the freezer and put the container in
cool water until the solid begins to
melt.
3. You will know that a temperature of
25°F (-4°C) has been reached
when the last frozen piece disap-
pears.
~ While you are using the stop bath,
keep track of its temperature, and
If Ihe temperature rises to 30°F
( 1 QC), return the solution to the
Illlo/er until it begins to solidify.
1/1/,
Finding the Right Time and
Temperature
The temperature of the reticulation
solution is critical because if the tem-
perature is too high, you may lose the
emulsion; if it is too low, the soaking
time may be too long to be practical.
You can find the best temperature by
using the following technique:
1. Heat the reticulation solution to
150°F (66°C) and maintain that
temperature by placing the con-
tainer in a hot water bath.
2. Suspend a piece of scrap film from
the roll or box of the film you wish
to reticulate in the reticulation solu-
tion until the emulsion sags or sep-
arates from the base.
a. Use film clips at top and bottom
of the scrap of film so that 11
won't curl.
b. Do not agitate the solution whit
the film is suspended in it.
3. Note the time it takes for saggin{l
or separation to occur.
a. If the time is inconveniently lono,
for example, 30 minutes, y011
can repeat the process at a tern
perature of 160°F (71°C). If tilli,
is still insufficient, increase till'
concentration of sodium IW
droxide stock solution in Ill"
reticulation solution to 48 ml/l
Do not increase the ternperatun
or concentration further 1111111
this.
b. If the process proceeds 1111'
rapidly, for example, less thrill to
minutes, reduce the ternprnn
ture to 140°F (60°C) and roplllll
the test. If this still results 1111111
short a time, reduce the conouu
tration of sodium hydroxlrl
stock solution in the reticulnllm
solution to 24 mL/L. Do not go 5. Any change in tho COIIClIJlllulllolllJ1
below 140°F (60°C) or 24 mL/L.
the reticulation solutlon ollolllcl 1)(
4. The correct time to successfully made by discarding 11101l01lilloll
reticulate the film is % of the time you used and mixing a now bruch
it takes to loosen the emulsion. from the stock solution.
6. A working solution that is success-
a. For example, if at 150°F (66°C)
ful may be used repeatedly without
and the normal concentration of
exhausting it.
the reticulation solution (36 mL
of sodium hydroxide stock solu- AIM CONDITIONS
tion per litre of water), the emul-
Reticulation solution temperature:
sion of a piece of film starts sag-
140 to 160°F (60 to 71°C).
ging after 20 minutes, the prop- (Use a constant temperature once you
er conditions to use for the have determined a successful one.)
retlculation procedure are a 15- Time in reticulation solution: 7 to 15
minute soak at 150° F (66°C). minutes.
Reticulation Procedure
1. Select a sheet of film for reticulating or cut a frame or a few frames from
a roll of film.
2. Fasten KODAK Film Clips to the top and bottom of the film. The film
must hang freely in the solution without contacting the sides or bottom
of the contai ner.
3. Suspend the film in the reticulation-solution container for the predeter-
mined time and at the predetermined temperature. Rap the film to
dislodge air bubbles.
a. DO NOT AGITATE THE FILM ANY FURTHER.
b. Maintain the solution temperature at the predetermined level
throughout the soaking period.
4. At the end of the predetermined time, GENTLY remove the film from
the reticulation solution and drain it for 15 seconds.
GENTLY immerse the film in the stop bath for 1 minute at 25 ± 50F
(-4 ± 3°C).
6. Wash the film in still water at room temperature for 1 minute with gentle
agitation. Remove the film and change the water.
7. Repeat Step 6 two times.
a. Hang the film to dry at ROOM TEMPERATURE.
a. Do not squeegee the fi Im.
h. Do not attempt to dry the film rapidly with circulating air or heat.
OPTION TO DRYING-the film may be freeze dried (see below).
NOTE: The above procedure can be used with black-and-white film if
tho reticulating solution is made of 18 mL of stock solution per litre of
wilier. q
187
\
 3. resemble the surface of a #400 grit sandpaper after seven 1111111111
4. resemble the surface of a #200 grit sandpaper after eight mlnuton. AI
this stage, water bubbles under the emulsion may cause some sflrHll11
during drying.
5. loosen, sag, and mottle after nine minutes. The fiim is very difficult to
handle and the results will be mottled with smooth areas, finely
reticulated areas, large Clumps, and sagged, stretched out areas.

If you removed the film from the sodium hydroxide solution too soon
and a reticulated pattern isn't formed, all is not lost. Reimmerse the dry
film in the sodium hydroxide. The effects are cumulative so only a short
additional time may be needed.

Aftlilr several films have been reticulated, a cloud of particles may ap-
pear in your sodium hydroxide. Filter or decant or discard the solution.
Soft, reticulated emulsions are sensitive to damage from dirt.

PECIAL EFFECTS reticulated with the other process.

ROM FREEZING
You can create very interesting effects
\I you freeze your wet film before dry-
Ing it. With normally processed film,
tile emulsion is generally too hard, but
n emulsion that has been softened
y reticulation will contract when fro-
n. Using this method, you can sal-
vage those test films that may not have
When you freeze film, you can vary
the special effects by controlling the
amount of moisture left in the emul-
sion. A very wet emulsion will form
leafy frost patterns. You can create
localized leafy patterns by gently
touching the partially dry emulsion
with a wet finger, forming a "water
spot."

1111 III IIICK C. ENRICH

In this photo three levels of reticulation are
hown: (1) fine, (2) coarse, and (3) emulsion
paration.
The delicate pattern of the flowers in this
photo is complemented by the fine
reticulation pattern in the background.
Freeze Drying (as an Alternative to Air Drying) for Color Films
1. If you intend to freeze dry, the final still wash (see reticulation proce-
dure) should contain about 3 drops of liquid dishwashing detergent.
Drain for 15 to 30 seconds. Use a frost free freezer with circulating air.

RETICULATION by INSPECTION:
With a little practice, you can learn to reticulate your film by inspection.
The coarseness of the pattern can be readily judged. While making your
first test of a new film emulsion with fresh chemistry, GENTLY remove the
film from the sodium hydroxide solution. Allow a few seconds drain time
and examine the drained emulsion area. Then reimmerse the film. This
should take no longer than 7-9 seconds.
For example, if the emulsion begins to come off in 10 minutes, then the
ornulsion will:
I, be swelled and smooth surfaced at the end of five minutes.
", resemble the surface of a #600 grit sandpaper after six minutes.
Frost patterns can be regulated by the orientation of the film and
amount of water in it when it is freeze dried. For example, film dried
while it hangs will have frost patterns that grow from the bottom of the
picture. Flat dried film (emulsion up) will have patterns that originate
from water spots wherever they are on the film. Patterns can be added
by local wetting of the film by touching it with a wet finger.
.1, Once the film is frozen, it appears dry; however, actual drying may take
24 to 48 hours.
1\, To keep condensation from rewetting the emulsion when you remove
it from the freezer, direct cool air from a hair dryer at the film until the
film is brought to room temperature.

IfIO 189
 larization
the
abattier Effect
he Sabattier Effect produces both a negative and a positive image in
photograph and is characterized by a line around the edge of the subject.
Cotor pictures with this effect show vivid, unnatural colors. The Sabattier
ffect is produced by reexposing the film or paper to light while it's in th
developer.

With the Sabattier Effect you can produce photographs in black-and-white or

color from color slides, and from black-and-white and color negatives.
(1) This is the original color slide used to create (2) and (3). (2) A print made
from a negative on KODAK Commercial Film. The color slide was printed onto
a sheet of Commercial Film; then the film was given the Sabattier Effect
during processing. Refer to page 197. (3) A color slide exposed directly from
(1) onto a color print film through a color filter. During the development, the
film was reexposed through a different filter. Refer to page 219.

PH) 191
 True solarlzation is caused by ex-
dary separating a completely devel-
treme overexposure-about 1,000
oped area from one that's just devel-
times the amount required to produce
oping. The bromide along Ihose boun-
a normal negative image with normal
daries greatly relards devolopment,
development. Solarization produces a
forming a more or loss clear line.
reversal of the image, and both posi-
when thls negative is prlnlod, the
tive and negative images will be visi-
Maeklo lino wl.II apponr us a black
ble on the film and in the finished
outltno nround 1110 prlllclplIl II110ge
print. Years ago, solarization used to
contours. Ilia Mncklo I lno In 1I0t very
occur quite regularly in long, time ex- evident 011pr/l1tl) IIlIlcl(J whon 1110 SA-
posures taken at night. The lights in
ballier rrfeel Is PIOclIlC(Jcl whllo pIO-
the scene would be so overexposed cesslng Ihe paper.
that they would reverse and produce
The Sabattier Effect can be pro-
a positive image on the negative. So-
duced with both film and photograph-
larizatior] is very difficult to achieve
ic paper. You can use any white-light
loday because films have been im-
source for the reexposure step. The
proved to the point where this reversal
easiest light to use is the light in a
Is almost impossible to produce. Many
safelight positioned right over the
people incorrectly refer to the Sa bat-
sink. Of course, you'll have to remove
tier Effect as solarization because
the safelight filter if you use this light.
these two techniques produce such
The most difficult part of the Sabattier
Imilar-Iooking images.
Effect is determining the length of the
The Sabatlier Effect produces both
reexposure. If you always use the
negative and a positive image on
same light source, keep it the same
the same film, but this effect is
distance from the film or paper for
hieved by reexposing the film dur-
each exposure, and keep good writ-
Ing development rather than extreme ten records, you'll be able to deter-
verexposure in the camera. The al-
mine the best reexposure time for
ady developed image acts as a neg- your situation after a few experiment-
live through which the rest of the al exposures.
ht-sensitive silver in the film is ex-
It's possible to produce dramatic
ed. Thls-producss some reversal
pictures by the Sabattier Effect with
I the image and the result is part any film or photographic paper, but
Itlve and part negative. If reexpo-
there is an advantage to working with
ro is long enough, the resulting pos-
film rather than paper. After produc-
VD will develop to a greater density ing a negative with the Sabattier Ef-
n the original negative image.
fect, you can make as many prints as
here is a simple way to determine
you want from that negative. If you
lher a picture has been made by use the Sabattier Effect on paper, you
Ilrlzation or by the Sabattier Effect.
may not be able to produce another
abattier Effect produces a nar- print exactly the same-very frustrat-
lino or rim of low density, called a ing! The films and papers discussed
I. Line, between adjacent high- in this chapter have produced good
t nnd shadow areas. The Mackie results, but you could probably get
occurs because there is always equally good results with any film or
This picture was made from a slide showing the Sabattier Effect. The slide was
made using the technique described on page 219. Original exposure 20 seconds lnnronsec concentration of brom- paper after some experimenting. The
through a 1 filter; reexposure 20 seconds through a 3 filter. 1111 In the emulsion at the boun-
information given here is simply a

t!I"
193

guide to get you started in the dark-
room, and you should adjust the pro-
cess to meet your specific situation.
These variables affect the amount
of reversal: 1) The amount of reexpo-
sure, 2) The extent of development
after reexposure, 3) The time during
development when the reexposure
takes place. If the reversal effects are
loo strong for your taste, reduce the
raoxposure or develop the film longer
before giving the reexposure.
If you want to obtain more reversal
01 lanes, increase the reexposure or
111111<0 the reexposure earlier in the
.Iuvotoprnent. As a rule of thumb, re-
11)(IHJi,()the film or paper at about one-
1IIIId 011110development time, or when
I LI·l
THE SABATTIER EFFECT
IN BLACK-AND-WHITE
can use reducer to bring out the high-
Prints
lights in these prints just as you would
A few subjects will produce interest- with other black-and-whlte prints. Re-
ing pictures when the Sa battier Effect
fer to pnge 36. If you're not happy with
is tried directly on a print; however,
you: results, try printing your 110gative
most prints simply look as though
or slklo 01110. 1<001\1( Commcrolal
Ihey've been accidentally fogged. You
Film GI? I ClI 11Ill[J11contuuu illm.
With the Sabattier
Effect on a high-
contrast film, such
as KODALlTH Ortho
Film, you can create
this outline effect.
The high-contrast
sheet film was then
photographed with
colored filters
behind it to create
a calor slide. This
same film could These prints were made on
also be printed KODAK POLYCONTRAST Rapid
onto paper. Paper. (1) This is a straight print.
Prints (2) and (3) show the
Sabattier Effect. They were
developed in KODAK DEKTOL
Developer 1:1 for 30 seconds
BARBARA JEAN
and reexposed to a 15-watt lamp
4 feet from the paper, then
a light image is visible. Stop agitatirlll development was continued for
another minute. Print (3) was
ten seconds prior to reexposure anrl treated with KODAK Farmer's
allow the film or paper to settle to tllII Reducer to lighten tile highlights.
Prints given the Sabattter Effect
bottom of the developer tray. Altru
tend to look very dark and as
reexposing, continue the develop though they've been accidentally
ment to the normal development tluu fogged. This technique is much
more effective on films.
for the fi rst exposure and use COil
ti nuous agitation.
To get the best results with the till
battier Effect, use fresh developer nllt!
stop bath solutions. With experient I'
you will learn to pull the film or POI"II
from the developer when you see 1111
effect you want. A fresh stop bath 1ft'I
necessity for stopping the action I"
the developer quickly and presorvluu
the image you saw in the develol">l
195
 Film
Negatives made with the Sabattier
cial film during the processing, noth-
Effect have a high fog level and they
ing is lost; you still have your original
nre difficult to judge visually. It's im-
image in good condition and can print
portant to make a print before judg-
as many additional sheets of commer-
Ing the effects. These negatives will cial film as you need.
usually print better on a higher-than-
If you plan to try the Sabattier pro-
normal-contrast paper.
cess on film you exposed in the cam-
era, be sure to expose at least three
Urns Exposed in the Camera. You
negatives at the same exposure and
csm try the Sabattier Effect directly on of the same subject. If you're using
films exposed in the camera, but since roll film, expose the whole roll of the
11 takes so much experimenting to get
same subject at the same exposure,
the proper reexposure, you take a then cut the roll into three parts for
hance on ruining the film. Also, most
the processing experiment Process
unera films are panchromatic and
one sheet of film or part of a roll at a
must be developed in total darkness time and make a print from it to de-
Cl you can't see the effect until de-
termine any changes you would make
This print was made from a 4 x 5-inch sheet film negative on KODAK PLUS-X Vulopment is complete. It's much eas-
in processing the second sheet or
Pan Film. The background was dodged during the original exposure so that it /or to process your camera film in the portion of the roll. With this method,
would be underexposed if processed normally. After 1Y2 minutes in developer,
orrna' way and then print it onto a
the print was lifted from the developer and placed on the back of the sink you should be able to get a good re-
so that the excess developer ran off diagonally. The room light was turned on hoot of film, such as KODAK Corn-
sult by the third sheet or the end of
for 3 seconds, and then the print was put in the stop bath and fixed. rcial Film. If you ruin the commer- one roll of film.

