Forensic Photography

Jenifer Dato-Benzon, MSCJ

1st Term, 2021-2022

UNIT 7

Photographic Printing and

Chemical Processing
Objectives:
At the end of the unit, you are expected to be able to:
1. state the different kinds of equipment and their uses;
2. describe the right exposure of the film into the reagent during
its development;
3. distinguish the procedure of developing black and white as
well as colored film; and
4. simulation on how to air-dry the developed images or
photographs.

Chemical Processing
After the exposure of the film to light in the picture taking or the photographic paper during
printing, the next step would generally be chemical processing. In black and white processing, the
steps are development, stop-bath and fixation. In color processing, the steps are color development,
stop-fix and stabilizer.

Development
The process by which a latent image in an emulsion is made visible. In black and white
emulsion, the image is composed of grains of black metallic silver. In color emulsion, the
developed silver is replaced with cyan, yellow, and magenta dye. In this process, a developing
agent chemically breaks down or reduce exposed silver halide crystals to form grain of metallic
silver.

Stop-bath
It halts the developer action in appropriate moment. It also prevents the contamination of
the developer and fixer from each other.

Fixation
It makes the developed image permanent when it is followed by a thorough washing. In
this processing stage, the unexposed and underdeveloped silver halide crystals are dissolved and
removed from the emulsion of the photographic material.

Film Processing
It can be carried out in trays, tanks, or mechanized equipment. Panchromatic materials
must be handled in total darkness. Other materials like blue films and panchromatic printing
papers are handled under a safelight.
Equipment for Film Processing
1. Tank or tray
2. Developing reel
3. Opener for film cartridge (pliers)
Some .35 mm films have reusable cartridge that can be snapped open by hand but
others can only be opened with a pair of pliers.

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 Forensic Photography
Jenifer Dato-Benzon, MSCJ
1st Term, 2021-2022
4. Scissor
5. Thermometer
6. Timer
7. Funnel
8. Photographic sponge
9. Film clips for drying
10. Three glass or plastic bottles (gallon size) for storing mixed solutions
11. Three beakers
Small format films like the .35 mm are best developed in cylindrical daylight-developing tank
that accommodates a spiral reel. The tank and the reel can be stainless steel or made of hard plastic.
These tanks usually have a light-tight lid with provision for pouring solutions in and out while
covered so that only one tank is required for the entire process.
Metal reels have a center clip of book to hold one end of the film, the remaining length slips
into the grooves created by the spiral. Metal reels come in a fixed size.
The plastic reel is loaded by simply pushing the film into the spiral from the outer end. It has
a flange that moves with back-and-forth action after the film had been engaged on the outside
guide slots, the back-and-forth movement feeds it smoothly into the grooves. Plastic reel can be
adjusted to accommodate different film size.

FILM PROCESSING PROCEDURE

Tank Method of Film Development
1. Mix the developer, stop bath and the fixer according to instructional manuals. Then bring
it to temperature which is 20-21o C or 68-70o F.
2. In a dry area, lay out the film, opener, scissor, reel and the tank so they can be readily
located in the dark.
3. In complete darkness, open the film cartridge by simply prying off the cap opposite the
end, where the long spool core protrudes. Extend the film then remove it from the tips in
the spool core. Then reel it.

Reeling Procedure
a. Hold the film with the emulsion side in or down loosely in one hand while the other
hand holds the reel.
b. Engage the film’s end at the center clip or hook of the reel.
c. Slightly squeeze the film width by pressing between the thumb and the forefinger
so it narrows just enough to fit into the reel.
d. Turn the reel with the other hand to pull the film onto the reel.
e. Do not apply excessive pressure with the hand holding and squeezing the film.
f. Let the film pass freely, it will straighten out full width in the spiral space of the
reel.
4. After the reeling of the film is done, place it inside the daylight developing tank then cover
it. White light can now be opened. Remove the lid cover of the tank and pour the film
developer slowly until the tank is full. Invert the tank then agitate it for a few seconds.
Timer should start now. Intermittent agitation should be made during the developing time.
After 5-6 minutes, pour out or drain the developer.
5. Put in the stop-bath, agitate the tank some more and after 15-20 seconds drain out stop-
bath. Next is to pour in the fixing bath. Agitation should be done often and after 15 to 20
minutes, drain the fixer from the tank.

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 Forensic Photography
Jenifer Dato-Benzon, MSCJ
1st Term, 2021-2022
Note:
Used developer, stop-bath, and fixer can be used again and again but instead of
pouring them back in the bottles of fresh or unused solutions, pour them in a separate
container so it will not contaminate the fresh or unused solutions.

