Photographic pulling

The photographic pulling is a stage in the process of restitution of a Image present on a Pellicule. It makes it possible to transfer the image on Papier, starting from a film developed by increasing the original image of the negative one.

This article in the case of describes in particular the process of pulling a film Noir and white (N&B).

The material

raw material: the negative one (the film after development), on which the stereotype is which one wishes to make a pulling.
the Enlarger: it is the apparatus making it possible to expose film on a photosensitive paper. It is provided with an objective of enlarging to which the Focale is close to the normal focal distance for the type of negative used (ex: 50 mm for film 135,75 or 80 mm for 6x6).
paper: there exist several kinds of paper according to the characteristics of negative and tastes (baryta, multigrade, made cold, normal, hot, etc).
inactinic Lamp: it is about a special lamp (yellow-green or red for certain special cases) which does not diffuse a light which would expose photosensitive paper. Without it, the operator would be condemned to almost carry out all the stages of the development in the absolute black.
blowing Brush: is used to remove all dust of film.
Ends of paperboard: used to mask (to hide part of the photograph which one would like less longer to expose or on the contrary to longer expose a too dark zone on film).
Of the grips: two pairs are enough.

Photo paper is insensitive to certain lengths of Onde. It is thus possible to light during the treatment thanks to a inactinic lamp. It is about a lighting which does not deteriorate paper in the darkroom. It does not act on the emulsions. This lamp will have to be placed in diffuse and nondirect light, not too close to paper not to veil it.

The process of pulling

The exposure

It is the stage where the film is crossed by a ray of light which then will strike paper.

It is also the stage where all the artistic direction of the photographer is expressed: choice of framing, maskings, papers, etc It should not especially be reduced to a simple technical operation.

So that an exposure is successful, several factors should be considered:

*L' opening

*Le time

*Le rank

the opening : the objective of the enlarger is just like regulated the objective of a camera. The depth of field induced by the diaphragm thus exists well on the level of the plate of the enlarger, but it is less influential considering the parallelism of the plans of film and paper, however in the event of rectification of reducing lines (when it is necessary to rock the plate which receives paper and thus when the film and paper are not parallel any more), this Depth of field can become determining. In general it is not recommended to use the objective of enlarging to full opening because it is calculated to give the maximum of clearness on all the fields of negative to approximately F: 8. The large opening is only used for to perfect the development (clearer image with the observation).

basic time : a good practice is to set a time of approximately 16 seconds and to adjust the diaphragm consequently. One can use a cell of enlarging to determine a basic time which one will vary according to the required result. If one wishes to use a constant diaphragm (for a better control of the characteristics of the objective, in general F: 8) another method is possible which does not require a cell:

Draw a first image (with the selected diaphragm that one will keep throughout the process) with a time which corresponds, after development and complete fixation, with an image where one just sees appearing contours of this one (very clear). Then with the same diaphragm double the duration, develop and fix completely the image obtained (second image of the series) and so on until obtaining an almost black image. Foot-note: certain gunners recommend to examine the tests in the light of the day, only valid estimate according to them to determine the good exposure; others estimate that a simple white lamp of low power is sufficient: the advantage of this technique is not to tire the eye by the brutal passage of the inactinic light light of day.

You obtain a series which goes from most clearly to darkest (by step of a diaphragm equivalent) and in which you have " la" good exposure which you note " 0" , then while going towards the dark one you note " +1" , " +2" , etc and conversely " - 1" , " - 2" towards pulling most clearly. I always have in my laboratory such a series posted with the wall and I do not have any more but to compare my pulling with one of the images of the series. That allows very fast corrections (time to double or divide by 2 or 4 etc to arrive at the " 0" who is the " bonne" exposure).

masks: the dynamics of photographic paper being different from that of film, it is generally necessary to expose differently certain zones of the image: " retenir" for example, shades, and to expose the high lights longer, to restore on paper all the details recorded on film. One can use for that with the masks (small rounds or ovals of paperboard at the end of a wire, or on the contrary sheets of paperboard pierced with a hole), and of course the hands, as for Chinese shades. This of course should not be seen on final pulling: the objective is not " truquer" , but to obtain possible pulling the most faithful to negative… and the image which the gunner has at the head.

the rank : there exist several ranks in photo black and white. Ranks - determined by filters for papers known as " with contrast variable" - are used for intensifying or decreasing the contrast of the film. A rank 2 corresponds to a normal contrast, a rank 3 corresponds to an accentuated contrast, grade 1 with a contrast " doux".

the ranks generally go from 0 to 5 (that depends on the paper marks and also on the filters used) the median rank is generally the 2 (known as " normal"). To start by using a rank 2 and, if need be, readjusting. Then, with the practice you will be able to determine, if need be and within sight of the negative one to draw, another starting rank.

It is also possible to draw from the parts of image with a rank and another parts with a different rank. The professional gunners use only seldom one rank to draw an image, they thus correct déséquilibes in the contrast of the negative one. This is not possible that with papers with variable contrast obviously.

If papers with variable rank are practical to use and maintaining very widespread, it should however be known that papers with fixed ranks exist and are still marketed (in particular papers baryta known as " fine-art").

Certains gunners also has recourse, to modify contrast, with the technique of " post-lumination" : after exposure of the sheet under the enlarger, this one is overall exposed with a weak white light during 1 to 3 seconds. This makes it possible to preserve the contrast of the image, while making " monter" high-lights to reveal there more details. The source of light must be calibrated well (a lamp of 15 Watts to 2-3 meters for example) because only the parts of the image already sensitized must react; it is not a question of a veil, which affects also the virgin zones (margins).