THE SABATTIER EFFECT WITH

KODAK POL YCONTRAST PAPER
THE SABATTIER EFFECT WITH KODAK PLUS-X PAN FILM
Use a KODAK Safelight Filter OC (light amber).
Process in total darkness.
1. Make a test strip to determine the exposure for a normal print and
process the paper in KODAK DEKTOL Developer 1:2 at 65 to 70°F I. Process the film in a tray in KODAK HC-11 0 Developer diluted 1:16
at68°F.
with continuous agitatiqn.
2. Print a fresh sheet of paper using the printing time you determined Set your timer for 3 minutes-the total development time-and begin
timing with development
from the test strip.
3. Set your timer for 1 minute, 30 seconds-the total development time Develop the film for 1 minute, 20 seconds with continuous agitation,
and start timing with development. then turn the film emulsion side up and allow it to settle to the bottom
4. Develop the paper with continuous agitation for 20 seconds, then of the tray for 10 seconds with no agitation.
turn the paper emulsion side up and allow it to settle to the bottom noexpose the film to a white light while it's in the developer.
of the tray for 1 0 seconds with no agitation. (1\ safelight without the filter or the enlarger light works fine.)
5. Reexpose the paper to white light whi le it's in the developer. Ilogin agitation again after the reexposure and continue the
(A safelight without a filter or the enlarger light works fine.) dovelopment to the total development time of 3 minutes.
G. Begin agitating after the reexposure and continue the development 11Insethe film in stop bath, and fix, wash, and dry the film according
to the total development time of 1 minute, 30 seconds. III 1110 instructions on the film instruction sheet.
I. Rinse the paper in stop bath, and fix, wash, and dry the paper
according to the instructions on the paper instruction sheet.

\!II
197
 (1)

Prints made from KODAK

Prints made from KODAK
PLUS-X Pan Film,
PLUS-X Pan Film,
4 by 5-inch sheets exposed
4 x 5-inch sheets exposed in the camera and
in the camera and
developed in a tray in
developed in a tray in
KODAK HC-110 Developer
KODAK HC-110 Developer
(1:16) for 3 minutes at
(1:16) for 3 minutes at
68·F. Both prints show the
68·F. (1) This was developed
Sabattier Effect and the
and printed normally. Print only difference is in the
(2) shows the Sabattier amount of reexposure
Effect. After W2 minutes in
given during processing.
the developer it was
Both negatives were
reexposed for 2 seconds reexposed after 1Y2
at f/22, and then develop-
minutes in the developer.
ment was continued for
Print (1) was reexposed
another 1V2 minutes.
for 2 seconds at 1/22and
(2) was reexposed for
4 seconds at 1/22.When
the length of the
reexposure is increased,
the reversed image
becomes more visible.

1'111 (2) 199

 Films Exposed in the Darkroom.
Printing a negative or slide onto a
sheet of film in the darkroom and try-
ing the 8abattier Effect on the sheet
film rather than on your original film
is the safest way to experiment with
this process, As we pointed out be-
fore, if you try the darkroom experi-
ments on your original image, you
run the risk of ruining it. However, if
you save your original image and use
it to print onto other films, you can
oxperiment to your heart's content
without damaging the original film,
Films rrade for copying continuous-
lone originals can often be processed
under the light of a safelight so you
CAn see what you're doing, More im-
portant, you can watch the image de-
volop and pull the film out of the de-
voloper when you see the results you
want. The development times given
hare are only guides, This is the one
lime when it's quite permissible to
Ive in to that urge to pull the film out
f Ihe developer too soon or to leave
I in longer than the recommended
tmo. With experience, you'll be able
judge the development visually and
nlrol the process by snatching the
Im out of the developer at just the
ht moment and plunging it into a
h stop bath to immediately stop
nction of the developer,
KODAK Commercial Film 6127 is a
good film to use for the 8abattier Ef-
fecI if you want a continuous-tone re-
sult. It's easiest to start wilh a color
slido which will produce A negative
imngo on Iho comrnorclnl film. The
881)011101l Tloct will 11I1IIU01111110do-
tail il1 the uhndow rlICHIt) ()I 1110alldo,
so solocl Cl plc;lllIl) 111111 lIill! 11I1()")~11
ing shadow <lolnl/. II YOII lliil) It IlU[!lI
tive as 1110ollulllnlllllfICj(), YOII'IIII()()d
10 comacr pt lnl tho lliul tJllUOIof Call)
mercial film onto another shoo: ol Ittm
to convert lhe image to a negallvo, 01,
you might get some interesting resulls
by trying the 8abattier Effect on the
positive commercial film, Try it-if you
don't like the results, you can always
take the process one step further by
making a negative,
If you make your original exposure
properly, a full image will be visible
on the commercial film after 40 sec-
onds of development. The film will
turn almost black in a few seconds
after reexposure. Resist the tempta-
tion to pull this film from the developer
before the full development time, be-
cause the film will clear and become
much lighter after fixing, Once you
are familiar with how a well-exposed
film looks in the developer, you can
visually judge the development and
pull the film at the right moment.

I1 print shows the Sabattier Effect in the lower portion of the

IIlIro only; the photographer wanted to create tension in the picture
"Wllnn the real and the unreal, The negative on KODAK PLUS-X
~lIm (4 x 5-inch sheets) was exposed in the camera and
loped in KODAK HC-110 Developer (1 :16) for 3 minutes at 68°F
Irny, After the film was in the developer for 1 '12 minutes, the
110111 half of the negative was reexposed, and the development
IInulld for another 1'12 minutes. Since the top half of the negative
Ivac! only the original "normal" exposure, it does not show any
AI, While the bottom half of the negative (and print) shows
hnltler Effect.

201

The Sabattier Effect on KODAK Commercial Film 6127.The film was
printed from a col or slide with an exposure of 5 seconds at f/22.
After 40 seconds in KODAK Developer DK-50 (full strength),
the film was reexposed for 3 seconds at f/16.
J()"
DAROARA JEAN
The Sabattier Effect will bring out the detail in the shadow areas of a calor slide.
The pllings under the dock were hardly visible in the original slide. The slide
was printed onto KODAK Commercial Film 6127with an exposure of 5 seconds
at f/22 and the film was processed in KODAK Developer DK-50 (full strength).
After 40 seconds in the developer, the film was reexposed for 5 seconds at f/4.5;
then development continued for a total time of 2 minutes.
THE SABATTIER EFFECT WITH
KODAK COMMERCIAL FILM 6127
Use a KODAK Safelight Filter, No. 1 (red)
1. Make a test strip to determine the exposure and process the film in
KODAK Developer OK-50, full strength, for 2 minutes with continuous
agitation. Select the best printing time from the test strip.
2. Print your original image onto a sheet of commercial film using the
printing time you determined from the test strip.
3. Set your timer for 2 minutes-the total development time-and start
timing with development.
4. Place the film in the developer with the emulsion side up and develop
with continuous agitation for 30 seconds, then allow the film to settio
to the bottom of the tray for 10 seconds with no agitation.
5. Reexpose the film to white light while it's in the developer
(40 seconds of development at this point). (A safelight without a
filter or the enlarger light works fine.)
6. Begin agitating again after reexposure and continue development
for the total development time of 2 minutes.
7. Rinse the film in stop bath, and fix, wash, and dry the film according
to the instructions on the film instruction sheet.
203
 High-contrast films produce drarnat-
Ic results with the Sabattier Effect. The
Mackie Line around the image is very
evident with these films. By adjusting
the reexposure time, you can produce
Printed from a color slide, this sheet of
KO OAK Commercial Film 6127 looked like a very high contrast image which also
a poor exposure. After a minute or so in Includes some gray tones in the areas
the developer it was placed in the sink to
that were reexposed.
drain before being thrown away. The
room lights were turned on briefly and By using a long reexposure or ex-
several minutes went by before the film lending the development time so that
was noticed. By then an interesting image
had appeared, so the film was fixed and
the reexposeo image is the same
washed in the usual way. The moral is: density as the original, you'll produce
discards occasionally can develop black film with the subject outlined
into something!
In a clear Mackie Line. If you're trying
10 achieve only an outline of the sub-
loct, start with a high-contrast fi Im
osltive. Print the film positive onto
nother sheet of high-contrast film
nd reexpose the second film during
the development.
These dense negatives require long
BARBARA JEAN 8. PAUL KUZNIAR xposure times in printing, and you
n save time in making prints by
ntact-printing the film with the Sa-
ltier Effect onto another sheet of
Igh-contrast film. When this second
..;..:r.:'=-:. ~ -~ .:...:.:.-=.-
-.~-'
.. . Urn is printed onto paper, you'll have
-~~-. black print with the subject outlined
white. To produce a white back-
und with the subject outlined in
liCk, contact-print the second high-
ntrast film onto a third sheet of the
film, and then print that film on
. r.
If KODALlTH Ortho Film 2556, Type
In your choice, process it in
BARDARA HAN
With high-contrast films, the Sabattier Effect produces an outline of the image.
Another version of this picture is on page 157.
~O·I
KODAI.ITII Super RT povoropor. You
should wnlt until tile Iflllt rnlnuto to mix
the two nlock 11011l1lol1D IO(Jollwf find
use only n llllHIIIIII1l011l11 01 duvulopor,
because tl118(ICI/V(Jdovulopu: oxlul,«
very qulckty. 1110dovolopr» will ox
haust itself In El fow IIOlllD If you mlx It
and then don't USG It, so novor try to
store the developer once you've mlxod
the two so Iuti ons toget he r. El g hi
ounces of solution in a 5 x 7-inch tray
will develop three sheets of 4 x 5-inch
KODALlTH Film. To keep your results
consistent, discard the developer after
three sheets of film and mix up fresh
developer. You can continue to use
developer for more than three sheets
of film if you increase the processing
time. Since you can watch the film
developing, continue the development
until you see the results you want.
With either film, agitate the film con-
tinuously in the developer prior to re-
exposure but do not agitate the film
after reexposure. If you agitate the
film after the reexposure, the re-
exposed areas will have a mottled or
streaked appearance. This phenome-
non is called "bromide drag," and is
caused by the heavy concentration of
bromide produced during the devel-
opment of the high-density areas. By
not agitating, you can prevent bromld
drag and obtain a more vivid Mackie
Line.
205

This is a positive on high-contrast film, and it was used as the original image
III for this series of pictures on the Sabattier Effect. If you're trying to create
a picture with this technique that shows only the Mackie Line, you'll get
the best results by starting with a high-contrast original.
BOB
I Illnrge the high-contrast original onto another sheet of high-contrast film, and
during the development, reexpose the film to white light to create the
battler Effect. These pictures were taken in a home darkroom. One of the
N!I\lnntages of working with an orthochromatic film is that you can use a
red safellght and actually see what you're doing.
BARDARA JEAN
Here's what the film looks like after it's reexposed and
completely processed. As you can see, it's very dark and
would require a long exposure time for printing.
CLEMENS DARIIAItA JltAN
You can avoid long printing times by contact-printing the dark film
onto another sheet of high-contrast film. After contact-printing ur1d
processing, the resulting film will look like this and be very OIlUY
to print. This film would produce a black print with white cutllnos
If you want the final print to look like this film (with black outlinoa on
a white background), you have to go one step further end
contact-print this film onto another sheet of high-contrnOI Iltm.
207
 . A print made from a
~ high-contrast film which
was reexposed during
development to produce
the Sabattier Effect.

JAMES LOTT

THE SABATTIER EFFECT WITH

KODALITH ORTHO FILM 2556, TYPE 3
Use a KODAK Safelight Filter, No. 1A (light red)
1. Make a test strip to determine the exposure and process the film in
KODALlTH Super RT Developer (equal parts of Solution A and Solution
B) at 68°F with continuous agitation for 2% minutes.
"

2. Print the original image onto a sheet of KODALlTH Ortho Film using
the printing time you determined from the test strip.
.'- ... 3. Set your timer for 2% minutes-the total development time-and
r"
J,
)
.
start timing with development.
~.'> ~ -' '>.
a) /' ••••
__ ~~.
4. Place the film in the developer with the emulsion side up and develop
with continuous agitation for 50 seconds, then allow the film to settle
to the bottom of the tray for 10 seconds with no agitation.
5. Reexpose the film to white light while it's in the developer.
Save your rejects and experiment with them! In working with films, you may (A safelight without a filter or the enlarger light works fine.)
print some that are too light or too dark. Don't throw them away! Wash and dry
them just as you do your good films, and then use them for experimenting. 6. Allow the development to continue without agitation forthe total
This picture is a sandwich made from "extra" films that were put together development time of 2% minutes or pull the film from the dovolop
in register and when one film was rotated slightly, a new picture emerged. when you see the effect you want.
7. Rinse the film in stop bath, and fix, wash, and dry the film according
to the instructions on the film instruction sheet.

'11
209
 CAROLE J. HON IGS FrI H

This print showing the Sabattier Effect was printed from a sandwich of two films.
A normally exposed high-contrast positive was made from a negative on KODAK
PLUS-X Pan Film. Then a very light negative and a normal negative were made
on high-contrast film from the high-contrast positive. The normal negative was
reexposed halfway through the development to create the Sabattier Effect;
then that negative was contact-printed onto another sheet of high-contrast film
to produce a film with a clear background and black outline. This outline film
was then sandwiched with the light negative made earlier and the two films
wore printed together to produce this print. The Sabattier film produced the strong
white outlines, and the light negative produced the detail in the picture.

