For the second part of the class, a DSLR is recommend · Georgia Regents University/Art 1002A &...

Georgia Regents University/Art 1002A & 3231A/Photography I

Professor: Jennifer Onofrio

Class Meets: T,R 9-11:30

Location: WWH 158/159

Term: Spring 2014

Office & Hours: WWH232B, M,W’s-2:30-3:30 or by appt., Phone: 667-4925

Course Description:

This course is an introduction to black and white photographic processes and materials as well as basic

digital darkroom elements. The first part of this course will focus on basic skills such as exposure,

development, printing, and image presentation. The remainder of the term will focus on the application of

these skills in creative problem solving and the nature of the photographic message. We will explore the

intersection of traditional film and digital photographic manipulation. Class time will include lectures,

demonstrations, class discussions, critiques, and lab time. Prerequisite(s): ART 1520, ART 1530, and ART

1211; or permission of the instructor.

Learning Outcomes:

Students will learn a working knowledge of a 35mm SLR and DSLR camera

Students will develop a working knowledge of black and white processing

Students will develop a working knowledge of darkroom and digital printing

Students will learn to experiment with a variety of approaches to black and white photography Students will learn to explore and develop one’s visual awareness, critical, and artistic skills in the area

of photography.

Film Materials:

You must have a 35mm camera with manual operation. The lab fee will cover a fair portion of the

photographic paper and chemistry that you will need. However, because photography is an expensive

medium, you will find that you will need to purchase additional materials throughout the term. If the class

exhausts the materials (which often happens) you will be responsible for replenishing them.

Items that you need to purchase that are not covered by the lab fee:

10 rolls of 35mm film (start with Tri-X or TMAX 400)

Archival negative sleeves

A three ring binder that zips shut

A small notebook to keep a log of exposure readings

A flash drive or other storage device

Digital Materials:

For the second part of the class, a DSLR is recommended. Digital SLR’s with memory cards are available

to check out through the Art Department, but the camera supply is limited.

The Wet Lab:

Because this is a community lab, you must abide by the lab rules to make this a safe and comfortable

working environment.

Wear gloves or use tongs at all times when handling chemistry.

Clean all equipment, counters, floors, and sinks when you’re done working. If this rule is not

followed, you will drop a letter grade for the course and will lose access to the photo lab.

Keep an eye on the amount of chemistry available. Make certain that you leave enough chemistry for

the next student that uses the lab (that means enough to complete the processing of prints or negatives).

Enter the lab through the back door.

You are required to sign up for lab time on the weekly schedule. Because there are two courses in the

lab this term, students will need to reserve time each week to avoid an overcrowded workspace.

Refer to and follow the “things to check before leaving the lab” sheet.

Only students currently enrolled in photography classes are allowed to work in this lab.

No food or drinks are allowed in the labs.

The Digital Lab:

This lab is for use by only Art majors/minors and students currently enrolled in an Art class. Because there

is no budget for ink and paper replenishment, it is essential that you are conservative with your resources.

Do not use equipment that you do not know how to use. Only students currently enrolled in Art courses are

allowed to work in this lab. No food or drinks are allowed in the labs.

Notebook:

You are required to keep a notebook for this course. This should be used as a record of the relevant

variables you will be applying in your work (i.e.-ASA, f-stop, shutter speed, location, conditions,

development times, printing times, color corrections, etc.....). This resource will be very helpful in

understanding negative and print failures and successes. It will also serve as a guide in to determine how to

change faults or achieve desired effects.

Grading is Based on the Following:

Midterm and final portfolios.

Quality of your finished work; midterm/final portfolios: A) Is the project complete and on time? B)

Print quality: Are the images neatly done with a minimum of dust spots fingerprints, scratches, and

chemical stains? C) Are the photographs diverse enough? D) Does the work reflect creativity and

effort? How much thought and effort went into the project? All work must be handed in on the

assigned due date. Your grade will drop by one letter for each day that the assignment is late. All

negatives and small jpeg files must be turned in for portfolio reviews. Make certain that you number

each roll and jpeg chronologically so that I can track your development over the course of the term.

Overall effort and investment in your course work. You are required to invest at least 5 hours of lab

time a week for this class.

Attendance: See section on attendance.

Participation during critiques and darkroom/lab responsibilities.

Notebook.

Quizzes.

