chemistry in black and white photography experiment

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Experiment 35 BLACK AND WHITE PHOTOGRAPHY

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Lifting the veil —

Scientists unlock the chemical secrets of a 19th-century photography technique, mordançage, or "etch-bleaching," creates ethereal veiling effects in b&w photographs..

Jennifer Ouellette - Nov 6, 2019 6:57 pm UTC

Mordançage is a photographic process that yields striking black-and-white photographs characterized by ghostly veiling effects. Scientists from George Mason University have recently figured out precisely what is happening chemically during the process, according to  a recent paper in Analytical Chemistry.

Mordançage has its roots in a late 19th-century method of changing a film negative to a positive, first documented by a man named Paul Liesegang in 1897. In the 1960s, French photographer Jean-Pierre Sudre  further refined the technique to produce silver gelatin prints and dubbed it "Mordançage." It's also known as "etch-bleaching," because it uses an acid-copper bleaching solution to dissolve the darker parts of the silver gelatin layer so that it partially lifts away from the print. Those areas can either be rubbed away, creating an image reversal, or retained to produce a veiling effect.

The solution is then rinsed off in a water bath (an additional stop-bath  step is optional), then the print is redeveloped to restore the black color before being dried and pressed flat. The result: those dark areas that had lifted from the paper during the earlier stage of the process are preserved to produce the ghostly final veils. Sudre's American protegé, Elizabeth Opalenik , is perhaps the best-known photographer who uses the process.

Mordançage works best for images with lots of black or detailed dark patterns since darker areas experience more dissolution. The most common solution consists of copper chloride, citric acid (or glacial acetic acid), and hydrogen peroxide mixed with distilled water.

There have been several patents relating to a similar chemical process, according to GMU chemists Caroline Fudala and Rebecca Jones, the authors of this latest paper. This suggests that the copper chloride plays a significant role in the initial bleaching. Hydrogen peroxide is known to soften gelatin during bleaching and hence likely also plays a role. Opalenik has said that paper type is also a factor in controlling the process.

But there have been no rigorous experiments to back up these assertions. "Clearly, the various components of the process are interacting with the silver gelatin photographic print," the authors wrote. "However, the chemical details and processes, especially regarding the formation of veils, has remained obscured."

So Fudala and Jones performed a series of experiments to put those assertions to the test. First, they created black-and-white photographs using 35mm film and standard darkroom procedures, using different kinds of photographic papers (multi-grade resin-coated, fiber based, and cotton rag). They used a filter to increase contrast in the images and an enlarger to project images onto the photographic paper.

Once the prints were dry, they subjected them to the Mordançage process. During these experiments, Fudala and Jones measured how much hydrogen peroxide was absorbed by the paper, and they noted correlations between how long a print was submerged in the solution and the type of photographic paper used. They also performed spectral and pH measurements to determine the effects of the copper chloride.

They found that the hydrogen peroxide and acetic acid served to soften the photographic paper. That meant the copper chloride was better able to permeate it and oxidize the metallic silver, turning it to silver chloride as the surface layers lift off as veils. The veils darken again during redevelopment because the silver chloride returns to metallic silver. The emulsion lift continues in the water bath phase, while the optional stop-bath step reacts with residual hydroxide to neutralize redevelopment.

"The final drying step gives the artist one opportunity for control," the authors wrote. "When making the final transfer from the water-bath solution, the veils succumb to gravity and, depending upon how the print is finally moved from the solution, reattach to the substrate in strategic locations."

The GMU experiments also confirmed Opalenik's assertion that the type of photographic paper used matters. Cotton-rag paper is the most permeable and had the most dramatic reaction to the Mordançage solution, i.e., the greatest emulsion lift, compared to the resin-coated and fiber-based photograph papers. So Fudala and Jones used cotton-rag photographic paper to perform control experiments to explore further the effects of each of the solutions' chemical components (copper chloride, hydrogen peroxide, and glacial acetic acid).

The results: prints processed in a solution with just copper chloride and water bleached the print but did not produce any emulsion lift. Prints processed in a solution of hydrogen peroxide and water, or acetic acid and water, showed no bleaching or emulsion lift at all. It takes the combination of all three components in the solution to get the full veiling effect. Finally, as expected, the longer a print was in the solution, the more emulsion lift occurred, and the more pronounced the resulting veiling effect in the final photograph.

DOI: Analytical Chemistry, 2019. 10.1021/acs.analchem.9b03205"  ( About DOIs ).

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The Chemistry of Photographic Color Dye Formation Click to copy article link Article link copied!

• Bruce E. Kahn

Journal of Chemical Education

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A laboratory activity is described where black and white photographs are converted to color images in a variety of ways. This visual experiment involves a number of chemical concepts such as oxidation and reduction, stoichiometry, acids and bases, pH, nucleophilic reactions, conjugation, complexation, solubility, and reversibility. Unlike most photographic processes, this activity can be conducted in ordinary room light. Students learn the chemistry involved in five types of reactions involved in the color photographic process. One advantage of this activity is that the students can choose their own procedure, allowing them to exercise their creativity while learning chemistry. Students find the visual results of this activity appealing. Unlike most chemistry laboratories, at the conclusion of this laboratory the students have a color image that they can keep or display. This activity is appropriate for a high school or college level. The materials required are inexpensive, readily available, and easy to obtain.

Article subjects are automatically applied from the ACS Subject Taxonomy and describe the scientific concepts and themes of the article.

• Redox reactions

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This article is cited by 6 publications.