This print is from a slide that was reexposed during developmnnt 10oront the
Sabattier Effect. This technique Is very hard to repeat will! ClXllot1y
the same results, so if you plan to make many prints, it's o(lIIlur to do the
Sabattier Effect on film and then print from 111/11.
,I()
211
THE SABATTIER EFFECT
IN COlOR
rho Sabattier Effect gives even more
dramatic results in color than in black-
nd-white. In addition to creating a
negative and positive image outlined A 4 x 5-inch film was given the Sabattier
with a Mackie Line, the Sabattier Ef- Effect using the process on page 209.
fect creates new and vivid colors. That film was then copied onto 35 mm
high-contrast film to produce this slide, OE one min. fiB w/29;
OE one min. f/8 w/47B;
With the Sabattier Effect in color which was used to produce all the RE,30 sec. fiB w/WL.
RE 30 sec. f/8 w/47B.
you can create vivid, wild colors in a slides in this series.
photogr,aph-colors that look unreal
and have no relation to the "normal"
colors in the orig.inal subject. Using
white light for both the original expo-
sure and reexposure steps will cre-
ate brilliant colors, or you can use
colored filters over the light source
during these exposures. There's a OE one min. fiB w/61 ;
OE one min. f/8 w/29;
OE one min. fIB w/40Y; RE 30 sec. f/8 w/WL.
great variety of combinations you can RE 30 sec. f/8 w/29.
RE 30 sec. fIB w/29.·
create with filters or by using white
light for one exposure and a filter for
the other.
The filters listed below produce
good results, and so will other filters.
Experiment with those you have on
hand to see if you like the colors they
produce. Use the filters below as a
OE one min. f/8 w/47B;
guide to the color range. The color OE one min. fIB w/40C; OE one min. 1/8 w/61;
RE 30 sec. f/8 w/WL.
listed in the right-hand column is the RE 30 sec. fIB w/WL. RE 30 sec. f/8 w/61.

color that filter produces with a black-

and-white original with reexposure
during development. When you're
printing from a color negative or slide,
the color in the film acts as a filter and
the color produced by the first expo-
sure also acts as a filter during the re-
exposure, so the final results might
OE one min. fIB w/40M; OE one min. f/8 w/29;
not always be exactly the color you OE one min. f/8 w/47B;
RE 30 sec. fIB w/29. RE 30 sec. f/8 W/61. RE 30 sec. f/8 w/40M.
oxpect.
Calor of Calor Filler
nltar No. Filter Produces

'IOY yellow blue

IIOM magenta green
IIOG cyan red
.q deep red cyan
I deep green magenta
1'711 deep blue yellow OE one min. f/8 w/40Y; OE one min. f/8 w/47B;
RE 30 sec. f/8 w/WL. OE one min. (/n w/47B;
RE 30 sec. f/8 w/29. RE 30 soc. r/o w/01.

In
OE = origl'lI,l WL = white light 213

Prints
I () achieve the Sabattier Effect on
IIIIIIIG being processed on the KODAK
IInpld Color Processor, it's necessary
I11 11I1\fl Ihe print off the drum for the
IIIP.plllltJre step. In taking the print
1111 11111drum, keep the blanket and
pr 1111 IIJ(joU,cr and lay them on the
It,
The original exposure for both prints would be 11 seconds at f/11 with /1 IlIlu/
back of a darkroom tray with tho pack of 40Y and 10M on KODAK EKTACOLOR 74 RC Paper. The print on 11111 IlIfl
blanket against the tray and the prinl was processed normally. After 1 minute development, the print on tho lIullt wn
reexposed for 1 second to white light from a 15-watt bulb at 'I fllf.Il
facing emulsion side up. Reexposo
the print and then put it back on tho
processor. For easier handling, keop
the print and the blanket together fll
all times. Continue processing in 11111
normal way.
215
 (1) A normal print from a color negative.
Prints (2) and (3) were printed from the
same negative onto KODAK EKTACOLOR
Paper and processed on the KODAK
Rapid Color Processor. During
development, they were reexposed to
produce the Sabattier Effect. (2) Original
exposure 11 seconds at f/11 with a filter
pack of 40Y and 10M; reexposure after
1 minute development-2 seconds to the
white light from a 15-watt bulb at 4 feet.
(3) Original exposure 11 seconds at f/11
with a filter pack of 100Y; reexposure after
1 minute development-1 second to the
white light from a 15-watt bulb at 4 feet.
+-(1)

(2)+ BARSARA JEAN

 Slides
Slides produced by the Sabattier Ef-
fect show extremely vibrant colors
throughout. By using the Sabattier Ef-
fect, you can turn ordinary slides into
exciting, extremely colorful slides.
This method even offers the oppor-
tunity to turn black-and-white nega-
tives into color slides if you start with
an image printed on a high-contrast
film. Continuous-tone black-and-white
and color negatives do not produce
good results. If you want to produce
the Sabattier Effect from a black-and-
white or color negative, print the nega-
tive onto a high-contrast film and use
the resulti ng film positive as your orig-
inal.
The process of creating the Sa bat-
tier Effect in a slide involves the use of
KODAK VERICOLOR Print Film 4111
(ESTAR Thick Base)-for making
transparencies-and a KODAK
FLEXICOLOR@ Processing Kit.
KODAK VERICOLOR Print Film is a
sheet film, and the 4 x 5-inch film will
produce 6 slides at a time. The C-41
chemicals for processing the film are
available in kit form in one-pint size.
The chemicals can also be pur-
This print was reexposedto the light from a penlight after
1'/, minutes development. By using a penlight, you can easily chased separately in one-gallon size
reexpose selected areasof the pri nt. (developer, bleach, fixer, or stabilizer).
The temperature of the chemicals
recommended by the instruction sheet
THE SABATTIER EFFECT WITH Included in the processing kit is 100
KODAK EKT ACOLOR 74 RC AND 78 PAPER I 0.25°F (37.8 ± 0.15°C). For pur-
and the KODAK Rapid Calor Processor poses of creating the Sabattier Effect
Use a KODAK Safelight Filter, No. 10 or No. 13 (dark amber) n color transparencies, the tempera-
ture of 75 to 80°F (24 to 26.rC) ap-
1. Expose the print as you normally would.
2. Prewetthe print in a trayofwaterforabout 30 seconds. pears to give consistent results, and
3. Place the print on the drumand develop it for 1 minute.
Is more manageable in most darkroom
4. Take the print off the drum, place it on a flat surface, and reexpose Iluations. If a higher temperature is
used, an adjustment must be made in
it to white or colored light.
5. Put the print back on the drum and continue development for another tho exposure times.
minute-total development time of 2 minutes. . Setup:
n, Follow all the remaining processing steps as you normally would.
1. Using a contact printer, tape six
35mm KODALlTH Films or color
slides (after removing from their
'11.1
mounts) to the Inoldll enVoI III lilt
glass with the ernulnlon (dllllnll/II)
facing down. Slides 01 1<01lA11111
Films must be placed III tIlwll fI
manner that a 4 x 5-lncl1 ulf(J(J101
film will cover them. A goo(l Wild
for taping the slides to tho (JlfIll("
is a piece of 4 x 5-inch cardboard,
which is included in the packa
of VERICOLOR Print Film 4111.
KODALlTH Films or color
slides taped inside the
cover glass with emulsion
(dull side) down or facing Cover glass
cardboard.
Cardboard guide
(4 x 5) Foam rubber base
2. Since the result of this process Is
unpredictable until you become
fully familiar with the technique, It
is a good idea to do a "test strin"
in the same manner as maklno OllC
for black-and-white or colot pIIIII.
The "test strip" can bo dOlllJ by
taping small pieces of flll,,' 11111"
across the KODALlIII I 11111'1III
color transparenclen. 1·1111"nlrlp
must be taped on tho OIII/lId" III III
glass of the contnc: pllllllll NOT
in contact with Ill" III"lB. Just
about any type 01 (JoIIlI tlitor or gel
will work. One IIIIJXPlIlHllve source
is theatrical coin/ ools. Letraset
color gel shontn, which can be pur-
chased at rnont OUlpi1lc arts stores,
will also WOI1<.
219
 4"
The wash tray with running water 15. Remove film trorn liIIVld(1Il"1 111111

