PNHOI,EPHOTOGRAPHYHISTORY ANDINSTRUCTIONS

3 Linglie Mill, Level Crossing Rood, Selkirk, TDZ sEQ, UKwww. f I i ghtsof foncy.co. uk

O l99B Deryck Henley. All Rights Reserved.

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Who would have thought that

in the twenty first cenfury we

would be cclebrating a

Pinhole Camera?

Since the earliest stages ofthe'Camera Obscura', to the

high-tech modern

35mm camer-

as, the basics

are much the

same.

Here we in-troduce you to

the simplestform

of photography,

where the lens

is a basic pin-

hole. Not that

the resultswill be in any

way inferior.Many pinhole photographs

are exhibited in g,alleries rurd

museums around the world, and

sland up'4ainst more contempo-

raryphotography

With this camela and some

guidelines described in thls book,

you can create your own photo-

gaphs tirne and time again,

We'd'also like to introduce you

to the development which led

to the present day camera.

This progression over the

centuries, pays homage tothe philosophers, scientisls,

scholars, mathematicians

. and showmen who',, all contributed to

prcsent dair pho-

tography.

ln an erawhcre the

digital age

is taking oveq

we must nevef

forget the sim-

pler ways ofpro jectingand captur-

ing a mo-ment in time, to cherish and

keep forever.

You never know, in years to

come your photographs could

be hanging in our galleries and

museums as'lvorls of afi'.Good luck and we hopethis brings you inanyhours offun.

fire BeginningThe hand shadow must be one of image and it appears upside down

the simplest and earliest

ways of projecting

an ima4e. Although

we take this forgranted, itwasprob-

ablythe first step which

led to manyscienfific experiments

leading to simple photography.

This Jamous drawing by Friseiusshows clearly a Camera Obst'ura.

Although these scientists and

mathematicians are too numer-

ous to mention here, we willgive a simple account of the

landmarls which led to pho-

tography as we know ittoday,

We start in t544, vtherc

there was a Dutch mathe-

matician and physician called

Gemma Frisius. He observed and

illustrated the eclipse ofJanuary

24th, t544 using a CameraObscura.

The'Camera obscura' (min for

dark room), is where a real life

image is projected onto a flat

surface through a small hole or

apertnre.

This projection, as in yourpinhole camera, inverts the

2

as illustrated by Frisius.

These earlier Camera ob-scuras wcrc

rnainly usecl

lirr astr<lnomi-

czil llurposes.Onc intcresting

illustration takcn lrom a lgth cen-

tury English lincyclopcdia, depicts

a portahle (;uncra Obscura from

16ll. This w..r"s used by Thomas

Keplcr ( I 57 I - 163(D to observe the

movemenls <il' the planet Mercury.

ln l(r19, Ohristopher Scheiner

( I575- 1650) demonstrated

it rrxlnr-tylc Camera Obscura

in tlrc lirrm of acute.'l'his rilso used a lens to

co r le ct the inverted

itrtitge.

Lrlt it Kcpler's portable('ttntru Oltscura,u,hilr ltclrtu,is

St' ltr i n a r' s rlntu'in g

Rene Descartes (1596-1650)

wrote in 1637 abontision and

the eye, He compared the eye to

the Camera Obscura saying the

retinais the screen of the camera.

On the left are various drawings

showing this.

In 1652, Jean-Francois Niceron

was primarily known for hisworkin perspective and drawing.

He gave a full description of the

Canera Obscura and its use.

Niceron wanted to show that the image size had to do with the distance

the subject was away

from the lens.

The top drawing be-

low shows the pyra-

mid closer to the lens

and the inverted im-age larger, The bot-tom drawing shows the

pyramid further away andthe projected image on thesheet much smaller.

Athanasius Kircher (1602-1630)

shows us in his 1646'Ars Magra

lucis Et Umbra' (The GreafArt ofusing a room-size Camera Obscura-

A student of Kircher,

Gaspar Schott (t608-

1666) published his'Mrgia UniversalisNaturae Et Artis'(Wonders of Univer-

sal Nature and Art)in 1557. He clearlyshows on the righthere the image fromoutside the room inverl-

d onftewallinside.

tight and Shadow) experiments

[rom the eighteenth century

onwards, the CameraObscura became more of

a drawing aid. Wittr the

help from a lens it would allow

artists and draughtsmen to

accurately sketch any imagethey required.This meant that to achieve the

required image, alandscape or

building for instance, they had to

become more portable.

By the end of the nineteenth

commercial Camera Obscuras

avzilable. These were simple

boxes with a sliding lens forfocusing. Many ingenious ways

were adapted to draw the image

you could see.