6. Wash the negative for several changes or preferably in running water for another 15-20
minutes.
7. Remove the negative from the developing reel. Get the sponge and immerse it in water
then squeeze it to remove the excess water. Wipe the negative with the sponge slowly to
remove the water adhering on the negative. This must be done on both side of the negative.
Water that adheres on the surface of the negative can cause watermarks of allowed to dry
without wiping.
8. Hang the negative to dry at a clean, dust free place or better in a negative drier.

Tray Method of Film Development

1. The developer is placed on a tray.
2. In total darkness, remove the film from the cartridge then hold on end of the film and
immerse the film in the developer in the tray making sure that the film is thoroughly dipped
until the whole length of the film is evenly wet.
3. Timer will start now.
4. With see-saw or pulling u and down motion, move the film from one end to the other then
back, continuously, until the developing time of 4-5 minutes is done.
5. Then transfer it to the stop bath for 10-15 seconds with the same motion.
6. Thereafter, place the film in the fixer and execute same motion for about 5 minutes then
you can now open the white light.
7. Continue the fixing until the required time is finished.
8. Next will be the washing and drying of the negative.
This developing procedure is actually not recommended because the film has a long contact
with air during the procedure which can cause aerial fog. Besides, it is more tedious and tiring
especially with a 36-exposure film.

Photographic Printing

General Types of Photographic Printing

1. Contact Printing
The procedure of exposing photographic printing while it is pressed in contact with
the negative being reproduced. This is the simplest and the most economical method of
photographic printing.
In terms of print quality, it can surpass enlargements in tonality because there is no
scattering of image forming lights as this can be projected beams of an enlarger.
It usually looks sharper because there is no lens in the printing system to add its
aberrations in the print making process and also because details that may be slightly out of
focus are not enlarged so the unsharpness is not apparent.
2. Projection Printing
This type of printing where the image in a negative is optically projected or
enlarged onto a print material for exposure to produce a picture image. The main equipment
used is the enlarger.
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 Forensic Photography
Jenifer Dato-Benzon, MSCJ
1st Term, 2021-2022
The basic or essential parts of an enlarger are:
a. Baseboard and its vertical column.
b. Lamphouse
c. Condenser or diffuser
d. Lens
e. Focusing knob
f. Red filter
g. Electrical cord or switch
The essential accessories of an enlarger are:
a. Negative carrier
b. Easel or paper holder
c. Timer for consistent and repeatable exposure
Note:
There are different sizes of enlargers. The size of the enlarger is dependent on the size of
the negative it is capable of accepting. There is the 8mm for microfilms, the 35 mm which is now
the most common and popular, the 120 mm, or the bigger negative sizes like 4”x 5”.

The most common light sources for enlargers are:

a. Tungsten lamp
b. Halogen lamp
c. Mercury vapor lamp
d. Fluorescent lamp – sometimes referred to as “cold light” because it is somewhat
diffused illumination. This is generally used in portrait work.

Equipment Used in Photographic Enlarging and Printing

a. Enlarger
b. Metal, plastic or bamboo tongs preferably with rubber ends to hold the prints.
c. Three plastic or metal trays – one each for the developer, stop-bath and fixer. The size of
the tray is determined by the largest print size.
d. Bigger tray or tank for washing prints.
e. Three galloon size bottles for storing mixed solution.
f. Three beakers
g. Clips for drying
h. Paper cutter
i. Timer
j. Rubber (surgical) hand gloves

Enlarging Procedure for Black and White Negative

1. Clean both sides of the negative then place it in the negative carrier with the emulsion (dull
side) facing the lens of the enlarger or downward position. Insert the negative in the
enlarger.
2. Adjust the masking guides of the easel in accordance with the intended size to be printed.
3. Turn on the red light (safelight) then turn off the white light.
4. Switch on the enlarger then adjust the lens of the enlarger to its widest aperture. This will
allow the brightest image on the easel.
5. Adjust focusing by rotating the focusing knob. For desired size of the image, adjust the
elevating knob. For brighter magnification, pull the enlarger down, then tighten the
elevating knob securely. Focus may now be finely readjusted.
6. Switch off the enlarger’s light. Close down the lens aperture two or three times from its
optimum aperture.
7. If this is the first time that the negative is being printed, make a series of test strips or trial
exposures on strips of photographic papers exposed at different exposure time generally 2