• Esther S. Rösch and Silke Helmerdig . Understanding Photography as Applied Chemistry: Using Talbot’s Calotype Process To Introduce Chemistry to Design Students. Journal of Chemical Education 2017 , 94 (7) , 916-921. https://doi.org/10.1021/acs.jchemed.6b00932
• Simeen Sattar . The Chemistry of Photography: Still a Terrific Laboratory Course for Nonscience Majors. Journal of Chemical Education 2017 , 94 (2) , 183-189. https://doi.org/10.1021/acs.jchemed.6b00400
• Karen J. Castle and Stephanie M. Rink . Customized Laboratory Experience in Physical Chemistry. Journal of Chemical Education 2010 , 87 (12) , 1360-1363. https://doi.org/10.1021/ed1005097
• Hasan Daupor , Sumpun Wongnawa . Urchinlike Ag/AgCl photocatalyst: Synthesis, characterization, and activity. Applied Catalysis A: General 2014 , 473 , 59-69. https://doi.org/10.1016/j.apcata.2013.12.036
• Juan Liao , Kai Zhang , Wen Zhong Wang , Yong Gang Wang , Li Yu . Study on Synthesis and Characterization of AgCl Microparticle Materials Based on One-Step Solution Phase Route. Advanced Materials Research 2012 , 568 , 295-298. https://doi.org/10.4028/www.scientific.net/AMR.568.295
• Zaizhu Lou , Baibiao Huang , Peng Wang , Zeyan Wang , Xiaoyan Qin , Xiaoyang Zhang , Hefeng Cheng , Zhaoke Zheng , Ying Dai . The synthesis of the near-spherical AgCl crystal for visible light photocatalytic applications. Dalton Transactions 2011 , 40 (16) , 4104. https://doi.org/10.1039/c0dt01795g

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Colour chemistry 2: photography and chromatography

Photography

The section on Optics in this resource explains how cameras work to project an image into the device using lenses and a camera obscura. In digital devices, the image is captured and saved as a digital image file, but originally, in traditional photography, the image was captured and fixed onto a light-sensitive film, which could then be used to reproduce multiple images.

Converting the image that appears in the camera to something that is printed on paper requires multiple chemical processes. An introduction to chemical photography is explained here…

Black and White photography

Black & white photography was invented before colour photography. It involves the use of light-sensitive silver halide crystals that form an emulsion on celluloid or plastic film with gelatin (originally, glass plates were used). The energy from the light waves that enter the camera and hit the film causes a chemical reaction with the silver halide. Creating silver halide crystals for photographic film is a complex chemical process making them photosensitive to all visible wavelengths of light.

The more light that comes into the camera and hits the light-sensitive film, the greater the reaction in the silver halide crystals, which creates silver ions. The grains of silver halide create an image by reacting to the different amounts of light hitting different parts of the film and creating different quantities of silver ions. However, you can’t see the image on the film until the film is ‘developed’ because it’s still light-sensitive and the image is not yet stable.

Developing photographic film is another process where chemicals are used to turn the silver ions into silver metal – more light produces more silver and a darker, opaque area on the film. Less light produces a more transparent area on the film. This process creates what we call a negative image – light parts of the image appear dark and dark parts appear light.  Once the film is developed, the chemical processes must be stopped and fixed so that the silver halide crystals are removed and only the silver metal is left. Once developed, you can take the film out into the light and see the negative image.

So how do we create a positive image from the negative film?  Another chemical process is used with light-sensitive paper, which also contains silver halide crystals held on the paper with a gelatinous emulsion – like the photographic film.

A white light is shone through the negative film onto the paper, activating the silver halide to create more silver ions on the paper. You can’t see the image on the paper until it is developed in a bath of chemicals that turn the silver ions into silver metal – which oxidises and shows up as dark areas on the paper. The process is then stopped and fixed – just like the film. This is how we get a positive image on a photograph – the clear areas on the negative let more light through and create darker areas on the paper. The dark, opaque areas on the film let less light through and therefore create lighter areas on the photographic paper.

Learn more about the history of photography and Daguerre (Figure 2.33) who was one of the first photographers to create stable photographic images.

Colour photography

Colour photography is more complex than black and white. It is a subtractive colour process. Colour film uses silver halide just like black and white photography, but the colour film has three layers of emulsion, each with a different light-sensitive dye mixed with silver halide that is sensitised so that each layer only captures either red, green or blue light. To create a colour negative image, the dyes form the complementary or opposite colour:

• Red-sensitive layers have cyan-coloured dye.
• Green-sensitive layers have magenta-coloured dye.
• Blue-sensitive layers have yellow-coloured dye.

The film is developed, and the silver halide is removed in this process, leaving only the coloured layers on the film.  Printing to colour photographic paper is a similar process to printing black and white, turning a negative colour image into a positive colour image, but the paper has three layers of emulsion, just like the colour film, sensitive to red, green and blue light, which creates a chemical reaction turning the dyes into cyan, magenta and yellow dyes (Figure 2.34).

Note: there are also special colour films that create a positive image instead of a negative one, and these were used in slide projectors – a technology not often seen today since the advent of digital photography and projections.

Learn more about the history of colour photography .

Chromatography

Chromatography is a chemical process that is used for separating the different parts of a mixture – a liquid or gas substance that has multiple ingredients.  The name means ‘colour writing’ from the Greek words chroma and graphe . This process was originally used to separate different coloured pigments that were all mixed together – a technique also used to create coloured dyes for making textiles and carpets.

Chromatography today isn’t specifically about separating colours. It’s used to separate all kinds of substances.

The way it works is by dissolving the mixture in some kind of solvent which could be gas or liquid  – the mobile phase –  and then using another material which could be a liquid or solid –  the stationary phase –  to separate the parts of the mixture. Because the different substances in the mixture travel along the stationary phase material at different speeds, they get separated from each other and form different bands.

If you’re trying to separate colours from a liquid mixture by using paper, for example, you would see different stripes of colour appearing as some colours move faster along the paper and so move closer to the top, and others move more slowly, so remain closer to the bottom – like a rainbow of different coloured stripes. Figure 2.35 shows an example of this using paper and a liquid solution to show the chromatography of chlorophyll.