~
can be used for both washes. Use
about 8 ounces of each chemical if
you're using 5 x 7-inch trays, and
: 5"----1
J place it in the tray 01 wIIIIJ\ 1111111
quite slippery and soil no 11I11lI"1
ful. Notch on film should IlIJ Oil 1111
discard the developer after pro- When the film is positioned as lower right so that emutston III lno
~ cessing 3 sheets of film. Discard above, the emulsion side is facing ing up when in the water.
the other chemicals after process- up.
Reexpose film for 30 secondr
~ ing 6 sheets of film.
10. Insert film in contact printer. through the deep yellow flltor.
6. Turn out lights. Open box of When the enlarging light goes on
Strips of filter
material KO OAK VERICOLOR Print Film you should see a black-and-wllllo
Filter strip (outside glass)
4111 and remove the two 4 x 5- image of the KODALlTH Films or
inch pieces of cardboard inside color slides. If no image appears
the foil package. Return film to foil on the film being developed, th
Do not overlap filter strips-leave package and lighttight box. absence can be due to (1) insuf-
a small space between strips-the
7. Turn on lights. Take one of the ficient first exposure (remember
space will be a white-light expo-
cardboard sheets and use this as this will vary from one enlarger to
sure.
a guide to see whether your origi- another), (2) expired developer,
3. Set the enlarger lens to one of the nals will fit in the area. Cardboard guide (not or (3) emulsion was facing down
following openings, depending on In using a glass type printer, necessary to remove during reexposure.
your enlarger: during exposure- Code notch
place the cardboard on the foam place film on top) If the black-and-white image on
LENS backing (see the illustration in Original (emulsion down- the film being developed is TOO
ENLARGER OPENING ILLUMINANT inside glass cover) dense, the film image going almost
Omega D-2
step 1).
w/165 mm lens 1/8 (Bulb No. 212) 11. Cover entire frame of printer with a black, then the first exposure was
Super Chromega 8. Turn out lights.
B/90 mm lens 1/4.5 (Bulb No. 211)
sheet of cardboard. You are going too long and it is overexposGd.
Other enlargers- 9. Open box of KODAK VERICOLOR to use this to expose the film in Regardless of what the imag
50 mm lens wide open (Bulb No. 211) Print Film and remove one sheet strips. Set timer to 60 seconds, looks like at this point (assumin
4. Raise enlarger head SO that light of film. and turn on enlarger. your developer is good), continu
path will cover the area of the Notice that the film has an iden- Move the cardboard 3 times in to process the film to the end. This
contact printer. tification notch on one corner. 15-second intervals to expose a will be a guide for adjustments.
5. Set up chemicals for developing. Turn fi Im (see sketch) so that portion of the film. When you fin- Do not move the water tray dur-
The temperature of the chemicals notch is in the lower right-hand ish, you will have exposed one ing exposure. The surface should
should be around 75°F (24°C). corner. part for 60 seconds, the second for be very calm, as ripples may causo
Extreme temperatures affect the 45 seconds, the third for 30 diffraction of light which in turn
exposure times. seconds, and the fourth for 15 affect the resulting colors.
seconds.
16. Remove film from water and 10111111
. Move contact printer to one side. to DEVELOPER for 1% MINlJI/·:) .
Do not remove cover. Place the 17. Bleach-6% minutes.
second color filter in the filter Remaining steps can Iw tI(11I11III
drawer (the first filters are the normal room illuminnlloll
strips taped to the glass). Use a
~~~~~, deep yellow-this gives some
18. Wash-3 % minute

I 2 3 4 5 6 shade of blue in areas of a 19. Fixer-6% minutou (111111will now

IlIiVI-I (ll'rR BLEACH WASH FIXER WASH • STABILl7.lll
KODALlTH Film which were black. change corers- ICl 1IIIIn wllh im-
(use tray ages appearinq 10 IIIdu away.
. Place a small tray of water beneath
number 3)
onlarging lens. 20. Wash-3% mlrlllllll

Hernovs film from printer and de- 21. Stabilizer-1 V;, IlIllIlIlos
volop for 2% MINUTES. 22. Dry

221
 l' ~JI\:I~r·'
'.
!' .. x:
-r,

.:::~\l"l;~~:ill)~
•• ~
',,",
t'\'1
r,," . '
I.' ."
,
,I

::\?'::',;; .."';';;;j.;':(';:r~,~)i:~~·jc:i,
. "/.',\1; "'·'\~~~'.i',I,*:l~{¥t,~~J
l"'"
'iC",.· :,'1'
'~;t}:
.. -.~.'
~·;.~'·~"·':~\·.'~~~:;-:1»·(~.:~::·~1IJ"-~t~~J
'-~. '. ~" ','
(1) KODALlTH Ortho Film negative from an (6) Original exposure 3 filter, 20 seconds,
EKTACHROME Film original. Reexposure white light. 5 seconds,

(1) This is the original slide and

(2), (3), and (4) are samples of \11(1 (2) Original exposure 80C filter, 60 seconds. (7) Original exposure white light. 5 seconds.
derivations you can create with Reexposure white light. 5 seconds. Reexposure 4 filter. 15 seconds.
the Sabattier Effect on KODAK
VERICOLOR Print Film 4111
(ESTAR Thick Base). (2) was
contact printed from (1); the
original exposure was white liglll
2 for 15 seconds, and reexposura
was 15 seconds through a 1 filtol
(3) was also contact printed from
(1); original exposure through n
5 filter for 30 seconds, reexpo-
sure through a yellow filter for
20 seconds. (4) was contact
printed from (3); original expo- ,I) Oriqina!
exposure 3 filter. 20 seconds. (8) Original exposure 1 filter, 20 seconds,
sure. 30 seconds through a 5 Reexposure 2 filter. 15 seconds. Reexposure 3 filter. 15 seconds,
filter. reexposure 20 seconds
through a 3 filter. See page 22
for filter code.

(9) Original exposure 2 filter. 20 second

Reexposure 3 filter, 15 seconds.

4 (10) Second generation of (0).

Iglnal exposure white light, 5 seconds. Original exposure 5 (1IIor, ;>0anconds.
xposure 2 filter. 15 seconds. Reexposure yellow (11101 :>'0eoccnds.
223
 \ I

(1) The original EKTACHROME Film

transparency was contact printed onto
KODALlTH Ortho Film (2), which was
then printed on VERICOLOR Print Film
4111 as follows: (3) original exposure,
1 filter for 20 seconds, reexposure 3
filter for 15 seconds; (4) original
exposure 2 filter for 20 seconds,
reexposure 3 filter for 15 seconds;
(5) original exposure BOC filter for 60
seconds, reexposure white light for
5 seconds.
(3)

(4) (7) (10)

(6) is a KODALlTH Film positive of (2),

page 224. (6) was printed on
VERICOLOR Print Film 4111 as
follows: (7) original exposure 1 flllor
for 20 seconds, reexposure 3 filter far
15 seconds; (B) original exposuro OOC
for 60 seconds, reexposure whllo 1/(1111
for 15 seconds. (9) is a duplicato of (l')
that has been colored with fell.llppllcI
pens. (10) is a print on \fERICOI 011
Print Film using a 3 filter for?O
seconds as the original eXj.lu~1I111 find
a yellow filter for 20 seconcllllltl tho
reexposure.

'~"(5)
(~) -... -'- '.; ~~ ...J1
(6)
225
 Subjects with a full range of
tones and good contrast produce
the best results with the
Sabattier Effect. This original
slide (1) was printed directly
onto KODAK VERICOLOR Print
(1) (4) Film 4111 (ESTAR Thick Base) to
produce the two derivations.

(2) Original exposure white light,

5 seconds. Reexposure
yellow filter, 20 seconds.

(2) (5)

(1) When an overcast sky takes some of th

sparkle from the colors in a scene, add
your own color by making use of the
Sabattier Effect and KODAK VERICOLOII
Print Film 4111 (ESTAR Thick Base).

(2) Original exposure green filter, 20

seconds. Reexposure yellow filter, 15
seconds.

(3) Original exposure 2 filter, 20 seconds.

Reexposure yellow filter, 20 seconds. (3) Original exposuro ~ IlIlfIr, 20
seconds. ReeXpOIlll(1 yullow
(4) Original exposure white light, 5 second fi Iter, 20 secondu,
Reexposure 1 filter, 15 seconds.

(5) Second generation of (4).

Original exposure 5 filter, 20 second
Reexposure yellow filter, 20 second

,r" i

227
1111"1 [
SUMMARY
1, First exposure-5 seconds to 1 minute
2. Developer-2% minutes
3. Reexposure-15 to 30 seconds
Second color in filter holder
Film immersed in tray of water
4. Bleach-6V2 minutes
Remaining steps can be done in normal room illumination.
5, Wash-3% minutes
6. Fixer-6V2 minutes
7. Wash-3% minutes
8. Stabilizer-1 V2 minutes
9. Hang up to dry
B. Sabattier Effect from Col or Slides
Substitute color slides for KODALlTH
Films in the procedure outlined above.
The greatest difficulty in creating the
Sabattier Effect from color slides is in
selecting 6 slides of approximately the
same density. A very light slide will re-
quire a short exposure whereas a dark
slide will require longer exposure.
Predetermination of the final colors
is impossible, so it is necessary to run
a lot of tests, pick out the fi Iter com-
bination for an individual slide and
then retest the exposure.
C. Record Keeping
It is absolutely necessary to maintain
a record of your trials on filtration and
exposure.
One method is to take a needle and
scratch a code on the edge of the pro-
iossec slide. For example, 25M 15Y
would indicate that a particular slide
WIIll made by using 25 seconds of
nmuonta filtration for the first expo-
I111I nnd 15 seconds of yellow for the
PI 111111 exposure, The f-stop remains
!,1111'.111111.
Another method is to assign a name
to a slide and then maintain a log book
indicating the above information.
D. Problem Areas
Dust-lint-Be sure that both the con-
tact printer glass and originals are
clean.
Processed slide-TOO DARK-first
exposure too long or developer too
warm. If slide is TOO LIGHT, the first
exposure is too short or the developer
is too cold or expired,
Blues from KODALlTH Films-Black
area on KODALlTH Films will come
out blue when yellow filter is used for
a second exposure. If blue is TOO
DARK, reduce the second exposure;
if TOO LIGHT, increase the second
exposure.
After the film dries, about an hour,
you will have a test sheet indicating:
(1) color filter = yielding
certain value
(2) 4 strips for total exposure tim
THEATRICAL
GEL
FILTER CODE
Theatrical Gels
Theatrical gels are gelatin filters used
over light sources for dramatic effects.
They can be obtained in unusual
shades or hues not normally available
in standard photographic filters.
Some of the colors available are
2
shown here. They have been refer-
enced by the numbers to the right;
these numbers are used in the captions
on pages 222-227 to show the deriva-
tions possi ble with the Sabattier Effect
using these filters. The numbers do not
represent any specific color designa-
tions, they are merely a color listing to
show you the approximate colors
0,
needed to produce the results on pages
222-227.
These gels and other filters are gen-
erally avai lable from graphic arts sup-
ply houses, or from the sources listed
on page 229.
Take this insert with you when pur-
chasing filters in these colors locally, or
if you order by mail, send this insert to
show the approximate colors you want.
Be sure to ask that it be returned to you
for future reference.
Referred to as
color ef yellow on
pages 222·
because of liB
effect on tho
final rnsult.
Tints may be glued t
the squares on pa
229, if desired.
 This serves as a guide for the fi rst
exposure on your enlarger.
Tape the stri ps of filters (the ones FILTER CODE
used on the contact printer) over the
dried PRINT FILM sheet for future
reference.
Generally, use of one of the color
filters listed below as the SECOND
exposure on KODALlTH Film originals ~

··
will cause the black areas of the film
to reproduce: ~
Color Color
Filter of Filter

,
No.
40Y
40M
Filter
yellow
magenta
Produces
blue
green
ESJ
~
,
~
~
2

····~··
29 deep red cyan
a name 61 deep green magenta
)g book 47B deep blue yellow

bJ
In. 40C cyan red
(use of cyan is equivalent to white

le can-
light exposure-so
use white light)
if you want red
" ~ 3

als are
Source material for color gels or
filters:
lK-first
per too
the first
1. Theatrical
stores.
gels-most graphic arts >:. ,
~
veloper

-Black
2. Cellulose acetate filters-Edmund
Scientific Co., 642 Edscorp Bldg.,
Barrington, New Jersey 08007.
~ 4

11 come
3. Color printing filters-purchased in
rsed for
4 x 5 sheets.
is TOO
posure; 4. Letraset Project-a-Film (England), ~
second used in making projection charts
~5
for overhead view graphs, trans-
In hour, parencies, etc-graphic arts stores.
Jicating: . Glass color filters-photographic
calor of supply houses.

Jre tim

229
Posterization
During posterization, the normal tones of a subject are separated into distinct
tone ranges with the use of high-contrast films. These films are then printed
in register and in combination to create a photograph that shows a sharp de-
lineation of tones. Calor posterizations often show unreal calor combinations.

R. s ccr r PEUIIY

With the posterizatlon technique you can produce photographs Posterization lets you turn blnck-nnd-whlte photos lntu oolor.
that are very graphic with a poster-like quality. The original for this posterizatlon WIIIl tnkon on KODAK PI till X 1'1111
f"Ilm.

231
III
Once you've made the tone separa-
tions, you can use different-calor
fIlters to produce variations of the
same picture. These calor-slide
posterizations were done in the
camera, and the colors visible in the
pIcture are the colors of the filters
used over the camera lens.

25 red, 12 yellow, and 47 blue, 58 green, and

47 blue filters. 12 yellow filters.

25 red and 58 ~IIIII'" flltnr

The backqrourul ,"III1't
25 red, 58 green, and receive any IIXI"'MIIIII MO
47 blue filters. it remainod 101111~

"'t'· 233
 Artists and designers usually repre- simplest posterized print consists of
sent their subjects in pure line or in a two tones-black and white. Black-
full range of graduated tone. How- and -white posterization is easily
ever, for generations they have real- achieved by limiting the process to a
ized that they could produce rich, single high-contrast negative and is
broad effects by replacing full grada- called a single-tone separation. High-
tion with a limited number of flat tones. contrast negatives are covered in
The most effective application of this Chapter 6.
technique is found in poster drawing. More common are three- and four-
During the days when the exposure tone posterizations. A three-tone
latitudes of photosensitive emulsions black-and-white print consists of
were still inadequate, various meth- black (representing the shadows),
ods of tone separation were practiced. gray (representing the middle tones),
The pictures produced by tone sepa- and white (representing the high-
ration had a poster-like quality, and lights). A four-tone black-and-white
so, the technique of "posterizing" print consists of black, white, light
was developed. As films continued to gray, and dark gray. Posterized prints
This high-contrast photograph is the simplest form of posterization
because it contains only two tones-black and white. improve in quality, posterizing be- consisting of more than four tones are
came less practical and was almost usually not successful, because the
forgotten. However, in the modern result is much like a continuous-Ion
world of advertising and salon pho- image. In color posterizations, 1011
tography, the posterization technique are represented as different colorn.
is enjoying a new popularity.
Although posterizing rn ortucou
Posterization lies between photog- unique and dramatic results flOl1l np-
raphy and graphic arts but is, never-
propriate photographs, not nil photo-
theless, a purely photographic tech-
graphs lend themselves 10 1I11!!pia
nique. In posterization, the scale of cess. Pictures with slmplo IHlltOIlW
continuous tone in a photograph is
and strong designs usunlly JlI ne/IICl(
split into a series of distinct, uniform
the best results. Experlrnonl wllh uonu
tones that separate against one an-
of the many possible varlalknn, III 11111
other and do not merge.
posterization technique nlld yllll'lI 111111
Posterized reproductions can be
that the results are llmlltul l1111yby
characterized by the number of tones your imagination.
which they contain. For example, the

A Ihroe-toneposterization madefrom a highlight negativeand a shadow negative

printed slightly out of register to create a bas-relief (the white outlines).

I~

235
 Selecting Materials

Original High-Contrast Negatives High-Contrast Positives

Black-and- KODALlTH Ortho illm 4556, Type 3

White
Negative KODALlTH Ortho Film 2556, Type 3

KODALlTH Ortho Film 4556,

Color Type 3 KODAI 1'1'11
Ilrll1 111111
Negative KODALlTH Ortho Film 2556, 5GO
Type 3

KODALlTH Ortho Film 4556,

Color Type 3
KODALlTH Pan Film
Trans-
2568 KODALlTH Ortho Film 2556,
parency
Type 3

POSTERIZING TECHNIQUE For the highest quality postorl

You can make both black-and-white
nd color posterizations from an origi-
nal black-and-white print, a black-
nd-white negative, a color negative,
r a color transparency. In working
Irom an original color negative or
lrnnsparency, use a panchromatic
film, such as KODALlTH Pan Film
568, for the tone separation. Ortho
A four-tone posterization made from three high-contrast negatives.
The negatives were registered by taping a piece of white paper in the easel, fllrns, such as KODALlTH Ortho Film,
projecting the image on it, and sketching an outline of the image with a felt pen. Ivpo 3, are not sensitive to red.
This sketch was then used as a guide for registration.
olocting the proper materials is most
Important.
tions, the high-contrast fllrno unod to
produce a posterization shoukl bo Ill(
same size as the final prln]. IllUll(
films must be printed in I o{/ltolUl, Ill1cJ
for critical work you DllOl"!! uno a
register printing devlco, nuch as a
KODAK Register Printll1'l I rurne and
a KODAK Register l'lIl1c1). Ilowever,
you can make succonnlul posteriza-
tions by using 4 x b Inch film and
registering the film vinually. One meth-
od of registration (111(111copying tech-
nique are descrlbod on page 253.

237
":11
 TONAL SEPARATION
Negatives and Positives

ONE SEPARATION
I.xposure causes tone separation.
Mnke a series of exposures onto a
hlqh-contrast film to break the tone Original B&W Negative
range of the continuous-tone original or Color Negati ve
Into shadow tones, middle tones, and 1---- 1 1 1
1
highlights. In working from an original

~
~,I.~
Shadow Positive Mid-Range Positive Highlight Positive

f,mj
negative, underexposing allows ade- High Cun\, •• ' HIOh C"",u'

quate exposure only through the thin-

r, . -, .,
nest areas of the negative, thus pro- " I .rJ ,.'.
r
I.
- ~

ducing a shadow positive. The shad-

ow areas are blocked up and the mid-
dle tones and highlights remain clear.
!, -.11 J L~_ J L _
Overexposing allows adequate expo-
'"'T"'" ' '-r'·' 0."1""

-
sure through all densities of the nega-
tive except for specular highlights, Shadow Negative Mid-Range Negative Highlight Negative
HlghCont'a.1 i'nghC""U •• t
WohCont •• "
thus producing a highlight positive. In

~'
m
other words, both shadow areas and

-
middle tones are blocked up and only , .(
..•. ~
the specular highlights remain clear. , ~J'~,
"
Obviously, normal exposure produces
NOHml1 hl>OllIt.
NOImaJh_ ••
a middle-tone positive that falls be-
tween the shadow positive and the Procedure for producing tone-separation negative and positive
masks from an original black-and-white or color negative.
highlight positive. After making the
three positives from your negative,
contact-print the positive films onto
additional high-contrast film to pro- MAKING A TONE SEPARATION
duce three negatives. Or you can
Use a KODAK Safelight Filter, No. 1 A (light red) and select the
make negatives in one step by starting