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 Forensic Photography
Jenifer Dato-Benzon, MSCJ
1st Term, 2021-2022
seconds interval each. Make sure that the photographic papers are placed in the easel
emulsion side up when making the exposure.
8. Process the test strips by immersing it in the developing solution for 1 to 1 ½ minutes. Slip
the exposed photographic paper into the developing solution to wet them evenly. Agitate
it continuously by either moving the print or by rocking the tray. When the developing time
is finished, lift off the print, drip dry it before transferring it to the next solution. Then
transfer it to the stop-bath for 10-15 seconds then in the fixing bath for a minute or so.
Examine the test strip under a white light to determine which of the exposure time is the
best and if the contrast of the print is alright. Otherwise, repeat the exercise whether shorter
or longer exposure time is needed.
9. When the right exposure had been selected, make a full print. Process it then evaluate the
print for over-all quality. Consider for possible cropping, or local exposure control.
10. Current fixing bath only require 10-15 minutes fixing time. Formerly it was 20-30 minutes.
11. Wash the prints in running water for another 20-30 seconds.
12. Dry the prints.

Developer Formulation
The typical components are:
1. Solvent (water)
2. Developing agent
3. Preservative
4. Accelerator or activator
5. Restrainer

Various chemicals can serve this function. Chemicals chosen are determined whether
it is slow or fast acting, produce high, normal, or low contrast, achieves maximum emulsion
speed, creates the fine grain or acts in a number of ways.

D-76 Film Developer Formula

Water 520 C - 750 ml
Elon - 2 gm
Hydroquinone - 5 gm
Sodium Sulfite - 100 gm
Borax (granules) - 2 gm
Water to make - 1 liter

Dektol - Paper Developer

Water 52o C or 125o F - 500 ml
Elon - 311 gm
Hydroquinone - 12 gm
Sodium Sulfite - 4.5 gm
Sodium carbonate - 67.5 gm
Potassium bromide - 1gm
Water to make - 1 liter

This is a stock solution. To use, take 1-part stock solution and add 2 parts of water.

Stop-Bath
Stop-bath can be plain water only with 28% glacial acetic acid.

Fixing Bath Formula

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 Forensic Photography
Jenifer Dato-Benzon, MSCJ
1st Term, 2021-2022
The chemical components of a fixing bath are:
a. Water
b. Dissolving agent
c. Preservative
d. Neutralizers
e. Hardeners

Typical Fixing Formula:

Water 520C or 125 0F - 600 ml
Hypo - 240 gm
Sodium sulfite - 15 gm(anhydrous)
Acetic Acid (28%) - 480 ml
Boric Acid (crystals) - 7.5 gm
Potassium alum - 15 gm (fine granular)
Water to make - 1 liter

The fixing bath is recommended generally for both films and photographic papers.

DIGITAL PRINTING

A. COMPUTER PRINTERS
Image produced or taken by a digital camera can be viewed on a computer monitor or
a TV set. For hard (printed) copies of such image’s computer printers are used.
1. Dot-matrix – instead of completing an image in one single stroke, a dot-matrix printer
produces an image that is built-up by individual dots.
2. Laser – also produce dots. The laser projects a light against a spinning mirror which
flashes light to a rotating drum. The printing toner adheres electrostatically to the
charged areas of the drum and then focused to the paper creating character. Color laser
printers are also available.
3. Ink-jet – is basically fire droplets of ink at a page to make the dots that forms the
characters. Ink-jet printers can print in multiple colors.
4. Wax-jet – melt-wax and then spray it on paper. These are high-end printers that
produce outstanding colors.

B. SCANNERS
Whether you have a digital camera or not, you want to have a scanner to provide a
conventional way to get your existing conventional images like photo prints.
Flatbed scanners – is a relatively simple device with few moving parts.

References:
Bulan, (2013), Police Photography, Charterhouse Publishing Inc., Quezon City
Bulan, M.E. & Magadia, M.E. (2017), Police Photography Second Edition, Charterhouse
Publishing Inc., Quezon City
Kalalang, S. & Kalalang, A. (2009), Instructional Handbook on Police Photography with Laboratory Manual,
Wiseman Publishing Inc., Quezon City
Villarba, W (2015), Forensic Photography for Criminology Students and Practitioners with
Laboratory Manual Second Edition, Wiseman Publishing Inc., Quezon City
Nabe, N. et al. (2017), Laboratory Manual in Police Photography, Wiseman Publishing Inc., Quezon City

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