A very simple way to see this process work is to use black ink (the mixture), water (the solvent) and absorbent paper (the stationary phase material) to separate the colours from the ink mixture. See the activity details below – you can try this experiment at home.

Learn more about chromatography:

• Ask a Scientist: What is Chromatography?
• Explain That Stuff: Chromatography

Activity: paper chromatography experiment

You can make your own science experiment at home with a few simple materials to see how chromatography works in practice.

Watch this video for details and try your own experiments:

To learn more about subtractive colour, see   3.1 Additive and Subtractive colour in this resource

Colour Theory: Understanding and Working with Colour Copyright © 2023 by RMIT University is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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The Chemistry of Black and White Photography: An In-Depth Look

The world of photography is a fascinating one, filled with complex processes and intricate techniques. At the heart of traditional photography lies the art of black and white imaging, a process that has been perfected over the years through the understanding of chemistry. In this article, we will delve into the intricate chemistry of black and white photography, exploring the science behind this timeless art form. From the basics of light-sensitive chemicals to the various processing methods, we will uncover the secrets that have made black and white photography the beloved art form it is today. So, buckle up and get ready to explore the fascinating world of black and white photography through the lens of chemistry.

The Basics of Black and White Photography

Understanding light and shadow.

Black and white photography is all about capturing the interplay of light and shadow. The more you understand the fundamentals of light and shadow, the better you’ll be able to control the final outcome of your photographs.

Light is the source of all photography. Without light, there would be no images. Understanding the quality and direction of light is crucial in black and white photography . Different types of light can produce different effects, such as soft, diffused light, which creates a subtle and gentle image, or harsh, direct light, which creates strong contrast and shadows.

Shadow is the absence of light. It is the opposite of light and is just as important in photography. Shadows add depth and dimension to an image and can create a sense of mystery and intrigue. They can also be used to create contrast and to highlight certain areas of an image.

The Relationship between Light and Shadow

The relationship between light and shadow is a delicate balance. Too much light can wash out an image and make it appear flat, while too much shadow can make an image appear dull and lifeless. The key is to find the right balance between the two.

In black and white photography, the contrast between light and shadow is especially important. By understanding how to control the amount of light and shadow in an image, you can create dramatic and compelling photographs that draw the viewer’s eye.

To master the art of black and white photography , it’s important to experiment with different types of light and shadow. Try shooting in different lighting conditions, such as bright sunlight, overcast skies, or artificial light, and see how each affects the final image. Pay attention to the quality of the light and how it interacts with the subject, and try to find creative ways to use light and shadow to enhance the overall mood and atmosphere of the photograph.

The Role of Film and Sensors

Black and white photography has a unique charm that has endured for over a century. One of the main reasons for this longevity is the simplicity of the technology required to produce black and white images. At the heart of this simplicity lies the film and sensors.

Film is a light-sensitive material that is used to capture an image. In black and white photography, the film is designed to be sensitive to only two colors: black and white. This is achieved by using a combination of chemicals that react to light, producing a latent image on the film. The latent image is then processed using a series of chemical baths to produce the final black and white print.

Sensors, on the other hand, are electronic devices that are used to capture digital images. In digital black and white photography, the sensor is designed to detect only two colors: black and white. This is achieved by using a series of filters that are placed in front of the sensor to block out all colors except for black and white. The resulting digital image is then processed using software to produce the final black and white image.

Both film and sensors play a crucial role in the production of black and white images. Film provides a unique look and feel that cannot be replicated using digital technology. Sensors, on the other hand, offer a level of precision and control that is not possible with film.

Regardless of the technology used, the chemistry of black and white photography remains the same. The final image is produced through a series of chemical reactions that convert light into an image. Understanding these reactions is key to producing high-quality black and white prints.

In the next section, we will delve deeper into the chemistry of black and white photography and explore the processes involved in producing a black and white print.

Developing Your Skills in Black and White Photography

Experimenting with composition.

Experimenting with composition is an essential aspect of developing your skills in black and white photography . Composition refers to the arrangement of visual elements within a photograph, including the placement of subjects, the use of negative space, and the relationship between different elements. By experimenting with composition, photographers can create dynamic and engaging images that tell a story or evoke a particular mood.

Here are some tips for experimenting with composition in black and white photography :

• Look for patterns and textures: Black and white photography can highlight patterns and textures in a way that color photography cannot. Look for interesting patterns in buildings, walls, or even the natural world, and use them to create interesting compositions.
• Use negative space: Negative space is the empty space around a subject in a photograph. Using negative space can create a sense of calm or tranquility, and can also draw attention to the subject by contrasting it with the empty space around it.
• Experiment with symmetry and asymmetry: Symmetry is the balance of two sides of an image, while asymmetry is the lack of balance. Both can be used to create interesting compositions, depending on the subject and the mood you want to convey.
• Play with contrast: Contrast is the difference between light and dark areas in a photograph. Playing with contrast can create dramatic and dynamic images, especially in black and white photography .
• Use leading lines: Leading lines are lines in a photograph that lead the viewer’s eye to the subject. They can be used to create a sense of depth and movement in an image.

By experimenting with these composition techniques, you can create unique and engaging black and white photographs that showcase your creativity and skill as a photographer.

Mastering Exposure and Lighting

The importance of exposure in black and white photography.

Exposure is the most critical aspect of black and white photography , as it determines the tonal range and contrast of the final image. It is the amount of light that enters the camera and is recorded on the film or digital sensor. The exposure must be carefully controlled to ensure that the image appears as desired.

Controlling Exposure in Black and White Photography

To control exposure in black and white photography , photographers use various techniques, including adjusting the aperture, shutter speed, and ISO settings.

