Part 9. : Introduction to Printing
When someone says "photograph" we usually think first of all of a print.
Of black-and-white prints or color prints, and then also of the sepia-toned prints which have become popular in Japan(Nippon) recently.
For any of these types of prints, we can entrust the processing (developing and printing) to a lab, and frankly for many people the process of turning an exposed film into prints is a total mystery.
So in this article we'll look at how prints are made.
Let's hope that it will shed some light next time you go to a processing lab for developing, printing, or enlarging.
1. About the processing lab
Simply stated, "development" refers to a chemical process.
The exposed film or photographic paper has to be immersed for particular times at constant temperatures, in various baths, or developing and fixing agents.
Rather like a series of operations for making instant noodles: "Pour in boiling water at 100 degrees and wait for three minutes."
Of course, the temperatures and times have to be accurate, but with the latest automatic developing machines this is all microprocessor-controlled, and almost foolproof.
For this reason, operating errors by staff at the processing lab are almost impossible.
But in practice we have all had prints which varied slightly in finish, depending on the processing lab or the particular operator.
How can this be ?
There is one other important factor in developing, and in particular in the printing process.
It is not simply a matter of developing the printing paper: first there is an exposure step, in which the image on the film is transferred to the paper.
This is similar to the process with which we create the original image using a camera.
In other words, the printing process is as complicated as the process of taking a photograph.
No photographer, however good, can photograph every subject perfectly.
In the same way, no processing operator, however good, can make perfect prints from every negative.
So the trick is to understand these problems, and then you can work together with the processing lab to produce better and better pictures.
First we'll go over features of the different categories of processing lab, and then look at some of the pros and cons of doing your own developing.
1.1. Custom, commercial, and mini-lab processing
There are three basic ways in which processing services are provided: professional custom-finishing labs, general-purpose commercial labs, and mini-labs.
Understanding the differences can help you use them more effectively.
1.1.1. Custom processing labs
These are facilities dedicated to the professional, and can be found in all large cities.
They provide a range of services to meet the needs of the professional photographer, with rapid turnaround.
Recently, mail-order custom processing labs have become more common in Japan(Nippon) : these accept negative or reversal film with attached instructions, and return the developed or printed results according to the specified requirements, by mail or courier. (You can find ads for such services in any good camera magazine in Japan.)
*Advantages of custom processing labs
For developing reversal film, the service is particularly good. The processing itself is not different, but the turnaround time is around 90 minutes, and it is possible to specify development adjustments of 1/2 or 1/3 stops.
You can order prints with confidence, knowing that the order will be handled by an expert.
These labs can also handle very particular requirements and special requests.
1.1.2. Commercial processing labs
These general-purpose labs accept orders through camera stores, photo studios, convenience stores, and other retail outlets, which send films in batches for processing.
In practice these labs are used for orders which cannot be met with mini-labs (see 1.1.3. below).
The disadvantage of this system is the time required for the films to be collected into a batch, sent off, processed, and returned.
Since the person accepting an order may not have any technical expertise, the photographer's requirements may not be transmitted accurately to the lab, which can sometimes lead to disappointment.
*Advantages of commercial processing labs
The biggest advantage of these services is price, since they can carry out development and printing by machine in large batches.
The range of services offered is also almost as wide as from the custom labs.
But to get reliable results for special requests, it is best to attach a sample or memo, so that the operator in the lab can understand what you need.
1.1.3. Mini-labs
These are compact automatic developing systems, and provide principally development and printing of color negative films. Their great advantage is the ability to provide prints within an hour or 45 minutes.
In Japan some 60% or more of color photographs are processed in mini-lab systems.
However, most mini-labs cannot develop or print anything other than for 35 mm (135) (and Advanced Photo System TM (IX240)*) color negative film, and in these cases a commercial processing lab (see 1.1.2. above) has to be used.
Note : Mini-lab systems handling the Advanced Photo System TM (IX240) format are gradually becoming more common.
*Advantages of mini-labs
If you can speak directly to the operator, a mini-lab provides many fine adjustments to color negative prints which can be made very simply.
There is plenty of scope for size variation, with print sizes up to 10" x 8" (or roughly A4 size).
If you can get to know a truly skilled operator, this is probably the best way of all to successful prints.
1.2. Pros and cons of home processing
It is relatively easy to develop and print black-and-white or color films, once you have the equipment and a supply of the necessary chemicals.
You can use all sorts of special effects that you cannot get from a processing lab, and can be sure of getting exactly the print that you want. Basically, it's just like doing chemistry experiments.
At the same time, when you consider the time and cost involved, it's far less expensive to go to a processing lab.
