Photograph- object writing 27 Nov
admin November 26th, 2007
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The dull red light makes seeing difficult, but there’s just enough light . The chemical baths have been heated to the correct temperature and the first piece of photographic paper is placed under the enlarger. The smell of bromine and new photographic paper dominate the tiny ‘cubby’ space. The celluloid negative is flimsy and is slid onto the holding plate, then slotted into position in the enlarger. A few minor adjustments are made with the red filter on. The paper is placed on the grid making sure it is correctly aligned with the reverse image projected from the enlarger. The bulb of the enlarger is contained in a large elongated housing - similar to a hairdryer at a womens hairdresser. The cover is sizzling with heat, for the powerful stream of light that needs to throw itself at the photographic paper.
All is ready and the red filter is slid aside. Precise clipped seconds are counted and noted as the paper is exposed. It is then placed into one of three chemical baths. Small tongs are used to avoid getting the smelly substance on hands. with the gentle cajoling of putting a baby to sleep the image begins to appear. This period is also critical - not too much and not too little time, more a matter of judgment. Years of experience in the red half light tells me when it is time and I move the photograph into the second bath - ‘the ‘fixer’ and the set of chemicals that cement the silver crystals onto the page - giving us what we know as a black and white photograph.
The final step is a water bath which hopefully removes all traces of the chemicals. I have photos where this last step obviously was not followed and a light brown cancerous tide is advancing toward the center of the picture.
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