• Aperture: The aperture is the opening in the lens through which light passes. By adjusting the aperture, photographers can control the amount of light that enters the camera. A larger aperture allows more light to enter, while a smaller aperture allows less light to enter.
• Shutter Speed: The shutter speed is the length of time that the camera’s shutter is open. By adjusting the shutter speed, photographers can control the amount of light that enters the camera. A slower shutter speed allows more light to enter, while a faster shutter speed allows less light to enter.
• ISO: The ISO is the sensitivity of the film or digital sensor to light. By adjusting the ISO, photographers can control the sensitivity of the camera to light. A higher ISO setting makes the camera more sensitive to light, while a lower ISO setting makes the camera less sensitive to light.

Balancing Exposure in Black and White Photography

In black and white photography, it is essential to balance the exposure to ensure that the image appears as desired. This is done by adjusting the exposure until the highlights and shadows are correctly exposed. If the highlights are too bright, the image will appear washed out, while if the shadows are too dark, the image will appear too contrasty.

Mastering exposure and lighting is critical to achieving the desired results in black and white photography . By controlling the aperture, shutter speed, and ISO settings, photographers can balance the exposure and create the desired tonal range and contrast in their images.

The Chemistry of Black and White Photography

The role of silver halides in film.

Silver halides play a crucial role in the development of black and white photographs. These compounds consist of silver ions bonded to halogen atoms, such as chloride or bromide. They are used in photographic film to absorb light and create an image.

When light hits the film, it excites the silver halide particles, causing them to release a silver atom. This process is known as reduction. The amount of silver released depends on the intensity of the light and the duration of exposure.

Once the film has been exposed to light, it is developed in a solution that contains a reducing agent. This causes the silver ions to become reduced to silver atoms, forming a latent image. The latent image is a reversal of the original image, with the light areas appearing dark and the dark areas appearing light.

The developing solution also contains a colorless and odorless gas called ammonia. Ammonia reacts with the silver ions to form a soluble compound that can be washed away, leaving behind the image.

In summary, silver halides play a critical role in the photographic process by absorbing light and creating a latent image. The reduction of the silver ions and the reaction with ammonia are essential steps in the development of the final image.

Digital Sensors and Black and White Photography

In modern digital photography, the image sensor plays a crucial role in capturing and processing the image data. When it comes to black and white photography, the sensor’s ability to detect different wavelengths of light becomes particularly important.

Unlike color sensors, which contain red, green, and blue filters, black and white sensors are designed to capture the intensity of light across the entire spectrum. This allows the sensor to record the brightness and contrast of each individual pixel, which can then be processed to create a monochromatic image.

One important aspect of digital sensors in black and white photography is their dynamic range. Dynamic range refers to the sensor’s ability to capture both bright and dark areas of an image, and is particularly important in black and white photography where contrast is essential.

Some digital sensors are specifically designed to capture black and white images with high contrast and detail. These sensors may have a higher sensitivity to certain wavelengths of light, or may be optimized to reduce noise and increase dynamic range.

Overall, the digital sensor is a critical component in the process of capturing and processing black and white images. Its design and capabilities can greatly impact the final result, and may require careful consideration by photographers looking to create high-quality monochromatic images.

Tips for Creating Stunning Black and White Images

Understanding the subject and mood.

Creating stunning black and white images requires an understanding of the subject and mood you want to convey. This involves considering the following factors:

• Subject Matter : The subject matter is the central focus of your image. It is important to choose a subject that is visually interesting and can convey a message or mood. Common subjects for black and white photography include people, landscapes, architecture, and still life.
• Light and Shadows : Light and shadows play a crucial role in creating a mood in black and white photography . Consider how light enters the scene and how it affects the subject matter. Look for interesting patterns and contrasts in the shadows.
• Composition : Composition is key to creating a stunning black and white image. Consider the placement of the subject within the frame and how it interacts with the negative space. Experiment with different angles and perspectives to find the most visually interesting composition.
• Tone and Texture : Tone and texture can add depth and dimension to your black and white image. Look for interesting patterns and textures in the subject matter and consider how they can be highlighted in the final image.
• Mood : The mood of the image is the emotional response that the viewer has to the photograph. Consider how the subject matter, light, and composition can be used to create a specific mood. Some common moods in black and white photography include moody, dramatic, and nostalgic.

By considering these factors, you can create a black and white image that is visually stunning and conveys a specific message or mood.

Using Post-Processing Techniques

In the world of digital photography, post-processing techniques have become an essential aspect of creating stunning black and white images. The process of converting a color image to black and white can be quite challenging, but with the right tools and techniques, it can be done effectively.

Here are some tips for using post-processing techniques to create outstanding black and white images:

• Conversion Options: There are different conversion options available in photo editing software, including desaturation, grayscale, and channel mixer. Each option has its unique characteristics and can produce different results. It’s essential to experiment with each option to determine which one works best for your image.
• Adjusting Tones: After converting your image to black and white, you can adjust the tones to create a more dramatic effect. This can be done by using the curves or levels tool to darken or lighten specific areas of the image. It’s also essential to pay attention to the mid-tones, as they can make or break an image.
• Contrast: Contrast is a critical element in black and white photography , and it can be adjusted using the contrast tool in photo editing software. Increasing contrast can make an image appear sharper and more defined, while decreasing contrast can create a softer, more ethereal look.
• Clarity and Definition: To enhance the clarity and definition of an image, you can use the clarity tool in photo editing software. This tool can help bring out the details in an image and create a more dynamic and engaging photograph.
• Noise Reduction: Noise can be a significant issue in black and white photography , especially when shooting at high ISO settings. You can use noise reduction tools in photo editing software to reduce the noise in your image and create a smoother, more professional-looking photograph.

By following these tips, you can use post-processing techniques to create stunning black and white images that capture the essence of the scene and evoke emotion in the viewer.

Famous Black and White Photographers and Their Work

Ansel adams and his landscapes.