For this reason, it's best to think of home processing as a hobby, which will deepen your enjoyment of feelnikon.
Although it is possible to carry out color reversal film development yourself, the cost and the process stability required mean that you will probably gain little.
Whatever processing you do, proper disposal of the used chemicals is a big problem.
It isn't very socially responsible just to say "A small quantity won't hurt if diluted enough."
The best thing is to ask your local processing lab (or mini-lab owner) for a contact for industrial waste disposal, and then make sure that the appropriate procedures are followed for disposal.
If your processor can't help you, you can look for waste disposal companies in the phone book.
Note that developer and fixer must be kept separate for disposal.
At the time of writing this report, the cost of disposing of a liter of developing fluid in Japan(Nippon) was around 50 to 100 Japanese yen (roughly 40 to 80 US cents).
2. Adjustments in the printing process
It is easy to adjust the overall density (see Part 8. on exposure adjustment) or color of a print, simply by pressing buttons on an automatic developing system.
The problem is to determine the density and color needed, but in the end this is up to us, the people who want the print.
If you are happy with your photos, then that's fine, but if they really don't quite match your expectations, and just don't "look" right, then you should try adjusting the density or color and making more prints.
Sometimes a small change will make just the difference needed for an eye-popping print, and you will have learned the real joy of feelnikon.
We'll skip the details here, but you can also make the same adjustments for reversal prints and duplicates, as well as for color negative prints. For black-and-white prints you can adjust the density (exposure) and contrast.
2.1. Adjusting the density
By adjusting the camera iris and shutter speed, you can change the exposure. In the same way, when making a print, light from the film passes through an enlarger lens, to expose the photographic paper, and by adjusting the lens iris and the exposure time you can adjust the density (exposure) of the print.
In this way you can get the whole range from pure white to pure black.
( Photos 2.a. to 2.g.)
These show what happens when we use the same negative, but vary the exposure......
Completely white print
(-3 stops)
Image barely visible
(-2 stops)
Slightly light print
(-1 stop)
Normal density print
(+/- 0)
Slightly dark print
(+1 stop)
Very dark print
(+2 stops)
Completely black print
(+3 stops)
The "stops" here which measure the degree of exposure adjustment are the same as those for adjusting the camera exposure.
The range of variation in print density is similar to that when adjusting the exposure for reversal film, but if anything the range for color negative prints is slightly wider.
The photos above (2.a. to 2.g.) are color negative prints, so note that the exposure adjustment signs (positive or negative) are reversed compared with those for camera exposure. The print marked "+/- 0" is an auto exposure with no adjustment.
Well then, when you have a print which has come out just a little dark, or too light, you can reprint to correct for this as you wish.
Here are a couple of examples.
( Photos 3.a. and 3.b.)
If the print is just too dark overall, you can simply add a note : "Please print slightly lighter."
Dark print
Print corrected by lightening
( Photos 4.a. and 4.b.)
If the print is too light overall, add a note: "Please print slightly darker."
Light print
Print corrected by darkening
2.2. Adjusting the color
If you put a color filter in front of the lens when taking a picture, then of course the resulting photograph will have a color cast.
In the same way, by putting a color filter in front of the enlarging lens when making a print, you can create prints with different color effects.
For a color print, to match the base color (almost always orange) of the negative film and the characteristics of the printing paper, a correction equivalent to a color filter is always being carried out.
This is done automatically in a developing system, and this usually results in normally colored prints.
But if the result is not satisfactory, you can ask for a reprint if you specify the appropriate color correction.
In this case, send a sample print, and explain which color you want to strengthen to make the correction.
We'll talk about the details of color correction in the October issue (Part 11.), "Getting the Most from Color in Your Photos," but for now, here are a couple of examples.
( Photos 5.a. and 5.b.)
Under fluorescent lighting, prints tend to have a greenish hue, and this can be corrected by adding a color filter when making the print.
Print with greenish hue
Print corrected for too much green
( Photos 6.a. and 6.b.)
On the other hand, photos taken under incandescent lighting tend to have an orange tone.
Again, the appropriate color filter can correct a print for this.
Print with orange tone
Print corrected for too much orange
3. Types of print
The simple term "print" covers a multitude of possibilities. Well, perhaps if you are not short of time and money, you can do just about anything.
Here we'll go over the services provided by a general-purpose processing lab.
If you talk to your processing lab, they will be able to advise you on getting the best value from their services.
3.1. Hand finishing versus machine finishing
Prints are sometimes referred to as "hand finished" or "machine finished."
Simply put, the former are prints individually made by hand, while the latter are left to a machine.
But as we have already said, all photographic prints now are made by a machine, and reference to "hand finishing" is a relic of the days when an operator would use a manual enlarger to create individual prints.