Remember that like every other class that you take, people enter the class with varying abilities. Some will

find that they can make strong images with relative ease while others may work with great difficulty,

perhaps even putting in more time, only to arrive at mediocre results. This class is no exception.

Regardless, everyone is graded on the same scale.

Attendance:

Students should attend every class for the full time. University policy on absences states that a

student may be dropped from a course after missing the equivalent of 10 percent of scheduled

classes (For our course, that is three classes.). I reserve the right to use this when appropriate.

You are only allowed 3 absences for this course. Your overall grade for the course will be dropped

by one letter grade for every absence beyond 3. In summary, after missing three classes, you will

either be dropped from the course or your grade will be lowered. Additionally, 3 Lates=1 absence,

3 Leaving Class Early=1 absence. All due dates for assignments (group critique days) are

equivalent to test days and should never be missed. Absence on a critique day = 2 absences.

Please note all those dates on the assignment list and plan accordingly. Roll will be taken during

each class and students will be counted absent if they are not present at that time. Students are

responsible for obtaining assignments and fulfilling any missed work, class duties, etc.

Accommodations:

If a student needs special accommodations because of a disability, please see the Director of Disability

Services at Testing and Disability Services (706) 737-1469.

Access to the Photo Lab Outside of Class Time:

Campus Security will receive a list of students that are currently enrolled in the photography classes. With

a valid student I.D, they will grant you 24-hour access to the Lab as long as you are with a partner. You are

not allowed to let a non-photo student use the equipment or enter the lab. You must sign in and out of the

Lab every time that you use the Lab.

Photo Portfolio:

Students must store and present their negatives and prints in a 3 ring binder. In addition to submitting your

prints, your portfolio must include a CD of the prints in jpeg form.

Calendar:

The portfolio due dates, critique dates, and portfolio review dates are not subject to change. 1/7- Intro to course, syllabus, materials, composition hand-out, images (Bring in a favorite/memorable

photograph for class on 1/8.)

1/9- Intro to camera, bring camera and discuss the favorite/memorable images that you brought to class

1/14- Developing negatives, processing steps, learning to load reels (Quiz about darkroom safety)

1/16- Developing negatives, processing steps, learning to load reels (assigning lockers and sorting

paper)

1/21- Intro to enlarger/printing, thorough introduction to lab, mixing and storing of chemistry.

1/23- Cont…Intro to enlarger/printing, thorough introduction to lab, mixing and storing of chemistry

1/28- Printing

1/30- Bring in your prints and negatives. More creative control during the shooting process/pre-

visualization

2/4- Introduction to the critique process, critique, discuss midterm portfolio requirements/images

2/6- Assessing prints/ print contrast, revisiting aperture and shutter speed

2/11- In class critique

2/13- Quiz concerning the proper mixing, storage, and function of photo chemistry & concepts related to

camera and enlarger use. Look at images. Assessing negatives, contact sheets, translating settings

to contact sheets, discussion of film types and lens types, matting

2/18- Lab workday. You are required to attend class on this day.

2/20- In-class critique (bring in-progress prints that you plan to include in your midterm)

2/25- Hand in your midterm portfolios/ Demo

2/27- Individual Portfolio Reviews (You will sign up for a time to meet with me individually during our

scheduled class time)

3/3- Midterm

3/4- Peer Collaboration: Response to portfolios, selecting works for revision, workday in response to

peer collaboration

3/6- Critique regarding collaborative work

3/11- Discussion of final portfolio requirements, images, Scanning Negatives

3/13- Basic manipulation of digital files

3/18- Basic manipulation of digital files

3/20- Outputting digital files

3/25- Outputting digital files

3/27- Critique

4/1- In-class workday

4/3- In-class workday

4/7-4/11- Spring Break

4/15- TBA

4/17- TBA

4/22- In-class critique (bring in-progress prints that you plan to include in your final)

4/24- Last day of class, Hand-in final portfolios, Final cleanup

4/28- Last day to work in digital lab and darkroom

4/30- Final Exam 7-9 a.m, Final Individual Portfolio Reviews

Composition Handout & Glossary/Onofrio

Abstract Shape: A shape that is derived from a perceptual source but is so transformed that it bears little

visual resemblance to that source.

Abstraction: The reduction of an image or object to an essential aspect of its form or content.

Asymmetrical Balance: equilibrium among visual elements that differ in size, number, weight, color, or

texture. Asymmetrical balance is generally nonaxial and highly dynamic.