appropriate high-contrast film from the table on page 237.
with a slide. Examine the resulting
high-contrast negatives to be sure (3) 1. Make a test strip with a wide range of exposures on high-cOnllEllll 111111
2, From the test strip, select three different exposures.
they provide definite tone differences. Three tone-separation positives produced
from an original black-and-white negative. 3, Exposure No. 1 should be very light and record only the higlillqlll
(1) Overexposure, (2) Normal exposure, and areas. Make a film positive using this exposure.
(3) Underexposure on high-contrast film
produce distinct separations of tone, 4. Exposure No. 2 should be normal, showing detail througll JlIO1lllddl"
tones, Make a film positive using this exposure,
5. Exposure No. 3 should be very dark and have detail only 1illlilll1ll1u/ow
areas. Make a film positive using this exposure,
Exposures 1 (highlight), 2 (midtone), and 3 (shadow) aro IOIII!
separations. If your original image was a negative, the 101111 '1111 !lIrnllons
will be positive images, To produco tono-separation nO\lllllvllll, contact-
print the three films onto additional hloh contrast film.

'I~I/I
239
 RIZING
ACK-AND-WHITE PRINTS
WIIIIII making a black-and-white post-
1III/Od print, print one high-contrast
1IIll/ollve at a time. If you're not using
1 pin register system, register the neg-
ulvos as described on page 253. Start-
Ing with the shadow negative (darkest
overall). adjust the exposure time to
obtain a light gray tone, and make an
exposure. Remove the shadow nega-
tive from the paper, replace it with the
mid-tone negative, and print again,
usi ng the same exposure as that used
for the shadow negative. Since expo-
sure is cumulative, each area be-
comes progressively darker with suc-
cessive exposures. If the print were
processed at this point. the shadow
areas would be a dark gray; those
areas exposed only with the mid-tone
negative, during the second exposure,
would be a light gray. Now, make a
third identical exposure using the
highlight negative (thinnest of all), and
finally, process the print. The shadow
areas, which received all three expo-
sures, will be dark gray; the highlight
areas, which received only one expo-
sure, will be light gray; and the specu-
lar highlights, which received no ex-
posure, will remain paper-white.
For posterizing in black-and-white
printing, use only high-contrast nega-
tives. When working from an original
negative, first prepare a black-and-
white intermediate film positive. This
intermediate positive should be full-
scale with contrast somewhat higher
Ihan average. In working from an orig-
111111 print or transparency, the inter-
urndlate film positive is not necessary,
IIII,() Ihe positive original yields nega-
IIVII 11)110 separations.
"'IU
Think of the smooth, continuous range of
gray tones or color values in a normal
photograph as a ramp that posterization
converts to a staircase. Instead of a
continuous progression with an infinite (1) ~~·~L - (2)
number of tones, there are a limited number
of distinct steps. Each step represents one
level of density on the original photograph. LJ~"", ~-
Print (1) is a continuous-tone black-and-white '\
photograph, and (2) is the negative. The \
circle on the right is a density wedge or
gray scale, and it shows what happens to
different tones during the posterization
process. The portrait shows these effects (3) "-..:.. -.- ' (8)
on a particular subject.
Prints (3) through (7) show how a high-
contrast film breaks up the tonal range into
distinct steps. Looking at the density circle
as a clock face, there are sharp breaks
between the tones in the areas of 11:00,
9:00,7:00,5:00, and 3:00. These five divisions
break up the gray scale into six distinct
QIW0,
steps. Instead of the wide variety of tones (4) ~........:.._._//
(9)
in (1), there are only six. Since each step is --, ~
a different sheet of film, you can manipulate
the image in a wide variety of ways by
~'"
using different combinations of the
tone-separation films.
The simplest posterization contains two
tones, usually black and white, so (3) through
(7) are all two-tone posterizations. Prints
(8) through (12) are the negative images of (5) (10)
(3) through (7) respectively.
Print (13) is a three-tone posterization. All the
light tones have become white, the whole
range of middle tones is now one uniform
gray tone, and all the darker areas are solid
black. So the original continuous tonal scale
has been divided into three sharply defined
steps-three levels of density.
You can use any number of negatives to (6) (11 )
produce a posterization, but in black-and-
white the more shades of gray you print
in a posterization the more the result begins
to look like a continuous-tone photograph.
In col or, however, the situation is different
because each tone separation can produce
a different color in posterization.
Refer to pages 258 and 259.
( \;1)
(7)
-,
(13)
/1 'InMI " e-a eu.r.. JR
241
 MAKING A BLACK-AND-WHITE POSTERIZATION

POSTERIZING BLACK-AND-WHITE PRINTS

Use the appropriate safelight for the paper.
1. Make tone-separation negatives as described on page 239.
2. Register the negatives. If you do not have a pin register system, you
can tape the edge of the negatives to the baseboard so that you CUll
flip them over the paper one at a time. This /s the some reg/sterlng
method described on page 253.
Original Negative 3. Starting with the shadow negative (darkest ovornll), ne//llllt tho
exposure time to obtain a light gray tone, and mako nn OXPOntllO,
4. Remove the shadow negative and replace It will, 1110 mic/ 10110
negative. Do not move the paper. Print again using rho same OXPOOLIl
5. Remove the mid-tone negative and replace it with the hlghllgl,t
negative. Do not move the paper. Print again using the same exposure.
6. Process the print normally.

Intermediate Positive

Highlight Negative Midtone Negative Shadow Negative

Underexposure Normal Exposure Overexposure

(On a high-contrast film) ~

1
1
Processed Print
K
Print
~
i Print

Step 1

Procedure for producing a black-and-white posterized print

from an original black-and-white negative. A posterization printed in the darkroom through 25 red, 58 green, linO ~/lJluo filters.

1.1°
243
P08TERIZING COlOR PRINTS
Ill' /lolltorlzing in color printing, you
IIlIlId both high-contrast negatives and
1111111 contrast positives. You can use
1«)1 JI\LlTH Ortho Film 4556, Type 3, to
111111<0 both the negatives and positives.
I mm an original negative, the tone
operations are positives. Reverse
thorn to obtain negatives by contact-
printing them onto additional film.
From an original slide, the tone sepa-
rations are negatives. Reverse them to
obtain positives by contact-pri nting
onto additional film.
Register the positives and the neg-
atives. The positives are used for
masking during the color-printing op-
ration. For example, if the first expo-
sure is made with the shadow nega-
tive, then the second exposure is
made with both the shadow positive
and the midtone negative in register.
The shadow positive masks the areas
of the color paper that were exposed
through the shadow negative, so that
these areas are not affected during
the second exposure with the mid-
·tone negative. When you make the
third exposure with the highlight neg-
ative, use the midtone positive mask
to cover the areas of the color paper
that were exposed during the first ex-
posure with the shadow negative and
during the second exposure with the
midtone negative.
The added dimension of color com-
plicates posterizing. Deciding which
color to reproduce in each tonal area
Is simply a matter of personal taste.
You can save time and materials by
PRINTING A from the first exposure series. Simply
sensitive layer of the paper, produc-
COlOR POSTERIZATION change exposure to make the color
ing a magenta image. Printing through
lighter or darker.
Printing Posterizations on KO OAK a blue filter produces. a yellow im-
Since this is a negative color sys-
EKTACOLOR 74 RC or 78 Paper wHh age. Cyan produces red, magenta
tem, the desired color is produced by
KOOAK WRATTEN Filters. To print produces green, and yellow produces
printing through the complementary
posterizations in color, you'll need a blue. For a more complete discussion
filter. For example, printing through a
standard enlarger setup including a of color negative-positive theory, see
KODAKWRATTEN Filter, No. 25 (red),
No. 2B filter in the enlarger, and the the KODAK Data Book No. E-66,
exposes the red-sensitive layer of the
following KODAK WRATTEN Gelatin Printing Calor Negatives, available
color paper. As a result, cyan dye is
Filters: from photo dealers.
formed during processing, and the Use the filters listed in the table on
KODAK
final print is cyan. Similarly, printing
WRATTEN Calor page 244, and follow the procedure
through a KODAK WRATTEN Filter,
Gelatin Calor 01 Produced described on page 249 to produce a
Filter No. Filter in Print No. 58 (green), exposes the green- posterized calor print.
25 or 29 Deep Red Cyan
58 or 61 Deep Green Magenta
47 or 47B Deep Blue Yellow
44 Cyan Red
32 Magenta Green
12 Deep Yellow Blue
Since they are sharp-cutting, these
six filters allow a great control over
the color in the reproduction. They
are preferable to KODAK Color Com-
pensating Filters (CC) or KODAK Col-
or Printing Filters (CP).
For best results, balance the
KODAK EKTACOLOR Paper emulsion
to produce a neutral color, using
standard CC or CP Filters in the en-
larger with an unexposed, developed
KODACOLOR or VERICOLOR Nega
tive placed in the negative carrier.
Once the emulsion is "balanced-in,"
make a test to determine the exposuro
time for printing through one of the six
filters. For example, select the qreon
filter and make a series of test expo
sures, using the midtone high-con .v: ,

~l~/
Ilylng to visualize the image in ad- trast negative. Evaluate the calor ren
VIIIIr.O and planning the end result. dition of the print by' using each 01
the six filters to make separate prlnl
"
-c ,
..••
>.,.1.
,""
';'~";*I)~(,
.• ~~
,.' "..
'•••.
,.. 'I ~)
"t'
.~,\'
at the same exposure time selectocl
'" ~
RODNEY S. PERRY
\
A darkroom posterization. DeCiding wnru Calor to reproillllll III lilt oh
tonal area is simply a matter of noraona: taste, and you 01111 "ltVII 111111)
and
materials by trying to vlsuntlzo tho Image in advlllIl 11

1'1·1
245
 - ~- - - - --------
--- .. - ~- - ~--- -
 •.. I
'" ..•.
..,...--, I
....r--1
fl~r
I I ~

••. /~<'
• A'"

.- ""\

POSTERIZING COlOR PRINTS

Cl) c

.,

•••
0
Use a KODAK Safelight Filter, No. 10 or No. 13 (dark amber), with
Z ~ EKTACOLOR 74 RC and 78 Paper .
0 ~
u::
c::
~
~ 1. Make tone separation negatives and positives as described on
~ page 239, and register them (refer to page 253 for a registering system).
N
2. Place a sheet of unexposed, developed KODACOLOR or VERICOLOR
a: Film in the filter drawer of the enlarger. This is not necessary if the
W
I- filters you're printing from are incorporated in negatives. Refer to
Cl) 'QI)
c
:;;: page 250. Balance the paperto produce a neutral color as described
0
a.. c» on page 244.
::E"'
tU C

C
.;: 3. Make separate test strips from the highlight positive and each of the
a: a.
three negatives (highlight, midtone, and shadow negatives), using
0
...J
.2
the filter you've selected to use with each one. After processing the
e
0 ~ test strips, select and record the best exposure time for each negative
0 and for the highlight positive.
'0
c
G ro 4. Print the shadow negative using the exposure determined above.

t
Z ,.:, "J. ... (/)

-'(/)
" 5. Remove the shadow negative and replace it with the shadow positive
~ "'§! •.c t- Itt~~ ro
~ E and the midtone negative in register. Do not move the paper. Print
Z ~ .r.
Q)
this combination, using the exposure determined above for the
a:
a..
'gj>
z: ~ - ~
'(ji
0
midtone negative.
a.
'0
6. Remove the midtone negative and shadow positive, and replace them
~ C
ro with the midtone positive and the highlight negative in register.
Q)

G .~ Do not move the paper. Print this combination, using the exposure
Z iii determined above for the highlight negative.
~
11 11 Cl
Q)
C 7. Remove the midtone positive and highlight negative and replace
Cl)
~
.--, ~ • ~
e
0
:;:I
them with the highlight positive. Do not move the paper. Print this
~

Er
"' positive, using the exposure determined above forthe highlight
:E ~
'Vi
tU
a. positive.
.
Q)

...

•
0 / (/)
cL 8. Process the paper in the normal way.
~.'~

~
•.
c
•. .•...
.c
"Cl
tU ~~ ~~
=,:,
.~
:c I'I;
.c
.~
••••• "CI
en :lE :E :;:;
1I

249

These separation negatives, which were originally made for a posterization,
were deliberately printed out of register to produce a creative variation
of the posterization technique.
Printing Posterizations with
Homemade Color Negatives
One of the most predictable methods
for producing a posterized print is with
negatives of colors and textures. You
can prepare these color negatives by
photographing various colored art pa-
pers on KODACOLOR or VERICOLOR
Film. You'll find ready-made texture
patterns in woven fabrics, stucco
walls, wood grain, reticulated film, and
pressed glass. When copying these
textures onto film, be sure to keep the
lIohting uniform and the exposure
I.onstant.
I o print a posterization with the tex-
IIIIII nogative, first make a straight
Iif II II ()f the texture negative and bal-
1111 111110color using CC or CP filters
",n
/
in your enlarger. When you have th
correct color balance for the texturo
negative, you can print the posteriza
tion following the procedure described
on page 249.
Each color texture negative you uso
in the posterization process will havo
to be color balanced as describod
above. If you plan to use many coloi
texture negatives, you may want 10
make a gang proof or contact print 01
a group of negatives and deterrnlnt
the color balance for the whole grollt'
at one time.
You can produce light and dOli
~:~,. .•...
shades of one color with a single t T. 11. GROVE
A darkroom posterization made from a black-and-white original Oil I(OIJAK
ture negative by changing the expo
PANATOMIC-X Film. Highlight, shadow, and mid-tone negatives WOlflIIII\(fo from
sure. an intermediate positive. Then highlight and shadow positives w!IIollllt<fo from
their respective negatives. The films wero roglstered and prtntnd ln oOlllblnation
by exposing through a 25 red filter to produce the cyan imnOIl, III/ollgh a
44 cyan filter to produce tho roddlsh-black image, and 111/011'111 1\
47 blue filter to produce tho yellow imago.
251

Creativity with photography often extends beyond the darkroom.
Here are two color combinations of the same posterization. One was mounted
on a board in the traditional manner. The other was mounted on a
thick piece of wood, and the zebra was cut out with a jigsaw.
(!rt'
POSTERIZING COlOR SLIDES
It's possible to create posterized
slides if you have a 35 mm camera and
an electronic flash unit. Make 4 x 5-
inch high-contrast negatives and posi-
tives, just as you would to posterize a
color print. Register the films on a
sheet of opal glass or plastic so that
they will flip in and out of the camera
range as illustrated below. Place the
~
Filter ~ Opal Glass
\'~ o
~~~
~Electronic
Flash
Select the combination of negatives and
positives you'll need to produce a color
posterization. Visually register the films over
the picture-taking area on the opal glass.
Tape the films along one edge so that you
can flip them in and out of the picture-taking
nrea. Make an exposure through a colored
Illter; then flip the film out of the picture-
loking area; make a second exposure
Ihrough a different colored filter; then flip
Ihe films out of the picture-taking area. Con-
Ilnue exposing the films in this manner until
11the stages of the posterization have been
xposed.
oloctronic flash unit at least one foot
below the glass and aim directly at the
gI8SS. Mount the camera on a firm
SUPDort, such as a tripod, nncl aim it
down fll the film on tile ~JlfHlB,If you
plan to do Cl101of copylno work usln
your oloctronlo 1111011 1I111lnu tho lIoht
source, you mny wnn: to Illdlcl 11oopy-
ing box 111<0 1110ono 1IIIIIIInlloel bolow.
[~
Filter
Opal Glass
If you plan to copy films or cronto 1IIIIIIy
posterizations, you might want 10 11111111 11
copy box like this one. It has It al1ll1ll III 11/1111
glass or plastic on the top. TIlIl wllllll , 11111
board set at an angle retlocts 11111 11/1111
1111111
the flash up through the opnl JlIIINII 11111 IIIIIlt
bulb provides the light nOClIl.NIIIy 111111111111'
Ing the camera and reglRllllillU 11111111, hilt It
should be turned off (lilll,," 11111 uxponuro.
You can fire the elecuouf II/1qll 1IIIIIIIJlllly or
attach it to the camorn wlllt 11I"nu flCHd.
Use the sharp-cuttlnu 11111111 IIIO()lIl1nended
on page 244 for 001111i'IIIIIIIIU Ilumomber
that the filter will 111111""111 " "" own oolor in
the slide, so with III1~ 111111111111 III poutorlzlng
It Is really easier III dl.IIIIIIIIIIII 11111lIolnl thnn
with color printlnn
b3
 Review the procedure described on
page 244 for printing with high-con-
trast negatives and positives. You use
the same method of combining the
films, but instead of printing onto
paper, you'll copy them onto a single
frame of film. Use a different colored
filter over the camera lens during each
exposure. You'll find that an exposure
of f/22 or f/16 will produce good re-
sults with KODAK EKTACHROME 64
Film, but of course this depends on
the output of your flash unit and the
distance from the flash to the opal
glass. Use the same exposure for each
film and filter combination.
If your camera will not make multi-
ple exposures, work in a darkened
room. (You can have a very dim light
in the far corner from the camera.)
Set your camera on ''1'' or hold the
shutter open on "B," and manually
flash the electronic flash for each ex-
posure. If you leave the filter over the
Ilill
lens or put the lens cap on while
you're arranging the films between
flashes, you should be able to pro-
duce the registered multiple expo-
sures needed with this method.
You can produce 35 mm negatives
with this system by using a color neg-
ative film, such as KODACOLOR II
Film. Print these color negatives as
you would print any color negative,
and you eliminate registering at the
easel. However, prints made in thia
manner usually are not as sharp a
pri nts made di rectly from high-con
trast films enlarged the same size a.
the paper.
The photo-posterization technique
described here are basic. By com
bining them with other photoqraphk
controls such as the tone-line pro
cess, bas-relief, and Sabattier Effecl,
or by using more than one neqativu,
you can achieve many different anti
fascinating effects.
"AIt"MIA Jt AN
An in-camera posterization on KODAK EKTACHROMr "1/11'
exposed through 25 red, 58 green, and 47 blue flltol
b5
 An in-camera posterization on KODAK EKTACHRO'MEFilm exposed
through 47 blue and 12 yellow fillers, The posterization eliminated a very busy An in-camera posterization on KODAK EKTACHROME Film exposod 11111111\111
background which was distracting in the original straight print. 47 blue, 58 green, and 12 yellow filters. Tho original picture was taken Oil hi IIIA!\
TRI-X Film with existing light, and tho aoparatlon positives wero 111111111 110111 11
very small portion of the original negallvo to produce an accentuntorl (1111111 1'11111111I.