4

Many famous artists are thought

to have used aCamera Obscurato

cr eate an image. The s evente enth

century Dutch painter 'Vermeer'

is thought to have worked this

way. Also the German artist

'Durer' made wood cuts

showing'aicls to clrawing',

These methods were very

helpfrrl with perspective.

Here left and below we have a

picture advertised in 1897 as

'Deans Solar Sketchette'. You

simply put the drawing paper into

the base of the camera and in-

serted your hand through the cloth

sleeve and drawwhatyou sant,

Here we have examples

of some of the old Cam-

era Obscuras, most ofwhich have long gone.

Some though, still re-

main and are still open

to the public such as the

RM Mile, Edinburgh,

WS&rl:rif ;:,':-'t'

the great union callrr"u^^t

Douglas in the Isle of Man,

the Clifton Observalory in

Bristol all in the IIKAgiant cameradfte Cliff

House in San Francisco and one

in Santa Monicain the USA

During the nineteenth century,

several large Camera Obscuras

were built as places of enter-

tainment and education.

A lot of these were built inplaces ofgreat altraction such

as sea-side resorts or places ofgreat beauty.

'llf.1@S$W Tbe sign on tbe side ofthe buikling.-.r ' ' ir,']' on the lefi says;'AIIERA OBSCUM

HE MOST WONDERFUI ANDENCIIAI,IIING F.YHIBITION. Marrelotts

Miniature Yiew s of t bis lrne Iy Cwden

Shouing all the People & CbildrenMouing lihe Faries. Boats, Foliage,

Flying Birds. Catlle. Horses & Cariages, aauing Flags Elc. Friends can

be Recognized altboagb so remarh-

ably small as to a.ppear extremeb)

Iaughable. It Sbous eaerything on

tbe Garden as it appears.

The First images The First Cameras

With thediscovery of'light

sensitive material' during the early

nineteenth century this

was to change the

Camera Obscura

into the simplecunetL.Earlylight sensitive

or photographicmaterials were very

slow to react to light.

To compensate for this a

lens was added to the camera to

increase the 'aperture' or hole

size. This helpedto shorten the time

it took taking a picture without los-

ing the picture darityor focus,

This was to mean tha pure pin-

hole photography took more of

a back seat while photography

using a lens progressed.

There were a few pinhole camera

pioneers though. Sir David Brews-

ter, an English scientist, was one

of the first to make pinhole photo

grapts in the 1850's. He was dre one

to create the word'pinhole'.

5

Tbe earliest known photograPh

is credited to a wealthy French

Ian cnr ner callc d. J o sep h N i ce p h ore

Nie|cs (1765-1839. He crcated

this image called 'View fromthe window at Gras'in 1826,

The photograPb was nnde on

top ofNiepce's bome using a

peutet plate sensitise d u i tb

Judea. Takenfrom a Cam-

era Obscura, the exposure

was eigbt hours long.

William Henry Fox Talbot, be-

tvteen 1844 and 1860 was instru-

mental in advancing the process

ofphotography.

Talbot madc nnny exPuiments.

In kte 1835 at his home inEngland, he produced tbisphongraph ofanindan at his

home tahen ui,tb a Cmnera

Sir WilliamCrookes, John Spiller

and Villiam de WiveleslieAbney, all in England were

all early pioneers to try pinhole

photography.

Probably one of the oldest was

an English Archaeologist called

Flinders Petrie (1853 -1942).

During his excavations in Egypt

in the 1880's, he produced many

pinhole photograhs.

The first cameras

wentmuchinline

with the devel-

opment of pho-

tography. Early

camefas wefe

fairly crudewoodenboxes.

These improved

using beautifultimber such

as teak and

mahogany

with finely

engineered brass fittings.

Although cameraswere

use it. Eastrnan's Kodak

pocket camera was the

fust mass-produced version and

was inexpensive c ompared with

plate cameras. kr 1900, Eastnan

infoduced fte now farnous 'Box

Brovmie u'hich was sold for $1

in the USA and five shillings in

England It sold over 100,000 in

the fintvear.

This was to become the demise of

pinhole photograpfur

Betrly cameras kke tbese ex-

arnples uere band-made.

The picture aboue istbe'tr[ot$etrap' camera

prodaced Kodah

and a'Komhi'

from \ W ffi. S"i***x$u.$ \Pubtisbed in

L* an Amuicanwa 20tbcenturypinlnb

rehyr€alytookotr \ re \cam-ffiffi#:&%ffiwhlmaddnpfiltedcrn-' w:Sllrazsilnwwdesignedto "'-:--#

The PrinciplesHaving shown you the history ofthe camera, here we show you

simply how it works.

