MODULE POLICE PHOTOGRAPHY

CHAPTER 6: FILM PHOTOGRAPHY

OBJECTIVES:
a. Describe the film-based camera
b. Explain the process of loading and unloading
the film
c. Differentiate film types.

FILM PHOTOGRAPHY
Although digital photography has now gained dominance over film photography,
there are still professionals who would argue that film remains the best way to capture
images because of its incredible ability to record detail in a very stable form.

The most popular of film cameras is the 35mm SLR (single lens reflex camera),
with through-the-lens viewing, built-in metering and interchangeable lenses. The
availability of fine-grained and ultra-sharp rolls of film allows the 35mm format to be usable
for a wide variety of needs.

Film cameras are loaded with a film without having it fogged by light. A
photographic film is defined as a thin, transparent, flexible acetate or polyester base,
coated with light-sensitive emulsion used in a camera to record a photographic image.
They should always be kept in a cool place, out of direct sunlight, in low humidity, and
away from all sources of chemical fumes.

1|Page
 MODULE POLICE PHOTOGRAPHY
Loading and Unloading the Film
To load the film into a 35mm camera:

1. Open the back of the camera by lifting the film rewind knob and pulling out t
2. With the rewind knob up, fit the film canister on the left side under the rewind knob.
3. Pull the tail of the film gently out of the canister into place.
4. Pull the tail of the film gently out of the canister and insert it into the take-up spool.
5. Turn the rewind knob slightly to make sure that the film in snug against the
sprockets and advance the film once.
6. Close the camera and advance the film twice.

To unload the film into a 35mm camera:

1. Release the take-up spool by pushing the film rewind button on the bottom of
the camera.
2. Pull the rewind lever out and turn it slowly until it is released from the take-up
spool.
3. Turn the lever a few more times and then open the back of the camera and
remove canister.

The film is protected from light during loading and unloading because the film is
contained in a cartridge, or a cassette having a velvet light-trapped’ feed slot. Roll film is
just tightly rolled up on a spool together with opaque backing paper (Langford, Fox, &
Smith, 2010).

Choosing Film Types

Taking a good picture is not always easy and requires some skill and the right type
of film. Films may be classified based on speed, depending on their sensitivity to light.
Film speed is also a factor in determining the correct exposure. The film controller is
usually located on the top of the camera or on the top left side.

2|Page
 MODULE POLICE PHOTOGRAPHY
Film speed figures follow strict test procedures laid down by standardizing
authorities. Most film manufacturers use an Ise (International Standards Organization), a
combination of the previous U.S. based ASA ratings and European DIN ratings (Langford,
Fox, a Smith, 2010)

Slow films (e.g., ISO 32) are best for scenes where the light in bright. They often
have a brighter detail and give the sharpest image This film is ideal for subjects that need
to be enlarged while still retaining a lot of detail and a fine-grained image. Even if light is
poor the camera can be set up on a tripod and a long exposure given.

A medium-speed film (e.g., ISO 200) is suitable for a wide range of different
subjects and lighting conditions. It can also be used in less light earlier or later in the day
when the sun is much lower in the sky

Fast films (e.g., ISO 400) are used for low-light situations where a less-sensitive,
slower film may result in underexposure. The quality, however, is not as good as the
slower film speeds. When light levels are really low such as in dimly lit interiors or outdoors
at dusk, the sensitivity of faster films (e.g., ISO1000) can give acceptable results
(Hedgecoe, 2005).

Some films, including slide films, are made specifically for shooting in well-lighted
situations. Others are made for artificial light incandescent lighting and stage lighting.
High speed transparency film allows the operator to shoot a roll of film at a speed higher
than recommended because the processing of the film can make up for the difference in
light. The photograph will not be as clear or precise, but it can be useful where additional
speed is needed.

Aside from film speed, films can also be categorized as either black-and-white or
color film. A black-and-white film records the actual intensity of light as shades of gray.
The developing stage of the photographic process turns the silver halide crystals that
have been exposed to light into minute grains of metallic silver. Light from a bright area
of the subject will affect more silver halide crystals than light from a dark area when these
are developed. They are converted to grains of metallic silver, forming a dark area on the
negative. When the film is printed to a positive, it becomes a light area again. Black and
white films have anti-halation backing, a coating at the back of the film, usually gelatin
containing a dye or pigment, to absorbing light rays and prevent the light from reflecting
back from the film base through

3|Page
 MODULE POLICE PHOTOGRAPHY

Emulsion

A color film is more complex and consists of three layers of light-sensitive

emulsion – red, green or blue with layer sensitive to a particular color. During exposure,
blue light from a subject will affect the silver halide crystals in the blue-sensitive layer of
the film and so on. During development, a colored dye forms in the relevant layer of a
complementary or opposite color to the layer in which it is formed; that is, yellow dye
forms in the blue-sensitive layer, magenta dye in the green-sensitive layer, and cyan dye
in the red-sensitive layer. The silver crystals are then bleached out, leaving just the
complementary colors. Various combinations of the same colors produce all the other
colors in the photograph.

When a color negative is printed, a similar process takes place in the three layers
of the printing paper: the complementary colors of those in the negative form in the
relevant layer of the paper. This, therefore, reverses the colors on the negative back into
the colors of the original image. Color transparency film goes through a reversal process
during film processing so that the image on the film is a positive; that is, the color of the
original image is the same as the colors on the processed film. The three layers of color
film include the blue-sensitive layer, the green-sensitive layer and the red-sensitive layer.

Chemical Processing

Film processing involves a sequence of consistent and controlled steps whereby

a latent image (which is formed by the action of light on the emulsion while in the camera)
is converted into a visible image through chemical means. The gelatin of the emulsion
absorbs liquid chemicals, which react with those within the film, differentiating between
exposed and unexposed parts of the image. Essentially, the latent image is developed;
its chemical make-up is changed into something more permanent. When fixed and
washed, the chemical by products is removed and changes make it no longer sensitive
to light (Langford, Fox, & Smith, 2010).