Composition: 1. Consciously assembling and arranging the visual elements within a photograph (David H.

Curl) 2.The thoughtful arrangement of the visual elements within a work of art. (Bruce Warren) 3. The

structural relationships that are created between objects, tones, and colors as you frame a scene in the

camera’s viewfinder. (John P. Schaefer)

Content: The intellectual and/or emotional meaning or message of an artwork.

Contrast: The degree of difference between compositional parts or between one image and another. High

contrast tends to be eye-catching and is often used by graphic designers to create dynamic, highly readable

images.

Critique: Any means by which the strengths and weaknesses of artwork are analyzed. Common strategies

include comparison, description, formal analysis, and inventing alternatives.

Curvilinear Shape: A shape whose contour is dominated by curves and flowing lines.

Depth of Field: The range of focus in a photographic image, from foreground to background. In a

photograph with great depth of field, an object that is 15 feet from the camera is in focus, as well as an

object that is 5 feet from the camera.

Form: The physical manifestation of a design as opposed to the content, or the idea behind the design.

Implied Line: A line that is suggested by movement or by a gesture rather than being physically drawn or

constructed.

Mass: A volume that has weight, density, and bulk.

Monochromatic: A color system based on variations of a single hue (light, med., and dark blue).

Objective Criticism: The assessment of strengths and weaknesses in a design based on the visual

information presented. Essentially, objective criticism focuses on the ways in which lines, shapes, textures,

volumes, and so forth are combined to create a cohesive whole.

Organic Shape: A shape based on forms from the natural world or suggestive of living organisms. Also

known as biomorphic shape.

Picture Plane: The flat surface on which an artist creates a pictorial image.

Repetition: The use of the same visual elements or visual effects a number of times in the same

composition. Can be used to increase unity in a composition, produce a rhythmic movement, or emphasize

the importance of a visual idea.

Representation: The lifelike depiction of persons or objects.

Rhythm: The repetition of multiple parts in a composition to create a pattern of sound and silence, positive

and negative, or other contrasting forces.

Scale: A size relationship between two separate objects, such as the relationship between the size of Mount

Rushmore and a human visitor to the monument.

Shape: A flat, enclosed area created when 1. A line connects to enclose an area 2. An area of color or

texture is defined by a clear boundary 3. An area is surrounded by other shapes.

Subject: The person, object, event, or idea on which an artwork is based.

Subjective Criticism: The assessment of strengths and weaknesses in artwork based on non-objective

criteria, such as narrative implications of an idea, the cultural ramifications of an action, or the personal

meaning of an image.

Symmetrical Balance: A form of balance that is created when shapes are mirrored on either side of an

axis, as in a composition that is vertically divided down the center.

Tension: The manifested energies and forces of the art elements as they pull or push in affecting balance or

counterbalance.

Value: The lightness or darkness of a color.

Visual Elements: In design, distinguishable features in a work of art, such as tone, color, line, shape, form,

light, texture, mass, space, etc….

Visual Weight: The inclination of shapes to float or sink based on their solidity and compositional

location.

Volume: A measurable area of defined or occupied space.

Glossary/From: Photography 2nd

Edition by Bruce Warren

Aperture- An opening, usually variable in size, located in or near a lens, that is used to control the amount

of light that reaches the photosensitive material.

ASA- American Standards Association. An exposure index system devised by that organization.

Burn- Increasing the exposure in a particular area of a print by blocking everything else in the print from

image light and giving additional printing time to that area.

Dense- Describes an area of a negative or print that transmits or reflects little light. Also describes a

negative or print that is darker than desired.

Developer- A chemical solution that converts a latent image to a visible one.

Emulsion- A mixture of gelatin and silver-halide salts that is coated onto a film or paper base to produce a

photosensitive material.

Fixer- A chemical solution that removes unexposed and undeveloped silver salts from a photographic

emulsion.

Fog- An overall layer of silver (density) in a negative or print due to chemical action, age, exposure to heat,

and/or exposure to unwanted light.

Full-Frame Print- A print of the entire image that appears on the negative.

Grain- A granular texture visible under magnification in processed silver-halide emulsions, a result of the

clumping of silver particles during processing.

Hypo- Another word for fixer.

Hypo Eliminator/Hypoclear- A chemical used after fixing photosensitive material to convert residual

fixer to a form that is more easily washed from the material.

