Pin+Hole+Photography+and+Gelatin+Silver+Prints

Keywords: pinhole photography, gelatin silver prints, sodium thiosulfate, fixer, __photographic paper__
 * ||  || PINHOLE PHOTOGRAPHY AND GELATIN SILVER PRINTS. William Brower. In this lab, the fundamentals of the photographic printmaking process were tested. A gelatin silver print was successfully made from a photo taken with a homemade, light-sealed pinhole camera. Additionally, dilutions of 1 percent and 0.1 percent solutions of thiosulfate fixer were exhausted with silver particles to test their capacities. The process of serial dilution was used to make the two fixer solutions, and they were each tested with twenty 3 x 3 cm squares of photo __paper__ in the darkroom. The two dilutions did not contain a high enough concentration of thiosulfate to successfully fix any of the squares tested and remove excess silver particles, evident in the pink tint seen after remaining silver particles were exposed to light. However, a gradient can be seen in the results that suggest a gradual exhaustion of the fix bath occurred, as opposed to exhaustion happening at one specific point. This can be applied to the darkroom process by understanding how the fix bath exhausts, and when this gradual process begins to actually damage prints being made.
 * ||  || PINHOLE PHOTOGRAPHY AND GELATIN SILVER PRINTS. William Brower. In this lab, the fundamentals of the photographic printmaking process were tested. A gelatin silver print was successfully made from a photo taken with a homemade, light-sealed pinhole camera. Additionally, dilutions of 1 percent and 0.1 percent solutions of thiosulfate fixer were exhausted with silver particles to test their capacities. The process of serial dilution was used to make the two fixer solutions, and they were each tested with twenty 3 x 3 cm squares of photo __paper__ in the darkroom. The two dilutions did not contain a high enough concentration of thiosulfate to successfully fix any of the squares tested and remove excess silver particles, evident in the pink tint seen after remaining silver particles were exposed to light. However, a gradient can be seen in the results that suggest a gradual exhaustion of the fix bath occurred, as opposed to exhaustion happening at one specific point. This can be applied to the darkroom process by understanding how the fix bath exhausts, and when this gradual process begins to actually damage prints being made.
 * ||  || PINHOLE PHOTOGRAPHY AND GELATIN SILVER PRINTS. William Brower. In this lab, the fundamentals of the photographic printmaking process were tested. A gelatin silver print was successfully made from a photo taken with a homemade, light-sealed pinhole camera. Additionally, dilutions of 1 percent and 0.1 percent solutions of thiosulfate fixer were exhausted with silver particles to test their capacities. The process of serial dilution was used to make the two fixer solutions, and they were each tested with twenty 3 x 3 cm squares of photo __paper__ in the darkroom. The two dilutions did not contain a high enough concentration of thiosulfate to successfully fix any of the squares tested and remove excess silver particles, evident in the pink tint seen after remaining silver particles were exposed to light. However, a gradient can be seen in the results that suggest a gradual exhaustion of the fix bath occurred, as opposed to exhaustion happening at one specific point. This can be applied to the darkroom process by understanding how the fix bath exhausts, and when this gradual process begins to actually damage prints being made.
 * ||  || PINHOLE PHOTOGRAPHY AND GELATIN SILVER PRINTS. William Brower. In this lab, the fundamentals of the photographic printmaking process were tested. A gelatin silver print was successfully made from a photo taken with a homemade, light-sealed pinhole camera. Additionally, dilutions of 1 percent and 0.1 percent solutions of thiosulfate fixer were exhausted with silver particles to test their capacities. The process of serial dilution was used to make the two fixer solutions, and they were each tested with twenty 3 x 3 cm squares of photo __paper__ in the darkroom. The two dilutions did not contain a high enough concentration of thiosulfate to successfully fix any of the squares tested and remove excess silver particles, evident in the pink tint seen after remaining silver particles were exposed to light. However, a gradient can be seen in the results that suggest a gradual exhaustion of the fix bath occurred, as opposed to exhaustion happening at one specific point. This can be applied to the darkroom process by understanding how the fix bath exhausts, and when this gradual process begins to actually damage prints being made.