Ansel Adams is widely recognized as one of the most influential black and white photographers of the 20th century. Known for his stunning landscapes, particularly of the American West, Adams’ work is characterized by its sharp contrasts, deep blacks, and bright whites.

Adams’ use of photographic chemistry played a significant role in achieving the dramatic tones in his images. He famously used a technique known as “zone system,” which involved careful control of exposure and development times to create a wide range of tones within an image. By meticulously adjusting the amount of light that hit the film and the duration of the developing process, Adams was able to produce prints with a rich range of tones, from deep blacks to bright whites.

Adams also experimented with alternative photographic processes, such as using various toners and bleaches to achieve unique effects in his prints. His commitment to exploring the full range of possibilities offered by photographic chemistry helped to push the boundaries of black and white photography and influenced generations of photographers to come.

Overall, Ansel Adams’ mastery of photographic chemistry was a key factor in the creation of his iconic landscapes, and his work continues to inspire and captivate viewers today.

Steve McCurry and His Portraits

Steve McCurry is a well-known American photographer who has captured some of the most iconic portraits in the history of black and white photography . He is best known for his stunning portrait of the “Afghan Girl,” which has become one of the most recognized images in the world.

McCurry’s portraits are characterized by their emotional depth and the way they capture the essence of the human spirit. He has a unique ability to connect with his subjects and capture their stories through his lens. His portraits are not just about capturing physical likeness, but also about revealing the inner world of the subject.

One of the key elements of McCurry’s portraits is the use of light and shadow. He is a master of using light to create mood and drama in his images. He often uses low-key lighting to create a moody and dramatic effect, which helps to emphasize the subject’s emotions and character.

Another important aspect of McCurry’s portraits is his use of composition. He has a keen eye for composition and is able to create images that are both visually striking and emotionally powerful. He often uses the rule of thirds to create a sense of balance and harmony in his images, while also using negative space to draw the viewer’s attention to the subject.

Overall, Steve McCurry’s portraits are a testament to the power of black and white photography . His images are able to capture the essence of the human spirit and tell powerful stories through the use of light, shadow, and composition.

The Timeless Appeal of Black and White Photography

The timeless appeal of black and white photography lies in its ability to evoke emotions and convey meaning through the use of contrast, texture, and form. This timeless quality is evident in the work of many famous black and white photographers, who have used the medium to capture some of the most iconic images of the 20th century.

One of the key factors that contributes to the timeless appeal of black and white photography is its ability to strip away the distractions of color and focus the viewer’s attention on the subject at hand. This can be seen in the work of photographers such as Ansel Adams, who used black and white to capture the majesty of the American West, and Robert Capa, who used the medium to document some of the most significant events of the 20th century.

Another factor that contributes to the timeless appeal of black and white photography is its ability to evoke a sense of nostalgia and memory. This is particularly evident in the work of photographers such as Dorothea Lange, whose images of the Great Depression have become iconic symbols of a bygone era.

Finally, the timeless appeal of black and white photography is also due to its ability to transcend cultural and social boundaries. This is evident in the work of photographers such as Henri Cartier-Bresson, who used the medium to capture the human condition in all its complexity and diversity.

Overall, the timeless appeal of black and white photography lies in its ability to capture the essence of the human experience and convey meaning through the use of contrast, texture, and form. This timeless quality is evident in the work of many famous black and white photographers, who have used the medium to capture some of the most iconic images of the 20th century.

The Future of Black and White Photography in the Digital Age

As technology continues to advance, the future of black and white photography in the digital age is a topic of much discussion. While digital photography has become increasingly popular, many photographers still prefer the traditional process of black and white photography .

One of the main advantages of digital photography is the ability to easily edit and manipulate images. However, this also means that the integrity of the image can be compromised if the photographer is not careful. In contrast, black and white photography relies on the careful selection of shades of gray to create a unique image.

Another advantage of digital photography is the ability to shoot in color and then convert the image to black and white. This allows the photographer to have more flexibility in their shooting process. However, this also means that the photographer must have a strong understanding of color theory and how it will translate to shades of gray.

Despite the advances in digital photography, many photographers still prefer the traditional process of black and white photography . This is because the process of creating a black and white image is a more deliberate and intentional one. It requires the photographer to carefully consider the composition, lighting, and subject matter of the image, as well as the way in which these elements will translate to shades of gray.

In conclusion, while digital photography has many advantages, the future of black and white photography in the digital age is still bright. As long as photographers continue to appreciate the unique qualities of this traditional process, black and white photography will continue to be a valuable and important aspect of the art form.

1. What is black and white photography?

Black and white photography is a photographic technique that uses a black and white or monochromatic color scheme to produce images. Unlike color photography, which captures the full spectrum of visible light, black and white photography records only the intensity of light, producing images that are rich in contrast and shading.

2. What is the chemistry behind black and white photography?

The chemistry behind black and white photography involves the use of light-sensitive chemicals, known as silver halides, to capture an image. When exposed to light, these silver halides break down and form silver particles, which are then developed into a visible image. The amount of silver that is produced depends on the intensity of the light that is present, creating the tonal range and contrast in the final image.

3. How is black and white film different from color film?

Black and white film is different from color film in that it contains only one type of light-sensitive chemical, silver halides, whereas color film contains three different types of chemicals that are sensitive to red, green, and blue light. This difference allows color film to capture the full spectrum of visible light, producing color images.

4. What are the advantages of black and white photography?

Black and white photography has several advantages over color photography. It is often considered to be more artistic and timeless, and can be used to create a specific mood or atmosphere. Black and white images can also be more easily manipulated to create a desired effect, and are often preferred for high-contrast or low-light situations.

5. What are some tips for taking good black and white photographs?

Some tips for taking good black and white photographs include paying attention to the composition and lighting of the scene, experimenting with different film speeds and developers, and considering the subject matter and intended mood of the image. Additionally, shooting in RAW format can give you more flexibility when processing the image later.