Latent Image- An image on a photosensitive material that is not visible to the eye. It is composed of small

specks of silver reduced from silver salts by the action of light. Development reduces more silver in the

area of the latent image, creating a visible photographic image.

Middle Gray/18 Percent Gray Card- A neutral color of 18% reflectance. A Gray Card is a card with a

matte surface of 18 percent reflectance used as a standard tone for metering.

Shutter- A device in a camera or lens consisting of curtains or overlapping blades designed to protect the

film from exposure until the shutter release is pressed.

Shutter Speed- A measure of the length of time a shutter remains open for an exposure, given in seconds

or fractions of seconds.

Silver-Halide Crystals- Light-sensitive crystals consisting of metallic silver in chemical compound with

iodine, chlorine, or bromine. Most modern photographic materials use silver-halide crystals as the light-

sensitive component.

Single-Lens Reflex Camera- A camera design in which the image from the lens is deflected to a ground

glass by a mirror that swings out of the way when the shutter release is operated.

Test Strip- A small piece of photographic paper , cut from a larger sheet, on which one or more trial

exposures are made to determine the correct exposure for the full sheet of paper.

Thin- describes negatives that have an overall density that is lower than normal. This usually results from

underexposure , but can also be caused by underdevelopment.

Wetting Agent (Photo-Flo)- A pure and mild detergent in which film is treated after washing to prevent

water marks during drying.

Working Solution- A photographic chemical solution that is at the proper dilution for use.

Materials that you will need to order this week:

Film: You will need 16 rolls of B&W film for the term. Consider Kodak Tri-X, Kodak T-Max, Ilford 400

Delta, or Ilford HP5 Plus. If you would like, you can purchase a few rolls of each type.

Archival Negative Sheets: These sheets are used to protect your negatives. You are required to store all of

your negatives in negative sheets.

3 Ring Binder: You will need a 3 ring binder for this class. Purchase the kind that zips shut. You can find

these at discount stores and office supply stores. You will want some loose leaf paper for the binder.

Notebook: You will need a small notebook to carry in your camera bag.

The approximate cost for the above items should be under $100.00

The following websites have competitive film prices. You are not required to order from these sites but this

will help you get started: bhphotovideo.com and adorama.com

Bibliography:

The following books are available in the Reese Library. They will be useful references for you over the

course of the semester.

Author: Ford, Colin, 1934-

Title: Julia Margaret Cameron : a critical biography/ Colin Ford.

Publisher: Los Angeles : J. Paul Getty Museum, 2003.

Call Number: TR140.C27 F67 2003

Location: 2nd Floor Stacks

Author: Renger-Patzsch, Albert.

Title: Albert Renger-Patzsch : photographer of objectivity Publisher: Cambridge, Mass. : MIT Press, 1998.

Call Number: TR653 .R46313 1998


Author: Grossman, Arthur.

Title: Abstract color photographs / by Arthur Grossman

Publisher: [Kunming Shi :Yunnan Fine Arts Publishing House,1996

Call Number: TR647 .G78 1996


Author: Kreisel, Martha, 1948-

Title: American women photographers

Publisher: Westport, Conn. : Greenwood Press, 1999.

Call Number: TR139 .K74 1999


Author: Hammond, Anne.

Title: Ansel Adams : divine performance / Anne Hammond.

Publisher: New Haven : Yale University Press, c2002.

Call Number: TR140.A3 H36 2002


Author: Shahn, Ben, 1898-1969.

Title: Ben Shahn's New York:the photography of modern times

Publisher: Cambridge,Mass.:Fogg Art Museum,Harvard University Art Museums,2000.

Call Number: TR820.5 .S4797 2000


Other Author(s): Johnson, Drew Heath.

Title: Capturing light : masterpieces of California photography,1850 to the present

Publisher: Oakland : Oakland Museum of California, c2001.

Call Number: TR24.C2 C37 2001


Author: Toth, Carl.

Other Author(s): Kuspit, Donald B. (Donald Burton), 1935-

Title: Carl Toth.

Publisher: Brighton, Eng. : Telos ; Bloomfield Hills, Mich. :Cranbrook Academy of Art, 2005

Call Number: TR654 .T6 2005

Location: 3rd Floor Stacks

Other Author(s): Ewing, William A. MuseÌ•e de l'ElyseÌ•e (Lausanne, Switzerland)

Title: The century of the body : 100 photoworks, 1900-2000 edited by William A. Ewing.