FocusThe pinhole c rflera, unlike a

cafircrawith a lens, has an 'infi-

nite' depth offocus.

This means the'pinhole' with the

right size hole will keep all the

image in focus.

You will probably notice if you

take a photograph of a person

close up, the background be-

comes blurued. A clear or sharp

image is known as'in focus'and

a blurred image is known as 'out

of focus'.

Experiment shotaing how the pinhole ueates an inf,nate depth offeld.

To experiment with this, poke a back plate. Insert the black card

pinhole in a thin sheet of opaque and put a sheet of semi{ranspar-

mateial and hold this close to ent paper such as tracngpaper

one eye (if you wear glasses, or household greaseproofpaper

take them off). Hold one of your over the back of the cafircra,.

fingers a few inches in front of In a darkened room point the

the pinhole. You should see your carflera towards a light source

finger and the background both and the image will appear upside

the same clarity, therefore both down and back to frontwill be 'in focus'. This is catled (inverted). All the image

infinite depth of field. proiected ttrough the camera will

A simple scientific explanation be in focus.

8

for this is that the optical image

is made up of tiny 'circles of

confusion'. When the circles of

confusion are small enough, they

are called 'points' and the optical

image is considered to be infocus. Therfore, points offocus.

A pinhole c mera has infinitedepth of field because thepinhole creates areas of confu-

sion the same size as the pinhole

all over the inside of the camera.

These little circles of confusion

are small enough to be regarded

as points of focus.

Experiment by constructing the

camera in this kit and leave off the

tightIn a darkenedroom, it is diffi-cult to see objects

clearly. In fact in a

completely darkroom you canwave your arms in front of your

faceandsee nothing!

Iight rays trauel in strai,ght

..*

In theI' same way

our eyes are

designed to see, a camera needs

fight to work. Any form of white

llght is alright, but like your eyes,

the brighter the light the easier

you see.

With tracingpaper ouer the back oftheopen camera lou uill see the image.

With a camera,the brighter the

light, the shorter

the exposure.

All light travels

in straight lines,

rays travellingoutwards from a light source

whether it is the sun, a light bulb

or candle. When these rays hit an

object they are reflected again instraight lines. What we see withour eyes is the object illuminated

with reflecedlight.

When you create a pinhole in your

clmetl, the light rays diverge

from a light source. They continue

to diverge aft er passing tlrou$ the

pinhole until theyhit the backplate

of illumination.The smaller the hole, the longer the

exposure time is needed, but the

sharper the image will be. likewise

the larger the hole, the shorter the

exposure and the image will be

less sharp.

It is important to get the hole as

round and as clean as possible

to allow the light rays to pass

through the hole as straight as

possible.

Sun ralts trauelling i.n straight lines.

i'"-_" lines through the ;

, " r,;- .- binbole..I ]'. "I a I ":,'"'-.i d I ";.:c,--,! I I '{r'--

Recording the ImageWhat actually records the image

in a currcra is a piece of pho-

tographic film or paper. This is

coaed with chemicals which are

sensitive to light.

Black and white and colour film

differ considerablyin their make-

up so we will con-

cen["Ieon

black and

white being

the simplerof the two.

One side ofblackandwhite

film is coated

with gelatin, thisis called the onthetefiistbe

emUlSiOn. SiuS_ negatiue alongside the positiue.

pended in this are salt crystals

made up of silver chloride,silver bromide and silver iodide.

These are all called silver halides.

When natural light falls on these

crptals they are altered byit. The

more light tha falls on them, the

more they are affected.

Vften a film is taken out of acmnerl and put into developing

liquid, all the crystals on which

the light fell turn into metallic

silver. So where a lot of lightappea$ on the film (for example

a light reflecting on water), there

will be a dense patch of metallic

silver. Where a little or no light

has struck the film there will be

little or no conversion to metallic

r0

silver and this area of the fiknwill

be almost transparent.

This explains why the first part

of a black and white photograph

you have when you do your own

developing is a negative.

A negative is where all the black

parts of an image appear white

andthewhitepars

black.

Thepa-

per that

the final

print ismade on,

just likethe film, is

sensitive to

light. This is

also trealed wittr silver halides.

To make a print from a negative,

light has to pass through the

negative onto apiece oflight sen-

sitive paper. This is usually done

by projecting light through the

negative, but a simpler method

is by contacting the negative

directly onto the paper.

Like the process in creating

a negative, by projecting light

through this onto the second

p^per, the light areas of the

negative are allowed to hit the

silver halides.

Here we are creating another nega-

tive of a negalive, but as you can't

have a double nega.tive, itis called a'positive'.

