PHOTOGRAPHY- 22

PHOTOGRAPHY- 22

THE TECHNICAL FACET OF PHOTOGRAPHY

Being a science, image recording has to take care of ‘density’ of the primary image in a negative. [I do not know its equivalent or its parallel in the digital system] In the traditional scheme, the negative is used as a template to bring out its corresponding positive on to a sensitive paper [print] or a sensitive film [the Transparency].  This step of passing on the image from a source to a recipient is called ‘Printing’. In order that the printing act is comfortable, the content In a negative ought to have appropriate values of high lights /shadows/ mid tones. If all these proceed in a gradual order , it is said to be an ideal negative , yielding a brilliant positive rich in tonal continuity through the zones hinted above. In the final reckoning, what determines the  image density in negatives is the quantum of light received on to a film. This step of image recording is named EXPOSURE.

‘Exposure’ refers to the act of allowing the right quantum of light to reach the film. The automatic corollary to the preceding description is “What is right quantum” ? Obviously the value determined for ‘Exposure’ is a variable determined by a set of variables. These are: 1] the type of picture required  2] the likely extent of magnification that a negative may have to stand up to, 3] persons involved as key members, 4] lighting facility to be made use of [ day light or flash light], 4 ] the processing that would be used for making the primary image, 5] Innate characteristics of film –as a part of its sensitivity [expressed as Film speed= ASA /IS/ DIN a reliable quantity that implies volumes of information], 6] the likely chemicals in the formulation of the processing chemistry. These are truly significant as variables, though many amateurs may not be in a position to decide on item numbers 4 and 6 in this list of variables. Please recognize that these variables interfere with image density. Being a science in itself, Photography  provides for manipulations that help us to tide over difficulties arising from improper image densities, in the ‘Printing’ sessions. Among the variables –items [1] and [2] are of paramount value . Item [1] relates to PORTRAIT /General picture or an Event like Birth day or Wedding or the like. Accordingly considerations of picture clarity rule the film choice and the top priority in lighting for portraits while other types need just a general lighting. [2] pertains to

the final size of the picture ; portraits are in larger format like 24 X 16 or 24 X 20 inches , all others mostly fit into 8 X 10 inches [even if Weddings] [3] a minimum of two persons are key components in Wedding sequences and pray GOD they do not share opposed skin tones that represent extremes. Occasionally, ideal skin pairs do come in for coverage , demanding a judicious play of ‘Flash’ to just light up to the extent essential.  Items [4], [5] and [6] together determine work plan. SLOW FILMS TEND TO PLAY UP CONTRAST ; HIGH SPEED FILMS SHOW DIFFUSE GRADATION –IDEAL FOR PORTRAITURE. But Slow speed films stand up to high magnification due to inherent fine grain characteristics. FINE GRAIN PROCESSING FORMULAE are slow working and bring off negatives rich in tones and are used to advantage in rendering  images that stand magnification. All these considerations weigh our options to adapt right strategies of work. All meticulous photographers keep contemplating on ‘making the best of an occasion’ and they are in no mood make verbal display nor in any hurry for food or beverage –as they are seized of the quantum of work remaining and the need to get equipped with film stock or light supplement and so on.

 Many do not understand the care that [s]he bestows on to work and judge that person to be head strong and not obliging them to appear in more frames. However, the lesser mortalsamong photographers  mange to keep social engineering intact to win more contracts, though by ‘picture merit’ and by performance such persons fail to impress.    Sycophancy has caught up with photographers as well and as much.

High speed films  rated at 360 ASA or more were once used in flash photography until a new breed of workers proved that slow speed films rated at 100 ASA or 125 ASA or even less were quite efficient for photography using Flash. I have personally convinced many that ASA 100 WAS ENOUGH FOR WEDDING PHOTOGRAPHY ; the die-hard traditional workers were nervous to experiment with even 125 ASA [NP22] in place of their preferred 400 ASA [NP 27]; my attack was – Why in colour photography you work with 100 ASA but not on 400 ASA using flash? Then, some were convinced that the suggestion was practicable and switched over to 125 ASA Fim stock for flash-lit wedding photography.  True grasp of working of materials helps proper utilisation of materials.                                                 More to follow.             K.RAMAN