Publisher: London : Thames & Hudson, 2000.

Call Number: TR675 .C43 2000


Author: Sherman, Cindy.

Other Author(s): Cruz, Amada, 1961- Smith, Elizabeth A. T., 1958- Jones, Amelia. Museum of

Contemporary Art (Los Angeles, Calif.)

Museum of Contemporary Art (Chicago, Ill.)

Title: Cindy Sherman : retrospective / essays by Amada Cruz/Elizabeth A.T. Smith, Amelia Jones.

Publisher: New York : Thames & Hudson, 2000, c1997.

Call Number: TR647 .S4654y 2000


Other Author(s): Millstein, Barbara Head.Taylor, Clyde. Patnaik, Deba Prasad.Brooklyn Museum of Art.

Title: Committed to the image : contemporary black photographers /edited by Barbara Head Millstein ;

with essays by Clyde Taylor, Deba P. Patnaik.

Publisher: Brooklyn, N.Y. : Brooklyn Museum of Art in association with Merrell, 2001.

Call Number: TR645.N532 B7y 2001


Author: Arbus, Diane, 1923-1971.

Title: Diane Arbus : revelations. Photography, Artistic--Exhibitions.

Publisher: New York : Random House, c2003.

Call Number: TR647 .A7 2003


Author: Sobieszek, Robert A., 1943-

Other Author(s): Los Angeles County Museum of Art.

Title: Ghost in the shell : photography and the human soul,1850-2000 : essays on camera portraiture /

Robert A.Sobieszek.

Publisher: Los Angeles : Los Angeles County Museum of Art ; Cambridge,Mass : MIT Press, c1999.

Call Number: TR680 .S62 1999


Author: Becher, Bernd, 1931-

Other Author(s):Becher, Hilla.

Title: [Bernd und Hilla Becher. English]Industrial landscapes /Bernd & Hilla Becher ;with an

interview by Susanne Lange.

Publisher: Cambridge, Mass. : MIT Press, c2002.

Call Number: TR706 .B429713 2002


Author: Rubin, Susan Goldman.

Other Author(s): Bourke-White, Margaret, 1904-1971.

Title: Margaret Bourke-White : her pictures were her life /Susan Goldman Rubin ; photographs by

Margaret Bourke-White.

Publisher: New York : Harry N. Abrams, c1999.

Call Number: TR140.B6 R83 1999


Author: Leibovitz, Annie, 1949-

Title: Photographs--Annie Leibovitz, 1970-1990.

Publisher: New York : HarperCollins Publishers, c1991.

Call NumberTR654 .L4455 1991


Author: Mapplethorpe, Robert.

Other Author(s): Levas, Dimitri.

Title: Pictures / Robert Mapplethorpe ; [edited and designed by Dimitri Levas].

Publisher: [S.l.] : Arena Editions ; New York, NY : Distributed by D.A.P./Distributed Art Publishers, 1999.

Call Number: TR680 .M297y 1999


Author: Meatyard, Ralph Eugene, 1925-1972.

Title: Ralph Eugene Meatyard : an American visionary / edited by Barbara Tannenbaum ; essays by

Barbara Tannenbaum ...et al.].

Publisher: [Akron] : Akron Art Museum, Ohio ; New York : Rizzoli,1991.

Call Number: TR647 .M393 1991


Author: McEuen, Melissa A., 1961-

Title: Seeing America : women photographers between the wars /Melissa A. McEuen.

Publisher: Lexington, Ky.:University Press of Kentucky, c2000.

Number: TR139 .M395 2000


Author: Mann, Sally, 1951-

Title: Still time / Sally Mann.

Publisher: New York : Aperture, c1994.

Call Number: TR654 .M3359 1994


Author: Stebbins, Theodore E.

Title:Weston's Westons : portraits and nudes / Theodore Stebbins, Jr.

Publisher: Boston, Mass. : Museum of Fine Arts, c1989.

Author: Museum Ludwig.

Other Author(s):Scheps, Marc. Misselbeck, Reinhold.

Title: 20th century photography : Museum Ludwig Köln / [with essays by Marc Scheps and Reinhold

Misselbeck].

Variant Title: Twentieth century photography

Publisher: Köln : Taschen, c1996.