The ProcessingModern photographic chemicals

have progressed incredibly since

the first stages ofphotography.

All photographic chemicalsmust be used with care and we

strongly advise you to follow the

safety instructions on page 18.

To achieve animage onto pho-

tograhic paper once the filmhas been exposed to light, it ishelful to understand thechemistry of de-

veloping film.

DeveloperPhotographicdeveloper con-

sists of fourmain agents.

DeuelopingAgent: A,chemical

compound capable of chang-

ing the exposed grains of silver

halide into black metalic silver.

There are a few chemicals whichwill do this, but the most suitable

for our use are hydroquinone

and metol or phenidone.

Alhali Accelorafor: Developing

agents work best in an alkalisolution. The degree of alkalinity

controls the quality of the negalive,

Preseruatiue: A solution con-

taining the developer and alkalitends to go brown through oxi-

dtzation. When this happens the

developer is less effective. To

prevent this from happening a

solution, usually sodium sul-

phite is added.

Restrainer: To prevent the de-

veloper converting the halides

which have not been effected by

the light, a restrainer is added.

This is called potassium bromide.

FixerAfter the stop bath, the emulsion

holds amixture of metalic silver

and untouched silver

halides which canstill be affectedby

the light.To remove

the halides, *re filmis put into a so-

ution of sodium

ammonium)This is

called the fixer and may alsohave potassium metabisulphate

added to to stop the develop-

ing action and prevent any

staining,

WashingThe film is finally washed inwater to remove unwanted silver

halides and any chemicalsremaining in it. The image is

now minute grains of silver.These appear black because they

are so small they do not reflect

the light.

The CannsraIhe esmsr* lncludsal in dd$ box drill hole *hcr:ld be * lh*bes be€{r dsrigrsd t0 npleftafthe luge hdf to

workwithrpt alh,E'&sdrr&rcowrsgtrue orn*ils,and of€on$ie

beeom-pletelyligbr fighr,

{*slong*syonkeep the elaSicban&hcldingymrmmerass*&er),There is nothkg to $top y*uthcu$ fom ghitrg {rs sids and

bc*e togetler if yon wa*lsomelhing rnorc permnn*nt.

1 Take the honl piect of the

I ***o (tfte piece with

the fuole cut in it] " Ihe snall

b*scrwedon.Taks cne sf the

*i*e piece* and

frrefulh, lock the

gfooves into the

front piece s{tlrc cffaer*"

Tel$ the

Mt$wofllrc mmera {t&e gm*wn will be

*re wneasfufront$md ffnd

{Saiil lr}rki{rts &e dd* piw d{h*camsa"

Sluingastrip

of paper on top of the

hla* card box will help when

unlmding the phnhgrrphic pqer

from *recarnera

Use &is to sirnply to prll the blaek baxout, csp*cially

if tlm base of thecarnera ts glued-

F ffwuaredulns

) tn. *"irritale one of &e lsstwo pieces {theyshouldbethesffie)and glue onia lhsb*se. Ifyon {f,e rCIt

gluing, danl warrg

iusmmtihe eideson

ihe ba.x,

{fal<e the small tlin vpareO"i*t the bole and scren rhis

into the pilothole ontl*e&u*ofthe *sslera. $tick the iabel

enclod snts the $urer eover"

-7kke the blackcard andfold

/ it along the crcas€s. Fold the

This will rllaw th* phslo-graphic p{per to sltde kio pureamwa*sily, lf you have som*

per glue, itvill hdp if you dektee fixpsdawn.

pleterquxre.

/. tnally the last side piece

t snoufi uasity lock in ro com-

back fl*p* *s ilfu&trated.

fho**/*lar.*io*

OSlide the black paper box

Ointo the camera with the

opmhgbfubtr;kdihetus€*nAThe last piece of wood

7 tn. hd) should simply

drop ontc the c*mera and

nalrc it li$t {S1!Fnt both 0f

ths slartic bands *rcnrd the

$des, the base and t&e CIp oflhe casrcra" Ifyou haven't

used Sl$e tlth qill hold itall*ryethm"Ifyouhme

used glue, you sllneed lo hsld &e lid

$llh knepirlishrsghll

13t2

*ac&rdll*c* *e;

Ihe Darkroom

Essentials:Safelight, whitelight, J Trays,

Developer, Fixer, Small acetate

Sheet, rilflater, Photographic Paper

ond finally a'Darft troom'.

HelpfulWaterproof Gloves, theezers orTongs, a Clock or Wach *rat shows

Seconds. Measuring Container,

Pegs or Clips.