"" 257
(1) (2)

(3) (4)

/1

(5)

JEROME P. O'NEILl, JR.

./ I \.
Here are some of the color combinations that are possible by using the same set

- J.;..~ I~."
~. ./_/.' / ,
of four separation films and exposing with different color filters.

'.) r>. \ : \

f ~ .• ; . ,: .. i. ..)

(/)
(1) through (4) show four tone-separation films photographed through
different color filters. Slides (5) through (8) show the results when the positives
and their corresponding mask negatives are photographed in combination to
produce a color posterization. (5) Blue shadow positive and red highlight positive
with black (unexposed) midtones. (6) Blue shadow positive plus green
mldtone positive. Note the cyan areas formed where the two colors overlap.
(7) Blue shadow positive, green midtone positive, and red highlight positive
for a 3-exposure 5-color posterization. Slide (8) is the same combination as
(or (7), but with the blue highlight positive added, which combined with the
red exposure from the highlight positive to produce the magenta col or.
11.1 \

259
 With posterization, you can turn
a black-and-white photo into many
different color images. These
posterizations were all made in
the camera using the technique
described on page 253.

261
'1Ill
 POSTERIZING COLOR SLIDES
Work in a dimly lighted room.
1. Make tone-separation negatives and positives as described on
page 239 and register them.
2. Use a slide copier orthe copying method described on page 253.
Determine the exposure for your equipment by making a series of test
posterizations at various lens openings. Keep good records and have
the film processed, then select the best exposure. If you use the filters
listed on page 244, you will not have to vary the exposure to
compensate for different filter factors, so the exposure will be the
same for the whole posterization. Once you have determined which
lens opening produces a well-exposed slide, you can make all your
slide posterizations at that exposure.
3. Copy the shadow positive with the appropriate filter over the camera
lens.
4. Remove the shadow positive and replace it with the shadow negative
and the mid-tone positive in register. Do not move the camera. Copy
this combination onto the same frame of film with a different color
filter over the camera lens.
5. Remove the mid-tone positive and the shadow negative and replace
them with the mid-tone negative and the highlight positive in register.
Do not move the camera. Copy this combination onto the same frame
of film through a different color filter.
6. Have the film processed or process it yourself in the normal way.

Posterization is an exciting technique that

Challenges a photographer's creativity,
but some photographers are always trying
to extend the creative possibilities.
Icture (1) is an in-camera posterization.
Icture (2) is a double exposure of
:woposterized slides to create a new
olor combination.

263
Gum-
Bichromate
Printing
With gum-bichromate printing, you make your own photographic paper by
mixing a light-sensitive emulsion and coating it on paper. The paper is
exposed by contact printing with continuous-tone or high-contrast negatives,
and developed in water.

Gum-bichromate print made with a continuous-tone negative and one emulsion layer.
Cyan pigment was added to the emulsion to produce the col or.

The process ot gum-bichromate print- ment and potassium or ammonium

ing has been around for many years
and was quite popular around the turn
of the century. The process is not as
involved as it may seem at first glance.
With a little time and experimentation,
you can master the technique and
adapt it to your own needs. The vari-
ety of materials that you can use intro-
duces variables that must be worked
out according to your own individual
Gum-bichromate print made with four films and four emulsion layers. method.
Basically, the process consists of
contact-printing negatives on a good
grade of paper coated with a light-
sensitive bichromate solution. This
Is composed of a water-soluble pig-
bichromate suspended in a vehicle
of gum arabic.
The gum arabic and potassium or
ammonium bichromate are availablo
from any chemical-supply company.
The ammonium bichromate, belno
more sensitive to light, requires about
half the exposure of the potasstum ill
chromate. The pigment can IJO nny-
thing from tube watercolorn In tem-
pera paint. The paper shoukl Ill) strong
enough to withstand f1 (IClOd deal of
soaking. You can CI1()()(Hl from any
number of good qunllly watercolor
papers in a variety ClI(JIlldes and sur-
face textures.

265
 ~-
-- ----
• ------
 ARING THE
MICALS AND PAPER
~;01110 preparation is necessary be-
1()lO you actually make a print. First
mlx separate stock solutions of gum
uablc and bichromate in the follow-
Ing amounts: Mix 1 ounce of gum
arable (dry weight) in 2 ounces of
warm water. For the bichromate, mix
112 ounce (dry weight) in 5 ounces of
warm water. This will give you enough
of each stock mixture for several
prints. It is not a good practice to mix
too much gum arabic at one time, be-
cause it is an organic compound and
should be kept refrigerated after it
has been mixed.
Since gum arabic dissolves very
slowly, you may want to start prepar-
ing it a day or two in advance. Wrap
the dry gum in cheesecloth and sus-
pend it in the water. Occasional stir-
ring will speed the process. The solu-
tion will keep fairly well if a trace of
carbolic acid or thymol is added as a
preservative.
The paper also requires some prep-
aration before it is ready for coating.
First soak it in hot water (approxi-
mately 150 F) for 15 minutes and
0
dry. This preshrinking will avoid dis-
tortion after fi nal development. These
preliminary steps must be completed
before you can start any printing.
When you are ready to start coating,
first tack the paper down at the cor-
ners to a stiff support. Then to avoid
having the pigment soak into the pa-
per, add sizing by spraying the paper
with any household spray starch. Use
1110sizing sparingly. Too much will
ouuse difficulty in later coating the pa-
11"1 with the light-sensitive emulsion.
MIXING THE EMULSION
11111
nuxt step is to mix an emulsion
111111111
lip of equal parts of the stock
'nn
solutions of gum arabic and bichro-
mate. Start with % ounce of each
stock solution. Then mix 3 parts of this
emulsion to 1 part of the pigment. A
little variation is acceptable and rec-
ommended until you determine the
best mixture for your working condi-
tions.
After the emulsion is mixed, you
must coat it on the dry, sized paper.
A good method of coating is to use a
good-quality, flat brush about 2112
inches wide. In laying down the emul-
sion, use crisscross strokes to get as
smooth a surface as possible. This
can be carried out in room light be-
cause the emulsion is not sensitive to
light until it is almost dry. When you
have completed the coating, put the
paper in a warm, dimly lit place to dry.
PRINTING ON
GUM-BICHROMATE PAPER
STANLEY W. COWAN
When the sensitized paper is dry, you Gum-bichromate print made with a yellow emulsion layer and a red
are ready to make contact prints from emulsion layer and printed from high-contrast negatives. The print was
left in a tray overnight and the dye in the emulsion floated toward the center,
negatives. You can use both normal
causing a concentration of color in the middle of the picture.
and high-contrast negatives.
Use a printing frame or heavy piece
of glass to hold the negative and pa DEVELOPING THE PRINT USING MULTIPLE COLORS
per together during the exposure. Re Develop the exposed print by first AND NEGATIVES
member, this is a contact-printing pro soaking it face up in a tray of water It's possible to work with several col-
cess, so your print will only be an (70-80°F) for a couple of minutes. ors and many negatives on the same
large as your negative. Then turn the print face down and slide print by repeating the emulsion-coat-
One 500-watt photolamp at a dis it gently into the water to avoid trap- ing, printing, and developing steps for
tance of about 2 feet makes a good ping air bells on the coated surface. each successive color. For multiplo-
light source for exposure, but any Optimum developing time is 30-60 color printing, each layer must h
thi ng from sunlight to carbon-arc light minutes, although complete develop- coated, dried, exposed, developed.
will work. A good starting point fortho ment may take anywhere from 15 min- and dried again before procoodln
exposure time when using a photo utes to several hours, depending upon with the next layer.
lamp is 5 minutes for an ammonium exposure and the amount of density Some of the prints in IIl1l1 chapter
bichromate emulsion and 10 minut you desire. It's up to you to decide have been taken a stop rllllllOr than
for the slower-acting potassium III when to stop development. When it is the simple gum print. Colors were
chromate emulsion. Try a 3-minulll complete, the last step is to hang the added by pen and 1111< 1I1Ie! transpar-
exposure time for direct sunlight. TIIII print to dry. ent watercolors alto: 1110prints dried.
density of the final print depends Oil This is just one of tho many things
the density of the emulsion and inlnn you can add to 1/10hnnlc process for
sity of the exposing source. more express/vu pilnr,
269
 STANLItY W. COWAN

Gum-bichromate print made with four layers of emulsion ranging in color from
light blue to black, and printed from 4 high-contrast negatives.

STANLEY w. COWAN

Gum-bichromate print on green art paper made from a high-contrast negative.

A water-based ceramic stain was used to dye the emulsion gold.

'1'1(1
271
 Photo Silk-Screen
Printing
In silk-screen printing, an image on high-contrast
special silk-screen film which adheres to the silk screen and serves as a mask
during printing. The silk-screen image is printed onto paper by forcing inks
through the screen with a rubber squeegee while the screen is in contact
with a sheet of art paper. Silk-screen prints look as if they've been painted
with poster paints.
Three separation negatives were made on high-contrast film from a slide.
To produce this gum-bichromate print, one negative was printed on a
yellow emulsion layer, the second negative printed on a magenta emulsion layer, Photo silk-screen printing is a com-
and the third negative printed on a cyan emulsion layer. bination of photography and graphic
arts. The original image is a negative
THE GUM-BICHROMATE PROCESS or slide, and in the darkroom this im-
age is enlarged onto a high-contrast
Steps 1-7 can be done in white light.
film, such as KODALlTH Ortho Film,
1. Mix 1 ounce of gum arabic with 2 ounces of water.
Type 3. The image is then transferred
2. Mix Y2 ounce bichromate with 5 ounces of water.
from the high-contrast film onto the
3. Soak the paper in hot water (approximately 150°F) for about
silk screen. There are a number of
15 minutes and then allow it to dry. methods used for making the mask on
4. Size the paper by spraying it with any household spray starch.
the silk screen. We're going to cover
Use the starch sparingly. one method, the use of Ulano" Hi-Fi
5. Mix equal parts (start with 1/4 ounce of each solution) of the
Green<!l>Presensitized Screen Process
previously mixed solutions of gum arabic and bichromate.
Film.' (For information on other meth-
This mixture is the emulsion. ods of si Ik screening, refer to the list
6. Mix 1 part pigment with 3 parts emulsion to give the emulsion color.
of reference books on page 287.)
7. Coat the emulsion on the paper using a flat 2Y2-inch brush and
Once the photographic image has
making crisscross strokes to get as smooth a surface as possible.
been transferred to the silk screen,
Steps 8, 9, and 10 should be done under safelight i'llumination (such the photographic process ends and
as that used for black-and-white contact printing). the graphic-arts process begins. Print
8. Hang the print to dry. the silk-screen image onto the paper
9. Contact-print your negative onto the paper using a printing frame by forcing inks through the screen
(emulsion-to-emulsion) . with a hard rubber squeegee while the
10. Expose the paper to any bright light source. Try 3 minutes with direct screen is in contact with the paper.
sunlight or 5 minutes with a 500-watt photolamp for the trial You can apply as many silk-screen
exposure. The depth of the final print depends upon the density of images as you want to create a multi-
the emulsion and the intensity of the exposure. colored image, but you must allow
each color to dry thoroughly before
During the following steps, room lights can be turned on.
applying the next image. It's neces-
11. Develop the exposed print by placing it face down in a tray of water
at 70-80°F. Development takes anywhere from 15 minutes to
several hours, depending on the depth of exposure and the amount 'This film is a product of the Ulano Products
of density you desire. When the print looks good to you, stop Company, lnc., 210 E. 861hStreet, New York,
New York 10028. Ulano and Hi-Fi Green arc
development. registered trademarks.
I:' Ilang the print to dry.
)"01
film is transferred to a
sary to make a separate silk-screen
mask for each color or image you
want to print.
Photo silk-screen printing provides
an excellent creative outlet for the
photographer who has tried all the
other photographic processes avail-
able. It is a time-consuming process,
and to produce good multiple-color
silk screens you'll need to plan each
image and color carefully in advance.
You'll need to experiment and perhaps
deviate from the recommendations
given here to achieve the best results
with your equipment, inks, and paper.
It's a challenge to a photographer
who enjoys making new pictures out
of existing images, because several
photographs, or parts of photographs,
can be combined in one silk-screen
print. This motivates some photog-
raphers to seek special subjects to
photograph with the idea that Ihey
will end up as silk-screen prlnts. Pho-
to silk-screen printing Is rowllfcllng
too, and it's becoming tncronnlnoty
popular as a means of oxpronsion.
Some exhibitions accept photo silk
screens as both a III nphlc-art form
and a photographic mnlhod. The pro-
cess is also adnpllll>lo for making
greeting cards, woclcllllO nnd birth an-
nouncements, Oriel pili uonalized note
paper.
273
 "'i~~·;,"'·1
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RICHARD V, STOECK£R

A photo silk-screen print made with one screen and one color ink.