Call Number: TR650 .M87y 1996

Location:A-Q Call Numbers, 3rd Floor; R-Z Call Numbers, 2nd Floor

Author:Sander, August.

Other Author(s):Heiting, Manfred. Lange, Susanne, 1959-

Title: August Sander, 1876-1964 / essays by Susanne Lange ; with a portrait by Alfred Do¨blin ; edited by

Manfred Heiting.

Publisher: Köln ; New York : Taschen, c1999.

Call Number: TR653 .S26 1999

Location: A-Q Call Numbers, 3rd Floor; R-Z Call Numbers, 2nd Floor

Author: Museum of Modern Art (New York, N.Y.)

Other Author(s): Szarkowski, John.

Title: American landscapes : photographs from the collection of the Museum of Modern Art / John

Szarkowski.

Publisher: New York : The Museum ; Boston : Distributed by New York Graphic Society, c1981.

Call Number: TR660.5 .M87 1981


Author: Thompson, Jerry L.

Other Author(s): Evans, Walker, 1903-1975.

Title: The last years of Walker Evans : a first-hand account / by Jerry L. Thompson.

Variant Title:Walker Evans

Publisher: New York : Thames and Hudson, 1997.

Call Number: TR140.E992 T46y 1997


Author: Adams, Ansel, 1902-

Other Author(s):Szarkowski, John.

Title: Celebrating the American earth : a tribute to Ansel Adams/ Ansel Adams ; [a preface by John

Szarkowski].

Publisher: [Washington, D.C. : Wilderness Society, 1988?]

Call Number:TR642 .A246y 1988


Author: Meredith, Roy, 1908-

Other Author(s):Brady, Mathew B., 1823 (ca.)-1896.

Title: Mathew Brady's portrait of an era / by Roy Meredith.

Publisher: New York : Norton, c1982.

Call Number: E415.7 .M47 1982


Author: Galassi, Peter.

Other Author(s):Cartier-Bresson, Henri, 1908-Museum of Modern Art (New York, N.Y.)

Title: Henri Cartier-Bresson : the early work / Peter Galassi.

Publisher: New York : Museum of Modern Art ; Boston : Distributed by New York Graphic :

Call Number:TR647 .C36 1987


Author: White, Minor.

Other Author(s): Bunnell, Peter C. Pellerano, Maria B.

Title: Minor White, the eye that shapes / Peter C. Bunnell ; with Maria B. Pellerano and Joseph B. Rauch.

Publisher: Princeton, N.J. : Art Museum, Princeton University, c1989.

Call Number: TR647 .W458 1989


Author: Cunningham, Imogen, 1883-1976.

Other Author(s): Henry Art Gallery.

Title: Imogen! Imogen Cunningham photographs, 1910-1973. Introd.by Margery Mann.

Publisher: Seattle, Published for the Henry Art Gallery by the University of Washington Press [1974]

Call Number:TR647.C8 H45


I, ___________________________________ (print your name),

have read the rules on the syllabus for my Photography class at GRU this semester, and I understand them.

I realize that to achieve a desirable grade, it is my responsibility to work hard and perform well as

described in the syllabus. I particularly understand that if I violate the Safety Rules listed in the syllabus,

my professor may apply a penalty to my final grade or may remove me from the course, at her discretion. I

understand that removal from the course after midterm results in the grade of “WF.”

Signed, _____________________________________ (sign your name)

Date: ___________________________________

Mixing Chemicals &Waste Storage

Mixing a one gallon working solution of HC110 (negative developer):

Start with a clean measuring graduate that can hold up to 32 ounces of water

Pour 4 ounces of HC110 concentrate (use a bottle of concentrate that has already been opened and

dated, if you had to open a new bottle of concentrate, date the bottle.) into the graduate, then fill

the graduate up to the 32-ounce line with room temp. water. Be very precise about this.

Pour it into a gallon jug marked “HC110”

Using the same graduate, fill it up to the 32 ounce mark with water three more times and funnel

them into the same jug labeled “HC110”.

Gently invert the jug a few times to mix the HC110 and water.

Mixing Kodak Fixer for negatives and prints: Also, remember to check the “used fixer” with

Hypocheck before you use it.)

To make Fixer, pour 3000 ml of 64-78 degree water in a bucket, then pour contents of Fixer

packet into the bucket. With a gloved hand, put hand into bucket and stir Fixer until dissolved.