Photographic Chemistry : The Process of Producing Photographs ।। Chemniverse

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Making a photographic print using silver halides

In association with Nuffield Foundation

Try this practical or demonstration to create a photographic image of an object using light sensitive silver chloride

The light sensitive silver halides, silver chloride, silver bromide and silver iodide, are used to make photographic film and photographic paper. In this experiment, students produce photographic paper coated in silver chloride by bringing solutions of silver nitrate and potassium chloride solutions into contact on the paper in the absence of light. They can then obtain a photographic image of an object placed on it when the paper is dried and exposed to strong light.

Depending on the availability of a darkened room, this experiment can be done either as a demonstration or a class experiment. It may even be possible to do it successfully in an open laboratory if the paper can be protected from strong light once the silver nitrate solution has been applied to it, and during the final drying.

Before producing the photographic paper, the formation of the insoluble silver halides as precipitates on mixing silver nitrate solution with solutions of potassium chloride, bromide and iodide in test tubes should be demonstrated or done as part of the class experiment.

On placing the test tubes containing the precipitates in strong light – eg on a window sill – the silver chloride darkens rapidly. The change is much slower with the silver bromide and iodide produced in this way.

When done as a demonstration, these experiments should take about 10 minutes, excluding light exposure time.

• Eye protection
• Protective gloves (preferably nitrile gloves)
• A square of white paper, about 10 x 10 cm, or a filter paper of similar size
• Small paint brushes, x2
• Test tubes, x3
• Test tube rack
• Hairdryer (see note 5 below)
• Ultraviolet light source (optional) (see note 6)
• Potassium chloride, 10 cm 3
• Potassium bromide, 5 cm 3
• Potassium iodide, 5 cm 3
• Silver nitrate, 10 cm 3

Health, safety and technical notes

• Read our standard health and safety guidance.
• Wear eye protection throughout.
• Potassium chloride, KCl(aq), potassium bromide, KBr(aq) and potassium iodide, KI(aq), solutions are all LOW HAZARD. Solutions of the sodium salts can be used in place of the potassium salts. See CLEAPSS Hazcard HC047b , plus CLEAPSS Recipe Book RB068 and RB072.
• Silver nitrate solution, AgNO 3 (aq), is LOW HAZARD at this concentration but will still stain skin, clothing and some bench materials. The silver nitrate solution should be made up using distilled or deionised water as the chloride content of tap water gives a cloudy solution due to the formation of a small amount of silver chloride. See CLEAPSS Hazcard  HC087 and CLEAPSS Recipe Book RB077 for further information and disposal instructions.
• Ensure the hairdryer has had a portable electrical appliance test.
• The UV light source should be a safe UVA, or so-called ‘blacklight’, lamp such as that used for locating spots in chromatography. Shield the lamp so that it cannot be viewed directly.

Silver halide precipitates

• Place about 5 cm 3  of potassium chloride, potassium bromide and potassium iodide solution in three separate test tubes.
• To each solution add about 1 cm 3  of silver nitrate solution. A silver halide precipitate forms – ranging in colour from white (silver chloride), to cream (silver bromide) and yellow (silver iodide).
• Place the test tubes containing the precipitates in strong light – eg on a window sill. After several minutes, depending on the light level, the silver chloride darkens to a dark grey colour as metallic silver forms. The other two silver halides change much more slowly, if at all, under these conditions.

Photographic paper

• Paint one side of the piece of paper with some of the remaining potassium chloride solution. Dry the paper with a hair dryer.
• In a darkened room, or shielding the paper from as much bright light as possible, paint the same side of the paper with some of the remaining silver nitrate solution, using a different brush. Dry the paper with a hairdryer.
• Put your chosen object (preferably something flat, with a sharp outline eg a coin or a key) on the treated side of the paper and place it in bright sunlight or under UV light until the exposed part of the paper darkens. Do not look directly at the UV light.
• Remove the object and the light source. An image of your object should be visible on the paper.

Teaching notes

The precipitation reactions forming the silver halides are also used as tests for the presence of halide ions in solution. The general equation for these reactions is:

MX(aq) + AgNO 3 (aq) → AgX(s) + MNO 3 (aq)

where M = K or Na and X = Cl, Br or I.

Or more simply in ionic form:

Ag + (aq) + X – (aq) → AgX(s)

The decomposition of the silver halides in light is a photochemical redox reaction in which an electron is transferred from the halide ion to the silver ion, forming silver atoms and chlorine atoms:

AgX → Ag + Cl

The formation of metallic silver causes the darkening of the areas exposed to light. In photography the exposed paper is then ‘fixed’ to remove the unexposed silver chloride.

Digital photography has of course now largely replaced silver-based film for home photography.

Additional information

This is a resource from the  Practical Chemistry project , developed by the Nuffield Foundation and the Royal Society of Chemistry.

Practical Chemistry activities accompany  Practical Physics  and  Practical Biology .

© Nuffield Foundation and the Royal Society of Chemistry

• 11-14 years
• 14-16 years
• 16-18 years
• Practical experiments
• Demonstrations
• Redox chemistry
• Applications of chemistry
• Reactions and synthesis

Specification

• (t) the identification of Li⁺, Na⁺, K⁺, Ca²⁺ and Ba²⁺ ions by flame tests and Cl⁻, Br⁻ and I⁻ ions by their reactions with silver nitrate solution (including ionic equations)
• (s) the identification of Li⁺, Na⁺, K⁺, Ca²⁺ and Ba²⁺ ions by flame tests and Cl⁻, Br⁻ and I⁻ ions by their reactions with silver nitrate solution (including ionic equations)

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Photochemistry and Pinhole Photography: an Interdisciplinary Experiment

In this Activity, students use an oatmeal canister to make a pinhole camera, load it with black and white photographic paper, and create a paper negative using the camera. This interdisciplinary Activity combines chemistry and art. The reactions in black and white photography are good examples of photochemistry and multiphase chemical reactions, since the light sensitive materials (silver halides) are in the form of a gelatin emulsion of microscopic crystals.