Non Essentials (but nice)Music (but no Telwision)

Before you can proceed with the

first task of 'loading' the camera

to take your first picture, you need

a darlaoom and a safelight.

A word of caution; no safelight

is totally safe for light sensitive

materials. Some light sensitive

malerials are only safe wi*r a red

to orange light for only a few

minutes. This should be sfficienttime to load the paper in the

cameta and develop it. Though

with the photographic paper

enclosed you should have a bit ofextra time if you need it.

The DarkroomThis sinplyis aroomyou

can completely darken

whidr no w{rite ligfrt can

perleft?Ie.

In thewinter, almostanyroom can

he used at nightwith the curtains

closed. During the lighter months,

a room with a small window which

can easilybe'blacked' out, such

as a bathroom which is ideal as ithas runningwater. In older houses

there is usually a cellar or base-

ment or a cupboard under the

stairs which may be suitable.

Please ensure though that the

darkroom is completely dark as

the slightest light wil spoil your

photographic paper.

The SafelightAs we mentioned before, a safe-

li$t can be red to orange which

wa4e bulb inside (the recom-

mended maximum is only 7

watts).

Be careful that the plastic is red

and notjust painted as this is usu-

ally not safe enough.

You will need to get used to work-

ing in a low red light and it may

take a minute or two for youreyes to acclimatise them-

selves to the dark.

WhitelightA bedside light or desk lamp are

idealwith a 60 waft bulb.

A ceiling light would also

work but it is better

to take off the

will generally protect the shade.

photographic paper while

loading the cameraand developing the im-

age. Ifyou are using a room

with a small hole, you can

put red cellophane over

it to create a safelight.

Other easy methodsare covering a torchwhich is eqpecially usefirl

in areas without electricity Also

a red bicycle lamp or red

tajl light from a car

would work but itneeds a very low

I5

hole without making it any

bigger thantheneedle.

If your hole becomes ragged

or you need to $e te a small-

er hole, don't worry. A littlestrip of insulation tape (elec-

tricians black vinyl) is good.

Plerase make sure thal the mate-

rial for the hole is not too thick

t6

Loading the LightSensitive Material

cuneta as

shown onpage 13.

Open thephoto-graphicpaperpack

and inside

sensitive paper. Pull one sheet

out and slide it fully down the

back of the camera. Make sure

the shiny side (emulsion) isfacing the front of the camera.

Put back the camera lid and

replace the fwo elastic bands

around the camerato hold the lidon firmly. Don't forget to close the

as pos- ,l

sibleturnin$.l

the needle

carefirlly

Taking a PhotographNow you should have aCanerya Darkroom and Safelight. Now

its time to make the'pinhole'andloading the camera for your firstpicture.

Creating the PinholeYou shouldnowhaveyour Make sure your eyes become

to working incamera completed acclimatisedwith the blackcard insert inplace. Now you

need to find the

needle from the

box.

this light,

You needto have the

Nowpush the

pin through

the black

card as close

to the centre

of *re hole

cametaready withthe opening

of the black

box to theback of the

asyou can.

Make as

clean a hole:;

there willbe a black bag

to'round'the and as cleanly as possiblecontaining the light

photographic paper pack before

switching on the whitelight.

Nowyou're ready to shoot!

Thking a PhotographBefore you take your photograph,

you need to determine how long

you need to expose the paper to

get a good print.

The pinhole in photographic terms

is called an'Aperture',

Technically there is a formula

for determining the correctexposufe.The focal length is the distance

from the pinhole to the photo-

graphic paper. So if the hole is

one inch in diameter and the

focal length is 3 inches (distance

from the hole to the photograhic

paper), the ratio is 1:3, or F/3.

For example, a number 10

needle is .18" and if used with a

5" focal length, then:

.018 - tntt5.00

Complicated isn't it,bui don't worrv!

We don't expect you to make

these sort of calculations, so we

have created some approximate

guidelines depending on bright

sun, sunlight, overcast, dulldayltght and interior roomlight.

Remember, these are onlyguide-

lines and experimentation is

encouraged, particularly withyour pinhole size.

In the darkroom, load the paper with the shiny side towards the front of the cam-

era.The safelight should not be closer than4-5 feetfromthe light sensitive paper.

17

Exposure guidelines basedon size 10 needle (pin).

Do you remember the bit about'circles of confusion'?

The smaller the pinhole with lets

say a number 7, the finer the

definition but the exposure time

is longer.

The bigger the pinhole with forinstance a number 16 needle,

you will need to shorten the

exposure time.

The'Shoot'Never try to hold the camera inyour hands when you areexposing the paper, Rest it on a

wall, table, ground or arything

that is solid and won't move.