Add 800 ml of water to bring the solution to a gallon of working solution Fixer.

**If you are using “Used Fixer”, put a drop of Hypocheck in the Fixer. If it turns cloudy, the Fixer is

bad and should be placed in a gallon-sized jug labeled “Waste Fixer”**

Mixing a one gallon concentrated solution of Hypoclear:

Get a clean gallon sized bucket from under the sink.

Pour 3000 ml of water, at about 80 degrees, into the bucket and keep an additional 800 ml of 80

degree water in a graduate for later.

Pour the Hypoclear packet into the bucket of water and with a gloved-hand stir until all is

dissolved.

Add the last 800 ml of water that you set aside to the bucket and mix.

Grab a gallon sized jug labeled Hypoclear and funnel the contents of the bucket into the jug.

Making a working solution of Hypoclear for negatives:

Pour 5 ounces of the Hypoclear liquid concentrate (that you was mixed in the previous step) into a

clean graduate.

Then fill the graduate up to the 25 ounce mark with water.

Mixing a concentrated solution of Dektol (print developer):

Start with 96 ounces (3 Quarts) of 90-100 degree water. Dissolve thoroughly and add cold water to

bring to a gallon.

Mixing a working solution of Dektol (print developer) for 8 x 10 trays:

Pour 10 ounces of Dektol into a clean graduate.

Fill the graduate up to the 30 ounce mark with water. If you are using trays of a larger size, the

ratio of Dekol to water is 1:2.

Waste Disposal:

Fixer should be placed in a 1 gallon waste jug labeled “waste fixer” when it is exhausted. Use one drop of

Hypocheck to test the fixer to determine if it is exhausted. The drop of Hypocheck will turn milky white if

the fixer is bad.

Developing Negatives

1. Set aside changing bag, tank(s), reels, center spools, scissors, and can opener. Test

your reels with practice film before you begin.

2. Get Water, Developer, Fixer and Hypo-clear to appropriate developing

temperature.

3. Loading Tanks

Use the black changing bag to load film. Be sure your tank(s), reels, center spools,

scissors, and can opener are in the zippered changing bag before opening film

canister(s).

4. Pour Developer (HC-110) in tank agitating for the 1st 30 seconds, and then for 5

seconds every 30 seconds during developing time (look to the chart for proper

developing time for your film type). Occasionally tap the tank on the edge of the

counter to prevent air bells from forming on the film. You only need to do this

during the development of the film.

5. Pour used developer down the sink. Rinse film by filling and emptying the tank

with water 3 times).

6. Pour in Fixer (SEE NOTE BELOW ABOUT USED FIXER), agitate 1st 30

seconds then for 10 seconds every 30 sec for 10-12 minutes.

7. Pour “used fixer” into the container labeled “used fixer” if it still tests as usable. If

it tests as unusable, place in a container labeled “waste fixer”.

8. Pour Hypo-clear (1:4) in tank and let sit for 3-4 minutes. You can pour this down

the sink when done.

9. Wash film in running water for 10 minutes.

10. Fill tank with water and pour ¼ cap of Photo-Flo in tank and let sit for 30

seconds. DO NOT RINSE! Hang Film to Dry (It takes about 30 minutes to dry).

*USED FIXER: Test the “Used Fixer” with one drop of Hypocheck before using it to make certain that it is not exhausted. If the

“Used Fixer” is exhausted, pour the exhausted fixer into a gallon jug labeled “Waste Fixer”. If there is not one already labeled, grab an empty 1 gallon jug from the back and label it. If there is no Used Fixer available, follow the instructions on “Mixing Chemicals”.*

Kodak HC110 Dilution B, Film Developing Times

65o 68

o 70

o 72

o 75

o

Tri-X Pan/TX

8 1/2 7 1/2 6 1/2 6 5

Tri-X Pan Pro/TXP 5 3/4 5 1/2 5 1/4 4 3/4 3 3/4

T-Max 100 8 7 6.5 5.5 4.5

T-Max 400 7 6 5.5 5 4

Plus-X Pan 6 5 4.5 4 3.5

Ilford FP4 11 9 8 7.5 6

Ilford HP5 6 5 4.5 4 3.5

Ilford Delta 100 7 6 5.5 5 4.5

Ilford Delta 400 9 7.5 7 6 5

For the second part of the class, a DSLR is recommend · Georgia Regents University/Art 1002A &...

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