Rigos, A. A.; Salemme, K.; 1999, 76, 736A.

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Processing XP2S in black and white chemistry Posted On 12th August 2020 To Magazine & Film specific

Earlier this year my go-to black and white film of choice had its priced hiked astronomically, making it an un-affordable option for my daily choice. I set about exploring some different options, which included revisiting HP5 (a film, I must confess heretically that I have never gelled with), pushing FP4 to 400, Foma 400 and 200 pushed, and - the film for this short piece - ILFORD’s XP2.

I might not have even reached for a roll of XP2 had I not discovered the experiments of another analogue photographer who was testing developing XP2 in conventional black and white chemicals (easy to do at home) as opposed to C41 chemicals - which is arguably to some photographers a benefit of XP2, in that they can have it processed in any old lab.

A lot has been written on XP2 already , so it doesn't seem worth repeating the good findings of others that is readily available on the web after a simple google. Developing times, and a (subjectively) best option of chemical were already laid out for me. HC110. I had a bottle in the cupboard already - nice.

Spoiler alert

The darkroom is a huge part of my practice. So I should state now, my experiments all pivoted around how these negatives would print in traditional silver-gelatine methods. Spoiler alert! XP2 prints beautifully.

The images here are scans of prints.

XP2 @150iso (HC110 1:49 for 7mins)

Non existent grain

Previous articles had argued that XP2, whilst being a 400iso film, shone brightest when rated between 100 and 200. So, I tried a roll rated about 150.

These negatives DO print wonderfully. XP2 has been praised for its virtually non-existent grain. Pulling the film only enhances this. I honestly struggled to focus my enlarger properly because the grain just wasn't there.

I'd argue that XP2 pulled a stop or two actually morphs 35mm film into near medium format quality. I haven't tried it, but I would imagine doing the same with 120 film would create negatives that could be printed like large-format. To some photographers I think this could/should be a huge benefit of XP2. The tonal range and lack of grain is wonderful. For me, I was looking to replace a 400iso film known for its grain. I shot a couple of rolls of XP2 rated at 200 on the same day as some Tri-X for a small project. The XP2 really looked a lot different when juxtaposed. Milky, and lacking grit which I do feel is part of my work in small doses.

XP2 @250iso (HC110 1:49 for 8.5 mins)

Fighting the corner

I would also argue at this point that ILFORD already offers an array of fantastic films for those wanting slow or medium speed. I’m not sure I could fight the corner of XP2 in favour of FP4 or Pan F, or Delta 100. Each to their own, of course.

So I then shot a roll of XP2 around 400iso. And here my prints looked more familiar. In fact I recently was browsing negatives and was almost shocked to remember that an XP2 print (below) hadn't been made from Tri-X. At 400iso grain starts to appear though is far from obtrusive. Based on my initial printing, I could confidently use XP2 as a 400 film for my daily uses.

The initial article on XP2 in black and white chemistry had remarked how well XP2 pushes and remains relatively grainless at 800 and 1600, so I had to try that too. And this, I could argue, is where XP2 reveals itself as a serious gem, and potentially invaluable tool for photographers.Rated at 1600iso and developed in HC110 for the appropriate time, the negatives are as well defined, grain-pleasing, and maintain acceptable contrast as you might expect for 400 iso film. They’re actually less grainy than my Foma 200 negs. To clarify here…. XP2 rated at 1600 is less grainy and just as manageable in the darkroom as a 200iso film!

XP2 @1600 (HC110 1:49 for 19mins) (worth noting that this is an inherently contrasty scene!)

An incredibly malleable film

I wouldn’t hesitate to use XP2 as my go-to 1600iso film. There is no doubt in my mind that this film has more to offer at that speed that HP5, and probably TRI-X. It seems to abstain from building up too much contrast, and is smooth enough to probably allow as much enlargement as would ever be done to 35mm negs anyway.

So where does this leave me with XP2? My experiments aren't over. But I think the important finding here is that XP2 is an incredibly malleable film.

I can’t think of another film which truly works brilliantly at 100 right up to 1600. Not like this. One just has to have a solid ambition in mind when decided how to use XP2. Want medium-format quality with the economy of 35mm? Rate XP2 @ at 100-200 and you’ll be happy. Want a film for concert photography or indoor shooting like weddings etc? XP2 can be your 1600 baby.

As for me, I’d like to use XP@ at 400 and 800 for a little longer. I’d also like to try it for some natural light portraits and see how it performs. But aside from remarks that have been made about the lessened archival properties of film stocks of this type (vs traditional b&w), I don’t need convincing that XP2 is my preferred stock from ILFORD for a fast street-photography option.

Passing the baton

I would love to pass the baton to a reader who has a real taste for HP5 and has learned to use and develop it well, as I think a direct HP5 vs XP2 at 200, 400, 800, 1600 would be really interesting!

Thanks for reading!

About The Author

Charles Cave

Charles Cave is a photographer and musician from London. Charles fired through his first awful 10,000 photos during his late teens and early twenties, but it was only in the last two years that his work settled into its own skin and found a distinctive style. Charles makes quiet, inward-looking work, trying to find strangeness in the ordinary without much reliance on ‘tricks’. It is street-photography only in so much as much of it is made in public places. Working as a musician for the past decade has enabled a lot of travel around the world, and so Charles’ photos are tied by a feeling or style more than they are a place. From his home in North London, when not printing in the darkroom, or out make new work, Charles fosters dogs.

Follow Charles on Instagram

Check out his Website

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Brightest Lumen

Black And White Photography in Chemistry

Black and white photography has been an important tool in chemistry since the early days of the science. In fact, some of the most iconic images in the history of chemistry are black and white photographs. While color photography is now possible, there are still many instances where black and white photography is preferable.