RICHARD V. STOECKER

A photo silk-screen print.

7,1 275
 CLEANING THE SCREEN
Use a silk or nylon screen with a 14-
17 mesh. You can purchase ready-
made screens which are on wooden
frames in art supply stores or buy the
fabric and stretch your own screens.
Good results in silk screening de-
pend on a clean screen, so wash the
screen with Serascreen SPC Enzyme
or Foto-Film Remover. Rinse well and
apply DeGreaser with a soft scrub
brush. Neutralize the screen by rins-
ing with an acetic acid solution (one
capful of 28-percent acetic acid in a
gallon of water). Allow the screen to
dry. Afteryou have cleaned the screen,
NEVER TOUCH THE FABRIC WITH
YOUR HANDS. The slightest trace of
oil will keep the Hi-Fi Green film from
adhering properly to the screen.
PREPARING THE
PHOTOGRAPHIC IMAGE
You can start with any well-exposed
negative or slide as the original im-
age. If you start with a negative im-
age, the final silk screen will be a
positive image; a positive original im-
age produces a negative silk-screen
image. If you start with a positive im-
age (a slide), you may wish to go
RICIIARD V. STOECKCII through one extra step by contact-
printi ng the high-contrast film nega-
A photo silk-screen print made with two screens. One screen printed the
rose-colored background and the other screen printed the purple areas. tive to another sheet of high-contrast
film to convert the image to a positive.
The size of the image in your silk-
screened print will be the same as the
image on the high-contrast film, so en-
large the image to exactly the size you
need. The degree of enlargement is
very important when you plan to ap-
ply more than one image in a silk-
screen print-particularly if the im-
ages are to be registered.
After you've transferred the imago
to the high-contrast film, black out any
dust spots with a black Eberhard Faber
llilnrite Marker 690 or KODAK
Opaque.
High-Contrast Images
Fer a high-contrast image which will
produce concentrated areas of color
In the final silk-screened print, print
the negative onto I<ODALlTII Ortho
Film, Type 3. Refor to page 152 for
the details on how to use this film.
Continuous-Tone Images
To produce an image similar to a con-
tinuous-tone image, one with varying
degrees of color density in a photo
silk-screen print, enlarge your original
image onto KODALlTH AUTOSCREEN
Ortho Film 2563. This film has a dot
pattern built into it and will allow you
to reproduce shades of one color. For
information on how to use this film,
refer to page 68.
TRANSFERRING THE IMAGE
TO HI-FI GREEN FILM
Hi-Fi Green film is easy to use be-
cause it can be handled in normal
room light. However, avoid exposing
it to sunlight or bright fluorescent
lights. After exposure to an ultraviolet
light source-such as a sun lamp,
photolamp, or arc lamp-and develop-
ment, the unexposed areas of the
image can be washed away in warm
running water (not over 115°F). Then
the sticky side of the film will adhere
to the silk screen. Hi-Fi film has a
plastic backing which you can easily
peel away after the film Is dry. After
the backing is removed, the Hi-Fi film
acts as a mask on tile silk screen; ink
will flow through the screen only in
the unexposed areas where the Hi-Fi
film has been washod away.
277
 EXPOSURE FOR Ht-Ft GREEN FILM
Photolamp
I nmp-to-copy New No. 2 No. 2 250-watt 15-amp 35-amp
distance Photolamp (used 3 hrs) Sunlamp Arc Lamp Arc Lamp

10 inches 2 min 3 min 2 min

20 inches 8 min 12 min 5 min 5 min 1112 min
40 inches 32 min 48 min 20 min 20 min 6 min

Development and Washout

BOB CLEMENS
Place the Hi-Fi film under your film positive
with the plastic backing on the Hi-Fi film
toward the film positive and the light source.
Exposure
Place a sheet of Hi-Fi film and your
film positive from the previous step in
a printing frame as shown at the left.
The plastic backing on the Hi-Fi film
should be toward the film positive and
the light source. Always make the ex-
posure through the high-contrast film
positive and through the plastic back-
ing sheet to the emulsion of the Hi-Fi
film. The emulsion side feels tacky
when touched with a damp finger. Ex-
pose the film using the table above as
a guide for your first exposure. You
can make a test strip of various expo-
sures, develop the film, and then se-
lect the best exposure.
The longer the exposure, the thick-
er the resulting mask will be. Too long
an exposure will close up the fine
lines; too short an exposure produces
a mask that is thin and lacks strength.
A faint image will be visible after ex-
posure.
that the stream of water is washing
EXPOSING LAMP
over the film and running out over the
bottom edge of the tray. Finish the
t-
Develop the exposed Hi-Fi film in
Inko No. 201 Liquid or Ulano A and B Develop the exposed Hi-FI film with the
plastic side of the film toward the bottom
powdered developer. Follow the mix- of the tray, and use just enough developer
ing and developing instructions given to cover the film.
on the developer package. Protect the
developer from strong light by cover-
ing the tray when it is not in use. Never
bottle used developer because it forms
a gas; discard the developer at the end
of each working session.
Place the plastic side of the Hi-Fi
film toward the bottom of the tray, and
use just enough developer to cover
the film. DO NOT TOUCH THE STICKY
SIDE OF THE FILM AFTER IT'S IN
THE DEVELOPER BECAUSE THE
EMULSION WILL COME OFF.
Immediately after development,
transfer the Hi-Fi film to a clean tray
or the bathtub. Using a mild spray of Immediately after development, place the
warm water (not over 115°F), wash Hi-Fi film in a clean darkroom tray or the
bathtub and rinse it with a mild spray of
the film until the design is clear and warm water. Keep rinsing the film with water
the water running off the film is clear. un.lil the design is clearly visible and the
If you're using a tray, tip the tray so water running off the film is clear.

i wash by rinsing the film with cold wa-

ter for 30 seconds.

HIGH-CONTRAST FILM
BOB CL.EMENS POSITIVE

A "1lIlllImp Is one of several lights that

ViiI! I 11/1 IISOto expose the Hi-Fi film.

EMULSION SIDE
HI-FI FILM
BOB CLEMENS
'l/fl
279

Wr~%;;;;%;;;;;;;;;;%;;;;;;;X;~~
Place the Hi-Fi film, emulsion side up,
on a platform of boxes the same size as the
opening in the screen frame, and gently
lower the screen down over the film with
one slow and even movement.
Use paper towels to absorb the excess
water, and pat the surface of the screen
with a wad of paper towels to force the
"dl1esion of the Hi-Fi film to the screen.
IION'T TOUCH THE SCREEN WITH
voun HANDS!
)/10
Adhering the Film to the Screen
To provide good contact all ovor tho
surface of the screen, use several
photographic-paper boxes to build
up a platform that is just slightly small-
er in surface area than the screen
which you'll lower over it. Refer to Ih
FRAME HOLDING SILK SCREEN
drawing and photography at the lofl.
Place the wet Hi-Fi film on the plat-
SILK form with the emulsion side up. (Note:
:~LR~' N
It's important to keep the film wet if
there's any delay between the wash-
out step and adhering the film to the
TABLE
screen.) Hold the screen in position
over the film and platform and gently
lower the screen down over the film
with one slow and even movement.
Any side-ta-side movement after the
screen is in contact with the film will
blur the image. Place paper towels
over the screen and pat them down to
absorb the excess water, then pat the
surface of the screen with a wad of
paper towels to force the adhesion of
the Hi-Fi film to the screen. DON'T
TOUCH THE SCREEN WITH YOUR
HANDS!
Let the screen dry thoroughly and
then gently peel off the plastic back-
ing. Clean the screen with turpentine
to remove the adhesive.
PRINTING
To help register the image in printing,
attach the silk-screen frame to a table
top or large sheet of wood with loose-
pin hinges. (These hinges will come
apart when the center pin is pulled
out.)
Let the screen dry thoroughly, and then
gently peel off the plastic backing.
parent and others are opaque, and you
can mix colors of the same type ink
to produce your own shades.
1 ake a sheet of paper that you in-
lend to print on and place it in posi-
lion under the screen. Fold strips of
heavy paper or light cardboard into a
shape and tape the Z's 10 the table
with masking tape. Place two Z's on
one edge of the paper and two Z's on
an adjacent odge. Tho Z's will hold
the paper in place while you're print-
ing and help you register the image
in successive prints. Refer to the
drawing on page 282.
Tape strips of tissue paper around
the edges of the screen in any area
where the Hi-Fi film does not com-
pletely cover the screen, or use a
blackout that will not be affected by
the ink.
Tape 1112 -inch squares of card-
board to each corner of the screen
frame. These cardboard squares lift
the screen off the paper and will help
prevent speckles of ink from getting
on the paper.
WARNING: PRINTING WITH
SILK-SCREEN INKS MUST BE
DONE IN A WELL-VENTILATED
ROOM. Inhaling the fumes from
silk-screen inks may cause you to
become light-headed and giddy;
then they produce a severe head-
ache. If you plan to do a lot of
silk-screening, you might want to
invest in a gas mask.
There are many silk-screen inks
avai lab le from art suppliers, in a great
variety of colors. Some inks are trans-
281
 With the paper in place under the
silk screen, pour the ink along the
edge at one end of the screen and
squeegee the ink over the surface of
the screen once. Be careful as you
lift the squeegee so that the ink does
not drip onto the screen. Lift the
screen and remove the paper to dry.
[f you're using a quick-drying ink, it's
best to have a helper to remove the
prints for you, then you can begin
printing the next sheet. Work fast so
that you can get as many sheets as
possible printed before the ink be-
gins to dry in the screen and block
it up.
[f the screen begins to block up or
when you're finished, scrape off the
excess ink and save it in a tightly cov-
ered jar. Clean the screen carefully
with paper towels or rags soaked with
turpentine. To make sure the screen
is completely clean, hold it in a vertical
position and rub both sides of it at the
same time with paper towels.
You can make Z's for holding and registering
your paper by cutting 1 by 10-inch strips from
heavy paper. Fold the paper into thirds in a
zigzag fashion. This folded paper is the Z.
Place your printing paper in place under the
silk-screen frame and place two Z's on one
edge of the paper and two more Z's on an
adjacent edge. Tape the Z's to the table. You
should be able to slide your printing paper
into the Z's and have it precisely in place
for prln.inq.
When you're ready to print the second col-
or, remove the Z's, register the sheet with
the first color printed (make sure the color
is dry) under the silk screen in the position
where you want the second color to print;
then place the Z's on the edges of the paper
as described above. You must register and
reorient the Z's for each additional color
and image you want to add to a silk-screen
print.
When you're finished, or if the screen begins
to block up, scrape off the excess ink and
clean the screen carefully with paper towels
or rags soaked with turpentine.
BOB CLEMEH.
The printing paper is held in position with
four Z's made from folded heavy paper.
The silk screen is ready for printing, with
tissue around the edges and squares of
cardboard taped to each corner of the frame
APPLYING SEVERAL COLORS
To produce mu[tip[e-co[orsi[kscreens,
you must allow each color to dry thor-
ouqhly before applying the next col-
With the paper in place under the silk
screen, pour the ink along the edge at one or. For each color or image, you'll
end of the screen and squeegee the ink over need to make a separate screen, and
the surface of the screen once. Immediately this is where the hinge and Z system
lift the screen and remove the paper to dry.
of registering comes in handy. Fit
each screen with the same size hinges
in exactly the same position on the
frame so that each screen will fit on-
to the baseboard or tab [e.
After printing the first color, remove
the Z's. Select a dry print made in the
first step and place it on the table. At-
tach the second screen to the table,
then lower the screen and move the
paper under it until the second image
is in its proper position over the first
image. Tape the Z's in place on two
edges of the paper. As you slip each
sheet of paper into the Z's, it will au-
tornaticalty be registered so that the
second image will go just where you'd
planned. Register any additional col-
ors and images in this same way.
Print the second image, and any
additional images, in the same way
as the first. Always print the back-
ground image first and work from the
background toward the foreground
with each image.
BOB ClEMENS
283
 RICHARD V, STOECKER

BOB ClEMENS

To produce multiple-colored silk-screen prints, you must print each color

separately using a different silk screen for each color. Each col or layer must
dry thoroughly on the paper before another color can be printed over it.

B~
285
I"
THE PHOTO SILK-SCREEN PROCESS
All stops, except the handlinq ol Ilu I IilL111 contrast film, can be done
in room light.
1. Clean the silk screen wltl: S(JlfI(ICIOOI1 SPC Enzyme or Foto-Film
Remover. Rinse well anc: f1pply UoGreaser with a soft scrub brush.
Rinse with a solution of ono cupful acotic acid in a gallon of water.
00 not touch the screen ntu» c/caning.
2. Enlarge the original imago 01110 KODALlTH Ortho Film 6556, Type 3,
or KODALlTH AUTOSCREEN Ortho FiIm 2563. Refer to page 152
for the details on processing these films,
3, Place the high-contrast film positive into a printing frame with a
sheet of Hi-Fi Green film. The plastic backing on the Hi-Fi film
should be toward the film positive and the light source,
Expose the Hi-Fi film to an ultraviolet light source: a sunlamp,
photolamp, or arc lamp. Refer to the exposure table on page 278.
4. Develop the Hi-Fi film in Inko No. 201 Liquid or Ulano A and B
powder-type developer, following the developer instructions.
5. Wash out the developed image on the Hi-Fi film with warm running
water (not over 115°F).
6, Adhere the wet Hi-Fi film to the silk screen by pressing the screen
evenly over the wet emulsion of the film. Use paper towels to pat the
emulsion into the screen and to soak up excess water,
7. Allow the screen to dry thoroughly and gently peel off the plastic
backing.
8. Clean the screen with turpentine.
9. Tape strips of tissue paper around the edges of the screen in any
area where the Hi-Fi film doesn't completely cover the screen.
10. Tape squares of cardboard to each corner of the screen frame to
prevent speckles of paint from getting on the paper during printing.
WARNING: THE FOLLOWING STEPS MUST BE DONE IN A
WELL-VENTILATED ROOM
11. With the paper in place under the silk screen, pour the ink along one
end of the screen and squeegee the ink over the surface of the
screen once,
12. Remove the paper to dry.
13. Immediately after you finish printing, clean the screen thoroughly
with paper towels or rags soaked with turpentine.