Now the term is almost synonymous with "custom finishing."
But in any event, hand-finished prints are produced by a skilled operator checking the process, and making any necessary density or color corrections.
A machine-finished print has only the most cursory checks, and in principle no corrections at all.
One result of the extra care put into hand-finished prints by a skilled operator is a considerably higher price tag than for machine-finished prints.
With all the skill in the world, however, the operator's judgment is still subject to individual taste, and therefore even with hand finishing, the desired print is not absolutely guaranteed.
Sometimes, by a twist of fate, the machine-finished print may be more satisfactory.
It's therefore important to think of hand finishing as giving not "the best print," but simply the ability to specify density and color corrections as finely as needed.
This is a personal view, but I think that now that you can talk to the operator of a mini-lab while having prints made, there really is no point in the distinction between hand- and machine-finished prints.
Rather, I sometimes think it would be nice to see the operator's name out front.
How about a credit, along the lines of "John Doe made this print" ?
3.2. Prints from color negative film
Everyone knows that we get color prints from color negative film.
But actually this is not all: black-and-white prints, and sepia-toned prints are among the other possibilities.
Any conventional processing lab can offer these services.
3.2.1. Making black-and-white prints
By using panchromatic printing paper, black-and-white prints can be made from color negative film, producing delicate monochrome tone gradations.
Even printing from color negative film onto ordinary black-and-white printing paper will produce a monochrome print, but the red portions will tend to be too dark.
( Photos 7.a. and 7.b.)
Black-and-white prints from color negative film
Using panchromatic printing paper
Using ordinary printing paper
(You can see color prints made from the same negative in Section 2.2.2 of Part 3., "Film is a Light-Recorder."
Compare what has happened to the model's red shirt.)
3.2.2. Making sepia-toned prints
By printing color negatives on special-purpose sepia printing paper, you can get sepia-toned prints.
This service is available even from some mini-labs.
3.2.3. Making slides
By printing onto color film with characteristics similar to printing paper, you can make transparencies (slides) from color negatives.
You can get these from any conventional processing lab.
3.3. Prints from color reversal (slide) film
Prints from reversal film are generally made as "direct positives," but there are also some other techniques. We'll list them all here.
3.3.1. Making direct positive prints
This process involves making a print from the positive film image directly on a reversal printing paper.
Reversal paper is like reversal film, in that it provides a positive image, but the characteristics vary according to the manufacturer.
Generally speaking, these prints have slightly higher contrast than prints from color negatives.
3.3.2. Making an internegative
An internegative is a negative produced from a positive transparency (slide).
The size of the negative can be changed, and by making a larger internegative you can keep the loss of image quality to a minimum. For example, from a 35 mm (135) slide you can make a 6 x 9 cm internegative.
The internegative is then used to make color prints by the usual process.
If you need prints in large quantity, rather than using a direct positive print process, it may be more economical to use an internegative.
3.3.3. Making duplicates (dupes)
There is usually only one copy of an original transparency, but you can make duplicates by using a special-purpose reversal film. It is possible to make a duplicate of a different size, and also make density and color corrections.
3.4. Prints from monochrome negative film
There is a range of print effects you can get from ordinary monochrome film or sepia-tone (color) film.
3.4.1. Making black-and-white prints
Printing on black-and-white printing paper gives an image made of silver. This has the advantage, generally speaking, of being longer-lasting than an ordinary color print.
Most printing papers are resin-coated, as is color print paper. Printing on baryta-coated paper, which gives the smoothest gradations, is only available from some custom finishing labs.
However, it is relatively simple to use home processing for black-and-white prints.
3.4.2. Making monochrome "color" prints
By printing on ordinary color printing paper, you can achieve a variety of color effects from a monochrome image.
The classic example is a sepia-toned print, but by using an appropriate color filter you can make a monochrome print of any color.
( Photos 8.a. and 8.b.)
Monochrome prints from monochrome negative film
Sepia-toned example print
Blue-toned example print
(You can see black-and-white prints made from the same monochrome negative in Section 2.2.3 of Part 3., "Film is a Light-Recorder." Compare the difference.)
That's all for this time. As we've seen, processing is almost always done by machine nowadays, but I hope you'll have learned something of the elements of processing which are the same as those involved in using a camera.
The best thing to enrich your photographic experience is to meet a processing operator who shares your love of feelnikon.
Names of products in this article were being used in Japan(Nippon) at the time of writing.
Products, brands and companies names are trademarks or registered trademarks of their respective companies.
Colour of photographs appearing in this www site may differ from the originals.
Specifications are subject to change without any notice or obligation on the part of the manufacturer. Aug. 1999