Vhen you're ready, put a finger

on top of the camera to holdit steady and open the shutter.

When the desired time is up,

close the shutter and keep the

carnera shut until you get back

to the darkroom.

It may help if you draw an arrowon the lid so you can accurately

aim your cnmeraat the subject.

18

What to PhotographWhatever takes your fancywithin

reason, but there are afewthings

to remember,

Pets are favourite subjects forsome budding photographers,

but with long exposure times itis dfficult expecting your pet to

'pose' for 30 seconds withoutmoving. Likewise moving racing

cars are definitely out!

Family and friends are good

subjects as long as they can stay

still long enough,

The simplest thing is to choose a

'still' subject. Be artistic and

experiment with differenttexfures.

You will find you get betterresults if the subject is of'highcontrast' which you will get infull sun. A dull daywill generally

grve a dull photograph.

Try standing still in front of the

carnenand quickly move out ofthe way half way through the

exposure and you will appear on

the photo as a ghost!

Have Fun!

Here we show the'ghost ffict' as described above

SafetvWe must first outline that the dJveloping agent is an

irritant, fiust like many household chemicals) and must alwals

be handled with caution and kept out of children's reach.

Ifyou follow these safety guidelines, you will experience

hours of fun instead of possible hours at the doctors!

Although some of these mfety must not be put near the mouth.

rulesareobvioustomostread- 1n ive yourself plenty o fers, there will probably be \fti*e to follow thesomething below which you instructions and don't rush.

didn'tthinkof(odrerwisethere f)unning water should be

would be frr fewer accidents). I\close to hand for cleaning

and safety.

A lwavs clean work areas and

,fLquipt.nt with water after

use and keep all animals from

any activi!/ arca.

f)rotect vour eyes with glasses

l. and use the gloves and

tweezers povided when handling

chemicals. Always wash your

hands after use.

ff andle your chemicals with

Ilr.spect and care at alltimes.

\Zou are now ready to embark

I on the exciting science of

producing your ownphotographs.

lease read it all so nothing is

left to chance.

ffave a solid sudace, clcar of

I lobstacles to work on uhich

should bewelllit andwellwrtilated.

A nlv commence developing(rl*t.n you have everything

you need ready to hand and you

have read all the instructions.ffthis kit is suitable for children

Iou., 12. Adults shouldexercise discretion on which

activities are safe and suitable

for any child to do.

A pen all containers with grea

Ll i.. and never store them

near food or drink and chemicals

Ifan accident should occur please follow these guidelines.

In the case of eye contact'. wasb the eye uitb plenfi of clean wa'

terfor at least 15 minutes and imnrcdiatelit seek medical afiiice'

kr case of skin contacf wasb area uith smp and waterfor 5 minuta'

If Chemicals are swallowed: wash the mouth and, drinkfreshwater. Do not induce uomiting and seek medical ad'aice.

In case of Inhalation: ntoue outdoors turtesh air.

In cases of Iniury: seek medical aduice

t9

Developing the ImageNow you have 'exposed'yourimage on your photographicpaper. Before you can process

it you will need to mix thechemicals.

It is not neces-

sary to mix the

chemicals withthe safelight,these will not'spoil'immedi-

ately. However,

the developerand fixer ismost effectiveat a comfortable

room tempera-

ture. Too coldand the chemi-

Mixing chemicals in whitelight

Once you have determined the

dilufion, take off ttre seal under

the bottle cap. Then use the cap

to put the desired amount of'capfuls'intothe1ray.

Start off withthe water and

addthe chemi-

cal. This ismuch safer ifthe chemicals

start to splash.

You needenough liquidin each tray to

allow the pho-

tographic pa-

cals react slowly, too hot and

the chemicals 'go off' quickly.

Always wear gloves whenhandling chemicals.Both developer and fixer are inconcentrated form. Differentmanufacturers recommendtheir own ratio of dilution,so it is always advisable tocheck the instructions on the

bottles.

perto submerge.

Don't forget to replace the cap

on the bottle, we don't wmt arry

accidents!

Start off with the developer tray

at one end, the fixer tray in the

middle and the water ffay attheother end.

Usually you work from the left,

but it really doesn't matter as

long as you remember whichis which.

Developing the Negative

Camera at hand, remove the pho-

tographic paper. Ifyou followed

the suggestion about gluing a

20

strip of paper on the card box,

simply pull the box up.

If you didn't, you will need totake the base off the carnera topush the box up and removethe photographic paper.

Make sure you have your gloves

<rn and the tweezers athand.

Holding the photographic paper

with the tweezers, slide it into the

developer emulsion (shiny side)

down and look at the time.