RICHARD V. STOECKER

MORE INFORMATION Silk-Screen Techniques,

The following books are good refer- Bielgeleisen & Cohn
A photo silk-screen print made from three different screens. ences for more information on silk-
Silk-screen supplies are available
screen printing:
from art-supply and craft shops. If you
/nko Silk Screen Printing have difficulty finding silk-screening
Screen Printing Photographic supplies or the above books locally,
Techniques, Fossett one supplier is Screen Process Sup-
plies Manufacturing Company, 1199
Photographic Screen Printing, rast 12th Streot, Ookland, California
Kosloff '1600.
\r 287
 TEMPERATURE CONVERSION ANY QUESTIONS?
CHART- I1 you have any questions about the

.More Information DEGREES FAHRENHEIT TO

DEGREES CELSIUS
darkroom techniques described
this book, write to Eastman Kodak
in

Company, Photo Information, Depart-

OF °C OF °C OF "C ment 841, Rochester, New York 14650,
45 7,0 74 23.5 102 39,0
46 8,0 75 24,0 1 03 39,r. KODAK BOOKS
REMOVING FIXER STAINS KODAK SILVER STAIN
REMOVER S-10 47 8,5 76 24,5 104 40,0 There are many other Kodak books
FROM CLOTHING like this one, They're written in an in-
Even the most careful darkroom work- (For Removal of Fixer Stains from Clothing) 48 9,0 77 25,0 105 40,5
teresting and understandable style
ers occasionally find brownish-yellow Water 96 fluidounces 49 9.5 78 25,5 1 06 41,0 by experts who know their subjects
fixer and developer stains on their tirsthand. These books will help you
Thiourea* 10 ounces 50 10,0 79 26,0 107 41,5
clothing, and these stains often ap- get the kinds of pictures you want by
KODAK Citric Acid .. 10 ounces 51 10,5 80 26,5 108 42,0
pear after the garment has been laun- giving you ideas for pictures and ex-
dered, These stains are stubborn, but Water to make .,',., 1 gallon 52 11,0 81 27,0 109 42.5 posing you to a wealth of picture-tak-
there is a way to remove them, A 53 11,5 ing techniques and photographic in-
82 28.0 110 43,5
ready-made fixer and developer stain *EASTMAN Organic Chemical No, P497, avail-
formation, There's a Kodak book to
remover, called Photo-Stain Remov- able from pholochemical dealers, 54 12,0 83 28,5 111 44,0
help you no matter what your photo-
er K-14, is available in a ready-to-use 55 13,0 84 29,0 112 44,5 graphic interest. For a list of current
plastic squeeze bottle from Anchor Instructions for Use
56 13.5 85 29,5 113 45,0 titles and prices send for a free copy
Chemical Company, P,O, Box 2983, Thoroughly wet the stained part with
57 14,0 of Photography Books from Kodak
this solution and wait for the stain to 86 30,0 114 45,5
Cleveland, Ohio 44116, (L-7), Address request to: Dep!.
Or, if you prefer to mix your own disappear, Old stains usually require 58 14,5 87 30,5 115 46,0 412-L, Eastman Kodak Company,
stain remover, a solution made from more than one application of the solu-
59 15,0 88 31,0 116 46,5 Rochester, NY 14650,
the following formula should remove tion and take a longer time to disap-
pear-several minutes perhaps. When 60 15,5 89 31,5 117 47,0
fixer stains, Although this formula is
not harmful to most yarns, it's always the stain has been removed, wash the 61 16,0 90 32,0 118 47,5
wise to test the stain remover by ap- garment thoroughly,
62 16,5 91 33,0 119 48,5
plying the solution to an unimportant
63 17.0 92 33,5 120 49,0
part of the garment fi rst. Try it on an
inside seam to see if it will bleach or 64 18,0 93 34,0 121 49,5
otherwise damage the material. 65 18,5 94 34,5 122 50,0
CAUTION: Most preparations for
removing fixer stains contain 66 19,0 95 35,0 123 50,5
thiourea, a powerful foggant of 67 19.5 96 35,5 124 51,0
photographic emulsions, Do not
68 20,0 97 36,0 125 51,5
prepare or use stain remover in
close proximity to areas where 69 20,5 98 36,5 126 52,0
light-sensitive materials or pro- 70 21,0 99 37,0 127 52,5
cessing chemicals are handled
71 21,5 100 37,5 128 53,5
or used,
72 22,0 101 38,5 129 54,0
73 23,0 130 54,5

The degrees Celsius have been

rounded off to the nearest 1/2 degree,

288 289
 INDEX INDEX (Continued)

Abrasive Reducer, KODAK 36 KODAK EKTACHROME ... 93,95,185, processing ,'" I ti;~ Photo Silk-Screen Process
Acetic acid 180 186, 188, 255-257 retouchlnq , ....• I G:l adhering , 281
Ammonium bichromate 265,268 KODAK EKTACHROME 64 157, selecting .I/i I cleaning 277
Anchor Chemical Company 288 158,254 titles , luD development 279
Argenta Paper 124, 125 KODAK High Speed Duplicating ... 34 . Hypo Clearing Agent, KODAK 3n, explanation 273
KODAK Pan Masking 31, 32 109-111,114, 11G, 118 exposure 278
Bas-Relief " 161,162 KODAK PANATOMIC-X 127,251 Inko developers 279
Inko Developer .
Books, KODAK 289 KO OAK PlUS-X Pan 80, 156, 178, multiple colors 283-286
Intensifying
Burning-in 16 179,180,189,196,197-201, printing , 281
films 19, 40
210,231 negatives and transparencies 38 transferring 277
Chromium Intensifier, KO OAK 38, 40
KODAK Separation Negative ..... 155 washout 279
Citric Acid, KODAK 288 lens-cleaning tissue 71
KODAK SUPER-XX Pan .. 98, 100, 127 PHOTO-FlO Solution, KODAK 35, 40,
Combination printing 72-89 luminos Monochrome Paper 124
KODAKTRI-XPan .. 148,172,177,180
Convergence controls, enlarger 49, 50 Mackie Line 193, 205, 212 152,180,229
KODAK VERICOlOR Print 219,
Marshali's Photo Oil Colors 131 Photograms , 84, 90-96
Developer 220, 224
Martin's Synchromatic Transparent Posterization
Inko No. 201 liquid 279 KODALlTH AUTOSCREEN Ortho .. 68,
Water Colors 131 explanation ,....... 230-236
KODAK 0-76 180 70, 151, 277, 287
Masking materials 237
KODAK DEKTOl 38, 40, KODALlTH Ortho 68, 78, 141,
area 32,33 technique 237
109,124,195,196 143,146,150,151,155,156,
contrast-increase , 34 tone separation 238, 239
KO OAK OK-50 31,32, 159, 160, 171,205, 209,
237, 244, 277, 287 contrast-reduction 31,32 Posterizing
98, 128, 155, 202, 203
KODAK HC-11
KODAK SElECTOl
° 34, 197-201
109
I<ODALlTH Pan 237 Maskoid Frisket
Matte Acetate
122, 123
98
black-and-white
color prints
prints 240-243
244-252
Filters Moire patterns , 57, 58 color slides .. , .....•..... 253-263
KODAK SElECTOl-SOFT 109 KODAK Color Compensating ..... 28, Montages 70, 74, 75 Potassium
KODALlTH Fine Line 155 127,190,192,212,213,215,
KODALlTH Super RT 68, 209 Nail polish 48 alum 114
216,219, 220,222,226-228, bichromate , 265, 268
Ulano A and B 279 Negative carriers, glass 22, 26,
244, 250, 251
Development, selective 86 32, 49, 60, 76, 93 persulfate 116
KODAK POl YCONTRAST 28
Diffusion 45-48 Newton's rings 76 sulfurated 115
Safe light 34, 124, 127,
Diffusion Sheet, KODAK 22,32 Nicholson's Peerless Transparent Printing
152,196,209,218,239,249
Distortion ................•....... 46 Water Colors 131 black-and-white negatives .. 129, 130
Sharp-cutting 129,232, 233,
Dodging Opaque 88,141,149,150,153 color negatives 126
243-245, 255-257
dye 28 Paper Printing-in 16, 18, 20-24
Fixer, KODAK Rapid 152, 180
filters 28-30 Argenta . . . . . . . . . .. 124, 125 Processing Kits, KODAK
Fixers, stains 288
glass negative carrier .' 26, 27 Flashing 22-24 KODABROMIDE 123,124,126 EKTACHROME Film, E-6 93
matte acetate . . . . . . . . .. 24-26 FlEXICOlOR Processing Kit, KODAK EKTACOlOR 74 RC Rapid Color Processor,
Dowels 51 KODAK 219 and 78 .... 101,129,130,218,244
KODAK 214, 216, 218
Foto-Film Remover 277, 287 KODAK EKTAlURE .68,100,113,123
Easel, enlarger 49, 51, 53, 77 Reducers
Freezing, for reticulation 188, 189. KODAK MEDALlST 104, 107,
EKTACHROME Film Chemicals, abrasive 36
110,112,118,120
Process E-6, KODAK 185, 186, 188 Gels, letraset Color 219 Farmer's , .. 35-38
KODAK PANAlURE 108, 110,
Electronic Flash 55, 253 Glass, opal 253 Reducing
123,126,127,134
Enlarger Gold Chloride 117, 118 films 35,36
KO OAK PANAlURE Portrait ..... 110,
convergence controls 49, 50 Gum Arabic . . . . . . . . . . .. 265, 268 prints 36-38
123,127
distortion 50 Gum-Bichromate Process 264-272 Register Printing Frame, KODAK 237
KODAK POl YCONTRAST 101,
easel 49, 51, 53, 77 chemicals 268 Register Punch, KO OAK 237
110,123,196
Exposure, multiple 51-55 developing 269 Reticulation 172-189
KODAK POl YCONTRAST Rapid .. 91,
multiple colors , 269-272 Reticulating
Farmer's Reducer 17,34,35,36,37, 110,121,123,195
preparation , 268
38,153,195 KODAKPOlYCONTRAST black-and-whitefilms 177-184
printing , 268
Film Rapid II RC 110,123,14 color-negative films 185
Hi-Fi Green 273,277-282,287 Hair dryer, portable 186, 188 KODAK RESISTO 90, 106, 134 IlY lnspactlon 188
KODACOlOR II 101, 144, Hardener, KODAK Liquid 115, 116 Monochrome color .. . 124, 125 rroezing errects ,., 189
147,185,254 Hi-Fi Green film ..... 273, 277-282, 287 single weight 98 nlmulatlon ..... ,., , . , .. 175, 176
KODAK Commercial 80, 127, High-Contrast Films Paper negatives 97-10 I IIlIlouchlng
128, 155, 163, 190, 197, 201-204 prints and slides 154 Petroleum jelly .....•.......... 22, 1f Mnrshsli'B PllOlll Oil Clllorll , , , ... 131

90
 INDEX (Continued)
\
Martin's Synchromatic Texture screens
Fransparent Water Colors
Nicholson's Peerless
... 131 commercial,
homemade
Texturefects Company
60-68
68-71,103,250
60
,..
Transparent Water Colors .... 131
RetouchingColors, KODAK ..... 21, 131, Thiourea 288
133,137,138,154 Titles 159
Rubber cement 121, 123
Tone-line negatives 85,163-170 'I
J
Toners
Sabattier Effect KODAK Blue T -26 117, 123
explanation H)0-194 KODAK Brown .... 109-111,115,123
in black-and-white 56, 195-210 KODAK GOLD, T-21 .... 117,118,123
in color 212-229 KODAK Hypo Alum Sepia,
Sandwich, film 32, 58, 70, 86, 103 T-1a 114,123
Screen Process Supplies KOOAK Polysulfide, T -8 115, 123
Manufacturing Company 287 KOOAK POLY-TONER .. 109-111,123
Serascreen SPC Enzyme 277, 287 KO OAK Rapid
Silk-Screen Process Selenium 109-111,115,123
(See "Photo Silk-Screen Process.") KODAK Sepia 109-111, 120, 123
KOOAK Sulfide Sepia T-7a .. 116, 123
Silver nitrate 114, 118
Toning
Slides, printing 101, 127
blue 17,72,107,112,120,121
SNAP-CAP Magazine, KODAK 159 brown .. 105,109-111,113,120-123
Sodium classification chart 123
carbonate , 115 multiple 121,122
chloride 114,118 red 120,121
thiosulfate ...•.......... 114, 118 sepia 108, 114, 120
Solarization 193 Turpentine 283, 287
Stains, fixer 288 Ulano developers 279, 287
Stop bath
Vignetting 42-45
acetic acid 180
KODAK Indicator 152 Water colors
Peerless 131
Temperature Conversion Chart ..... 289 Synchromatic 131

.~

292
This book has been revised to include the latest information on
a wide range of darkroom techniques. The most contemporary
methods and materials for achieving photographic effects have
been added to this third edition of a book which has been popular
with photo enthusiasts since it was first published in 1973, New
data has been added to the sections on toning, reticulation, and
the Sabattier Effect. Other sections have been reviewed and up-
dated, For a complete listing of the techniques described' in this
book, see the table of contents.

The Kodak products described in this publication are avail-

able through those dealers normally supplying Kodak prod-
ucts: Equivalent materials may be used if desired,

CONSUMER/PROFESSIONAL & FINISHING MARKETS

Eastman Kodak Company, Rochester, N.V. 14650

Creative Darkroom Techniques 1-B3-BX Major Revision

Kodak Publication No. AG-18 Printed in the United
~""
States of America
CAT 142 2211
ISBN 0-8798;;-309-3
'\
KODAK, PANALURE, EKTACOLOR, WRATTEN, POLYCONTRAST, PLUS-X, KODALlTH,
POLY-TONER, AUTOSCREEN, ESTAR, DK-50, PHOTO-FLO, SELECTOL, SELECTOL-SOFT,
HC-110, FLEXICOLOR, DEKTOL, KODABROMIDE, PANATOMIC-X, ,SUPER-XX, KODAGRAPH,
SNAP-CAP, TRI-X, EKTACHROME, RESISTO, D-76, EKTALURE""dpAL, MEDALlST, VELOX,
AZO, AD-TYPE, PREMIER, UNICONTRAST, DATAGlJiDE, KODABROME,
VERICOLOR, and KODACOLOR .are trademarks.
,.'