To reveal the image

The revealing one is a liquid solution which acts like the revealing one on the film. Photosensitive paper there is plunged so that the image appears.

For reproducible good performances, the duration of this operation must be fixed, (approximately 3 minutes). According to made general wished, one will vary the exposure while playing over the duration and the diaphragm of the objective of the enlarger like on the rank of paper, but to in no case the time of development.

A too short time in the revealing one will involve an image grisaillante and without force (if the image " monte" too much quickly, it is over-exposed: one will not save it while earlier leaving it the bath). With a correct exposure, a prolongation of time is less devastator: a too long revelation will tend to make the white gray and thus to waste the work of the ranks, by losing contrast.

One can also play on the Température of revealing to obtain stronger images. One can go jusquà 26 °C without problem.

Lastly, one should not too much trust so that one sees under the lamp of laboratory. Often returned there is more flattering than actually. This is particularly true with a red lamp which does not even make it possible to judge contrasts.

According to the couple revealing paper/, the tonality of the image can vary tons cold (bluish) with heats (drawing on the brown one). Papers bromides are neutral papers. The chlorobromides are hotter (developed in revealing suitable).

Rinsing

Left revealing, the image passes in an acid bath of rinsing (water + acid acetic or vinegar). It is simply a question of stopping the reaction of development and of saving the bath of fixation.

To fix the image

It is a question of eliminating the still sensitive grains of money, always present on paper. Fixation in revealing a rapid (ammonium hyposulphite). Duration: 30 seconds.

The use of a fast fixer has the advantage, during the use of paper baryta, to cause a less impregnation of the paper medium and thus a less risk of residues of fixer in this paper, and which would gradually come to damage the photograph with the wire of time.

Certain gunners, however prefer the use of traditional fixers with the sodium hyposulphite, requiring a time of longer fixation (10 min) but which would bring a better conservation in time.

To pay attention well so that the sheets do not stick the ones to the others and that the product circulates well between the images. Photographs which yellow are often the sign of a bad fixation (however this yellowing does not appear immediately but several days or weeks after the treatment).

In the course of fixation, it is possible to clear up certain parts of the image, to reinforce very locally the high lights. One very quickly uses for that the reducer of Farmer applied to the brush, and immediately rinsed. This technique should be applied only to the high lights, not in the shades. It gives very good performances but requires a good dexterity under penalty of completely erasing the worked part.

Turns

It is possible to modify returned image, while improving its conservation, by the process of turn during which one substitutes for money salts, of different metal salts like selenium, gold even platinum. The turn more the current being the turn with the monosulfure which gives to the image a ton sepia. This product (sodium monosulfure) has the defect to feel rotted egg!

It is possible by turn to obtain images of all the tonalities. One can also choose to transfer only part of the image, by protecting the others by a varnish. It should however be taken care that the effect is not free but proceeds of a true esthetic step.

Final washing

Not to forget a washing very careful (if they are papers baryta): minimum 45 minutes, with running water and a temperature minimum of 16 °C. An insufficient washing will cause a slow and progressive degradation photograph. Plasticized papers known as " RC" ( resin coated ) do not need such a long washing, fifteen minutes out of renewed water is sufficient. The addition of a drop of surface-active agent in the last bath facilitates drying.

Drying

According to paper used, the techniques differ.

plasticized Paper: it is enough to flat pose them on an absorbing surface, or to suspend them on a wire using special grips.
Paper baryta: one can either let them dry as above but that will impose a joining on a rigid support, or to pile up them between sheets absorbing under an important weight (a large encyclopedia for example). Another technique, door to be implemented very effective but, consists in placing the wet sheets on a glass plate (emulsion to the free air), fixed by gummed kraft. The setting flat obtained is perfect. The ideal being to lay out of a hot press .

Mends and improves

These two operations, carried out by a professional “retoucher” tend to be popularized on numerical support thanks to tools such as Photoshop which do not imply a very elaborate technical know-how. The traditional spotting and the final improvement tend to disappear but always exist in fields such as the restoration of photographic images.

Mends

The spotting is the action which consists in correcting the minor defects of invertible, of negative or a pulling: dust, wire, etc This operation is carried out using a Pinceau very fine charged with an ink adapted (called the Gray-film), using Gouache or, on the papers baryta, to the black pencil.

Improve

The final improvement consists in improving in-depth the photographs using tools such as those which are used in spotting, to which one can add the Aérographe, of the various chemical baths (local weakening with the Ferricyanure of potassium being used for dépigmenter a zone of photography for example) or the “scraper”.

Among the typical uses of the final improvement, let us quote:

correction of the grain or the imperfections of the skin of a subject photographed;
the stressing of certain features of the subject photographed (more penetrating glance, stops drawn better, etc);
the routing of an image (removal of the bottom);
modification of physical characteristics of the subject (refinement of the legs for example);
removal of undesirable elements;
the photographic assembly.

Final presentation

If one drew a photograph in a rather large format (18 X 24 cm or more), it would be a shame to stop there.

One can put the photograph under pass key by sticking the image on a rigid paperboard then as a practitioner a cutting to the edges inclined to 45° in a paperboard of presentation (rather white broken for black and white). Certain stores can make this operation for you.

The starting photography is now well development and can be presented proudly.

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