After 10 seconds, turn the nega-

tive over to watch it develop.

While in the developer, gently

move it back and forth to remove

any trapped bubbles.

The negative will look slightly

darker than it actually is due to

the red light. Allow a few seconds

more to compensate for this.

Generally it will take between Iand 2 minutes for this to develop.

Remember how long it took.

Developing the negative with the safelight.

Put into the mixf(tce down for ten seconds and turn over and watch the image

appear. The image will appear darker as you are working under a safelight.

Fixing the Negative

Once you think you have the 10 seconds anda$tnteagainfor

desired negative, lift it out of the about 2 minutes before putting

developer and put into the fixer, the whitelight on to check the

agunface down. Titrn over after result.

Fixing the negdtive with the safelight.Again put into the mix face down for ten seconds and turn ovet and gently

agitate for about 2 minutes.

2t

WashLift again and rcpett process Well done! Now hang your mas-in the water for between 1-2 terpieceuptodry.Ifyouhaven'tminutes. got a line and pegs, just lay itDo not overwash as the photo- on a surface to dry naturallygraphic paper will deteriorate if or carefully use a hair dryer orwashed too much. awarm rudiator.

Wash the negative in water for between I and 2 minutes.Do not ovenyash as the photographic paper will deteriorate

Contact PrintingYou now have a dry negalive. Now

you have to create a positive or'print' using the negative. The

easiest way is to make a' contatt'print.

photographicpaper and close the

bagagun.Place thisnew sheet

on top ofthe camera lidemulsion (shiny

side) up. Place thenegative, image

facing down directly onto the

photographic paper (emulsion

to emulsion).

Take the sheet of clear acrylic and

place this on top and use the two

elastic bands to hold everything

in place. Make sure the elastic

bands are not covering the back

of the negaive or this will show inyour print. The negative and new

photographic pa-

per needs to have

as good a contact

as possible.

Hold this towards

your 50 watt light,

nonearer than 1.5

met€s(4frd)nnldg

sureyourfingers are

clear of the top.

Switch on the whitelight(or ask a friend to do it) for

only 2-3 seconds.

0runt 1001, 1002 and switch

the whiretght off.

You can also expose the

contact print by opening the

d'arkroom door. If it is not a

bright light outside you willneed to extend the time to4-5 seconds.

Repeat exactly what you did

to create the negative -

develop, fix and wash.

Tips and

Developer once mixed will last

only one day in normal tempera-

ture. Once it starts to 'go off', itwill turn from a 'pale straw'

colourto brown. Thisis causedby

oxidisation and the chemical has

become srhausted (unumble).

The ftrer will go from clear to pale

yellow when it goes off, L very

subtle change. This will usually

last a few days in normal room

temperatufe.

TipsA slightly under exposed negative

will result n a pale image. If anegative is very pale, you will need

to increase exposure time.

A slightly over exposed negative

will result in a denser image. Ifthe negative is too dark or dense,

you will need to reduce the

exposure time.

You can always adjust the

contrast of your finished print

Problems

from a slightly underexposed

(pale) negative,

The old saying goes, 'the abilityto

produce a well exposed negalive

is learned by experience'.

So be patient and experiment, but

keep a record ofrdratyou've done

so you shouldn't make the same

mistake twice.

COMMONEXPOSUREPROBLEMSIf the paper rernains white orthe image is very faintIhe gaperwas loaded in the camera

the u'rong way round andrery lide

liglnt got *rou$r to the emulsion.

The exposure was far too short.

You forgot to open the shutter.

If tlre inrye is very dak or bhkThe camera has a light leakThe paper has been exposed to

light by mistake.

Your exposure was far too long.

Good luck

Take out a new sheet of

22 23

Further Informatianwt*trs YOu mlT u$s$ tlptk'rluR ptrsTt){;aApr$e rapxlttso et{{$11$1"*, }'*fR

t*&t tfi*Tor;&r?rff $rirmme $nOum sg a8m T0 RmL,lc& Tftst{.Ilh*topnphle pqxr genenrlly is oniy:**il*bk i* l*rger size*"

** ynu will ner:d to {tif it kt tiiac }$iltg sci*$ns urder the rafill'ight"

itlterilndyeh thE ehemie*l$ *an be ab*ri$ed fft$nlL:K ft)tryislJlr!$l*xr*rlrl, fir'rv:ipl*m*i llrulir:ti{trlr{xnr.$iklilil}:i9IS ft* {}lll5,1i$5$$

**.*: h:miil$$ fh${, {ory, 15 X'rrlfu $t. Yonk*n, }iY ti}?gg :tl: gl't g$t ,{8g*

illx* **rmmyintere*ing lxnk *n lmh $ritognphy ltnd pinhdeplr*i*gnrphlr Sbret*mmntlyou check*ith pur loeal libmry or b**lctore.