 * ||  || PINHOLE PHOTOGRAPHY AND GELATIN SILVER PRINTS. William Brower. In this lab, the fundamentals of the photographic printmaking process were tested. A gelatin silver print was successfully made from a photo taken with a homemade, light-sealed pinhole camera. Additionally, dilutions of 1 percent and 0.1 percent solutions of thiosulfate fixer were exhausted with silver particles to test their capacities. The process of serial dilution was used to make the two fixer solutions, and they were each tested with twenty 3 x 3 cm squares of photo __paper__ in the darkroom. The two dilutions did not contain a high enough concentration of thiosulfate to successfully fix any of the squares tested and remove excess silver particles, evident in the pink tint seen after remaining silver particles were exposed to light. However, a gradient can be seen in the results that suggest a gradual exhaustion of the fix bath occurred, as opposed to exhaustion happening at one specific point. This can be applied to the darkroom process by understanding how the fix bath exhausts, and when this gradual process begins to actually damage prints being made.
 * ||  || PINHOLE PHOTOGRAPHY AND GELATIN SILVER PRINTS. William Brower. In this lab, the fundamentals of the photographic printmaking process were tested. A gelatin silver print was successfully made from a photo taken with a homemade, light-sealed pinhole camera. Additionally, dilutions of 1 percent and 0.1 percent solutions of thiosulfate fixer were exhausted with silver particles to test their capacities. The process of serial dilution was used to make the two fixer solutions, and they were each tested with twenty 3 x 3 cm squares of photo __paper__ in the darkroom. The two dilutions did not contain a high enough concentration of thiosulfate to successfully fix any of the squares tested and remove excess silver particles, evident in the pink tint seen after remaining silver particles were exposed to light. However, a gradient can be seen in the results that suggest a gradual exhaustion of the fix bath occurred, as opposed to exhaustion happening at one specific point. This can be applied to the darkroom process by understanding how the fix bath exhausts, and when this gradual process begins to actually damage prints being made.
 * ||  || PINHOLE PHOTOGRAPHY AND GELATIN SILVER PRINTS. William Brower. In this lab, the fundamentals of the photographic printmaking process were tested. A gelatin silver print was successfully made from a photo taken with a homemade, light-sealed pinhole camera. Additionally, dilutions of 1 percent and 0.1 percent solutions of thiosulfate fixer were exhausted with silver particles to test their capacities. The process of serial dilution was used to make the two fixer solutions, and they were each tested with twenty 3 x 3 cm squares of photo __paper__ in the darkroom. The two dilutions did not contain a high enough concentration of thiosulfate to successfully fix any of the squares tested and remove excess silver particles, evident in the pink tint seen after remaining silver particles were exposed to light. However, a gradient can be seen in the results that suggest a gradual exhaustion of the fix bath occurred, as opposed to exhaustion happening at one specific point. This can be applied to the darkroom process by understanding how the fix bath exhausts, and when this gradual process begins to actually damage prints being made.
 * ||  || PINHOLE PHOTOGRAPHY AND GELATIN SILVER PRINTS. William Brower. In this lab, the fundamentals of the photographic printmaking process were tested. A gelatin silver print was successfully made from a photo taken with a homemade, light-sealed pinhole camera. Additionally, dilutions of 1 percent and 0.1 percent solutions of thiosulfate fixer were exhausted with silver particles to test their capacities. The process of serial dilution was used to make the two fixer solutions, and they were each tested with twenty 3 x 3 cm squares of photo __paper__ in the darkroom. The two dilutions did not contain a high enough concentration of thiosulfate to successfully fix any of the squares tested and remove excess silver particles, evident in the pink tint seen after remaining silver particles were exposed to light. However, a gradient can be seen in the results that suggest a gradual exhaustion of the fix bath occurred, as opposed to exhaustion happening at one specific point. This can be applied to the darkroom process by understanding how the fix bath exhausts, and when this gradual process begins to actually damage prints being made.



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Citations: Dvoracek, N. (n.d.). PinholePhotography. uwosh.edu//. Retrieved February 15, 2012, from []//

//Woodworth, C. (n.d.). How Photographic Film Works. //Home | The __University__ of North Carolina at Chapel Hill//. Retrieved February 15, 2012, from [|http://www.unc.edu/~jimlee/film.htm]//

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//Figure 1: Pinhole Camera Apparatus// //Figure 2: Positive Contact Print// //Figure 3: Gradient of fix bath exhaustion// //Figure 4: First and last piece of photo paper comparison, trial 2// // Woodworth, C. (n.d.). How Photographic Film Works. //Home | The __University__ of North Carolina at Chapel Hill//. Retrieved February 15, 2012, from [|http://www.unc.edu/~jimlee/film.htm]