Photographic processing requires concentration and care over detail. It is

important to avoid contaminating one chemical with another, wash by-products out of the
emulsion thoroughly, closely monitor times and temperatures, and prevent scratches and
dust from ruining the very soft and vulnerable film. The process itself is easy but
carelessness can result in the loss of unrepeatable pictures. Color processing, in

4|Page
 MODULE POLICE PHOTOGRAPHY
particular, can be quite tricky to do by hand because it requires very accurate time and
temperature controls and often requires many solutions. Most professionals therefore
choose to have photos developed commercially so that the most accurate processing is
carried out by expensive automatic machinery with automatically controlled time,
temperature and solution replenishment rate.

Individual hand processing requires essential items of equipment, chemicals

which may require mixing or diluting for use, and a suitable place to work. The most
important equipment is the processing tank that can hold 120 or 35mm films in open coils
or sheet films suitably separated. Chemicals or wash water can then circulate over the
emulsion surfaces to affect them evenly. Other items needed include photographic-grade
thermometer, various graduated measures for measuring and mixing solutions, an
electronic timer, a plastic mixing rod, chemical storage bottles, a funnel to return solutions
to containers, a hose for washing, and photographic clips for hanging up films to dry.
Processing chemicals can be bought either as complete kits containing all stages (as for
color film processing) or as individual items (such as black and white chemicals), either
in concentrated liquids or premixed powders which need dissolving.

Film processing begins with the loading of the film, which involves a few simple
steps:
1. Remove the protective cover.
2. Cut the film leader.
3. Roll the film into the reel.
4. Cut off the end of the film.
5. Place the reel in the tank.

Next is the developing process using the stainless steel tank and reel:

1. Take the temperature of the developer and determine the correct developing time
(usually 68 degrees Fahrenheit or 20 degrees Celsius). Pour the developer into
the processing tank. Start the timer as soon as the developer is in the tank.
2. Gently tap the bottom of the tank against a table or give the tank a sharp tap with
the heel of your hand to remove any air bubbles trapped in the developer.
3. Agitate the tank for the first 30 seconds of development.

5|Page
MODULE POLICE PHOTOGRAPHY
Agitation is a darkroom term that refers to the movement of a processing
liquid over the material that is being processed (e.g., the inversion of the
developing tank or the movement of the tray to ensure constant movement of the
fluids) so that fresh chemicals come in contact with the negative, film, or print. To
agitate, gently rotate the tank in a circular direction then invert it A typical method
is to invert the tank three times every 30 seconds. A lack of agitation can reduce
the development and excessive agitation can over develop the film.

4. At the end of the development time, open the lid of the drainage opening of the
developing tank and pour the developer away and pour in a stop bath for about 30
seconds and don’t forget to agitate. A stop bath is an acid rinse used to stop
development by neutralizing unwanted developer when processing black & white
film or paper. This prevents carryover of one chemical into another during
development
5. After pouring the stop bath, pour the fixing solution into the tank and agitate. The
fixing process usually takes 5 to 10 minutes in a regular fixer and 2 to 4 minutes in
a rapid fixer. A fixer is a chemical solution that dissolves unexposed silver halide
crystals, leaving the developed silver image on the film or print and making it stable
in white light. Fixation is the process of removing, unexposed silver halides
remaining in the emulsion after first stage of development of the latent image.
6. Pour out the fixer and save it for reuse.
7. Wash the film in clean running water for a minimum of 20 minutes (20 to 30
minutes).
8. Rinse the film in wetting agent. A wetting agent is a mild form detergent that
reduces water surface tension, thereby helping the water to flow off the surface of
the film without leaving drying marks
9. Gently wipe it through a special film squeegee or even two fingers applied with the
wetting agent.
10. Lastly, hang the film and attach a weight to prevent it from curling during drying.

6|Page
 MODULE POLICE PHOTOGRAPHY
The final process involves printing, as enumerated below:

1. Place the negative on the negative carrier then insert the negative carrier in the
enlarger head. The negative should be placed side up, but with the image upside down.
2. Turn off the light inside the darkroom
3. Adjust the height of the enlarger head to get the desired size of print by moving the
adjuster up and down. As the head moves up the rail, the projected image becomes
bigger, as it moves down, the image becomes smaller.
4. Focus the image by adjusting the focusing knob or focus control at the enlarger
lens’ biggest aperture. This procedure not only makes the image brighter and easier to
see initially, it ensures that the image will be sharp.
5. Set the appropriate diaphragm by closing down two or three stops before the
exposure, or close down the aperture to a smaller f-stop, (f-8 or f-11) this is to obtain the
greater depth of field.
6. Set the timer with an appropriate enlarging time.
7. Turn off the enlarger with the safelight on.
8. Take a sheet of photographic paper out of its sealed plastic bag and place it on the
easel with the emulsion side facing up.
9. Align the photo paper correctly with the guides of the easel mask and close the
mask gently. The easel has size scale on its top, bottom, or sides for setting the image
size.
10. Lastly switch on the enlarger and expose the photographic paper at the appropriate
exposure time.

How to Load and Unload 35mm Film

•https://www.youtube.com/watch?v=FjCfcTFP50E

An introduction to film photography References:

Handbook on Photography by
•https://www.youtube.com/watch?v=Pj8u0gHPa_U
Dr. Waynefred H. Villarba,
PhD.Crim, printed by
How film cameras work Wiseman’s Books Trading,
Quezon City, 2000
•https://www.youtube.com/watch?v=i-hEsFp20pY

7|Page