Many $kneums xnl gnlleries ktve colie*li$n-c of {dd cfrstexs and exhibits tfpho*graph*rs nrldr

ll& rw**meridp*** mr#ln$ tisrt**wsr fo cfou:Spaiqg tdarar ftf*e*di#g rwd"

{n rlrc Lnit*qt,Kingdsn

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Outkrck Tox*r & (ar*ers Ob${urae*stl{lri{, Sdinburs!, [fitr ?X$. ?*l: 0l3l i?6 '}?ry

krynl fhttogrnphic $odetyThe Set*gon, $likon $1, llath, SAI UlN. Tsl CI12?5 ,i6l 8,il

Thc Sox tnlbai *{*seffrl*cock, Chippirgh:ux, $'iftshire, $Nl5 ][ti. &l t]l?49 7]$ 4i9

The Yi*tori*&xl *Ib*rt $tu*ewxr$*rth lk*si*gtan, londnn. $\T] ?RI" lbt {}]{}? 94il i,iilt

In the United$t 1e$

Ceory f$n{n llomeo lnlierrrdmul t{meun af Flxrtog$ry a${t l{Ifl9{X} &*s;bmue, lt0.fue$$ l{Y l,l&}?. lb|: il$ }?1 3j{il

hfernatisnfll {entre of Fhor*grxphy1t3{ fifth ivens*, $ew Y*rh SYlil.l tS. lbl: ?t? Ed0 l?7?

*Iu*euru of Plrotogtnpbie Artr1$99 lil Prailo, $albo* Pnrk, &an *i**{}. *\ S'Il0t. lbl: 61Jl :}* :t51}

The{B *r'r *l$i} * numb* *f gr:r:d *'eh*lt*s on th* hisrorl of phr*ogrrrphli {x&er*1pinhcte photogr*ph1'{tc, fix loo ouroer\}ur !n rnenlion.

Pletrs cleckm:rlleb hlnq..*n"sut* as eoogie fur *pecific l*funrxitkx.

StlptxghtO lt){}{} l}eryck }lenley. Ali ftight$ Sc*erry*d

Wth nrarq' tlxrnl* to rl*r{reiv Thomnr firr his hdp xith &e proces*ing informn{ion.

?4

M

PINHOI,EPHOTOGRAPHYHISTORY ANDINSTRUCTIONS

3 linglie Mill, levelCrossing Rood, Selkirk, TD7 sEQ,www. f I i g htsof fo ncy. co. u k

@ 1998 Deryck Henley. All Rights Reserved.

Stick this on the wall in your work area

We must firsfly oufline dnt the developing agent is an

initant, (iust like many household chemicals) and rnust alwap

be handled widr caulion and kept out ofchildrens reach.

Ifyou follow these safety guidelines, you will experience

hours offun instead ofpossible hours at the doctors!

f)lease read it all so

l- left to chance.

nothing is instructions and don't rush.

ffroe a solid surface, clgar of

L lobstacles to work on udrich

Sould be well lit and well wdlaed"

A nlv corilnence developing(,1*t .n you have everything

you need ready to hand and you

hurercad all the instructions.lTlhis ht is suitable for children

I ou.. 12. Adults shouldexercise discretion on which

activities are safe and suitable

for any child to do.

A pen all containers with great

\,1.*. and never store them

near food or drinkand chemicals

must not be put near the mouth.

R:,:::"f,xffi'';I#l;and safety.

A lwavs clean work arcas and

A.qipr.nt with water after

use and keep all animals from

any acffity nea.

Drotect your eyes with glasses

-l and use the gloves and

tweezers provided when handling

chemicals. Always wash your

hands after use.

TTandle vour chemicals.Flri,tt reipect and care at

all times.

$ou are now ready to embark

I on the exciting science ofproducing your ownphotographs.

ive yourself plenty oftime to follow the

If an accident should occur please follow these guidelines.

In tlre case of eye contact:ua,sh theeJ)ewithplenty of cbanwater

fw at least 15 minutes and, immediately seek medical aduice.

Incasedskin conlacl;uash areawith soap ard,waterfu 5 minutes.

If Chemicals are swallowed: wash the moutb and drinkfreshwater. Do not induce uomiting and seek medical adaice.

In case of Inhalation'. mu)e outdoors to fresh airIn cases of Iniury; seek medical aduice

If you seek medical advice regarding any chemicals, plzue take the bottle with pu.