In a world of ever-growing digital technology, it’s easy to forget that some of the most stunning images are created using traditional methods. Black and white photography is one such example. There’s something about black and white images that can convey emotion and feeling in a way that color photos often cannot. Maybe it’s the simplicity of the palette, or the way that shadows and light are used to create contrast. Whatever the reason, black and white photography has a timeless quality that is truly captivating. And while you might not think of chemistry when you think of black and white photographs, the two actually have quite a bit in common. Both involve careful experimentation with different elements in order to create beautiful results. So next time you’re looking for inspiration, don’t forget to look to the past – black and white photography is definitely worth your attention!

Darkroom black and white film photography chemistry

What is White And Black Photography in Chemistry?

In photography, white and black refers to the tones in an image. Images can be made up of a range of tones from very dark to very light. Black and white photography is usually referring to images that have had all their color removed, resulting in an image made up only of shades of grey. There are many reasons why photographers might choose to convert their images to black and white. It can be used for artistic effect, or to create a certain mood or atmosphere in an image. It can also be useful when trying to convey a message or story without the distraction of color. Converting an image from color to black and white is relatively simple using most photo editing software. However, it takes a bit more skill and knowledge to produce a high quality black and white image. There are several things that need to be taken into account, such as contrast, tonal values and composition. If you’re interested in learning more about black and white photography, there are plenty of resources available online and in books. Once you’ve mastered the basics, you’ll be able to create stunning images that have real impact.

How is Chemistry Used in Photography?

In photography, chemistry is used in a process called developing, in which a photographer uses chemicals to develop film or paper negatives into positives. This process allows photographers to control the contrast, density, and other properties of their images.

What is Black And White in Photography?

In photography, black and white is the use of one color channel. Black and white photography can be used for a number of reasons, including to create an old-fashioned or vintage look, as well as to emphasize contrast. Black and white photos are also often more striking than their color counterparts.

Which Compound is Used in Black And White Photography With Formula?

Black and white photography is typically associated with a compound called silver halide. This substance is used in photographic film and paper, and it is sensitive to light. When exposed to light, the silver halide molecules are broken down and release silver atoms. These atoms interact with the light to create an image on the film or paper.

Credit: www.bigstockphoto.com

What is Black And White Photography in Chemistry Class 10

Black and white photography in chemistry class 10 is a process of taking photographs using black and white film. This type of photography can be used to create some really stunning images. When done correctly, black and white photos have a way of capturing the world in a completely different light. They can make the ordinary look extraordinary. If you’re interested in trying your hand at black and white photography, there are a few things you’ll need to know first. Here’s a quick rundown on what you need to get started: 1. Black and white film – You’ll need to purchase some black and white film for your camera. This can be found at most camera stores or online. 2. A darkroom – To develop your film, you’ll need access to a darkroom. This is usually available through local colleges or community centers. 3. Photography chemicals – These are used in the development process and can be purchased online or at most camera stores. 4. A tripod – Taking sharp photos requires that your camera be absolutely still when the shutter is open. Using a tripod will help ensure that your photos turn out crisp and clear.

Chemistry in Black And White Photography Class 12

In black and white photography, chemistry plays a vital role in ensuring that the final image is correctly exposed and looks its best. By understanding the basics of how chemical reactions work, students can take their photography to the next level. When light hits a piece of film, it causes a reaction between silver halide molecules and photographic developer chemicals. This reaction creates tiny particles of metallic silver on the film, which appear as black areas when viewed through a microscope. The amount of silver deposited on the film depends on the intensity of the light that hit it – brighter areas will have more silver, while darker areas will have less. The developer chemicals also play an important role in how an image looks. Different developers can produce different results, so it’s important to experiment with different brands and types to see what works best for you. For example, some developers may produce images with higher contrast than others. Once the development process is complete, fixed-up chemicals are used to stop any further reactions from taking place. Finally, the film is washed to remove any leftover chemicals and then dried before being cut into negatives or slides.

Chemistry in Black And White Photography Wikipedia

In black and white photography, chemistry is used to develop and print the negative. The chemistry of black and white photography has changed little since the late 19th century. Modern film and paper developers are very similar to those first used by George Eastman in 1878. The main difference is in the quality and availability of raw materials. The chemistry of black and white photography is simple but precise. All you need are three chemicals: developer, fixer, and stop bath. You also need water to mix the chemicals and a darkroom to work in. The first step is to develop the negative. This involves immersing it in developer for a specific amount of time at a specific temperature. The developer reacts with the silver halide crystals in the film emulsion to create tiny particles of metallic silver. These particles form an image that is the negative of what was photographed. Once the negative has been developed, it needs to be fixed so that it won’t fade when exposed to light. Fixer does this by dissolving any unexposed silver halide crystals still in the emulsion. After fixing, rinse the negative thoroughly with water to remove all traces of fixer before moving on to the stop bath. The stop bath acts as a neutralizer for any residual developer left on the film or paper before it enters the fixer stage. It also slows down development so that fixing can proceed smoothly without over-processing .

Chemistry in Black And White Photography Pdf

Few people know that the chemistry behind black and white photography is just as interesting as the art itself. In fact, the chemistry of black and white photography has been studied since the early 1800s. The first step in black and white photography is to coat a piece of paper or film with a light-sensitive material. This material is usually silver halide, which is a compound of silver and one of the halogens (fluorine, chlorine, bromine, or iodine). When light hits silver halide, it causes the release of electrons. These electrons are then captured by an adjacent atom of silver, which creates a new atom of silver. This process continues until there are enough atoms of silver to create an image. The next step in black and white photography is to develop the film or paper. This process makes use of chemicals known as reducers, which convert the tiny particles of silver into larger ones. The larger particles are then deposited onto the film or paper, resulting in a visible image. Finally, the last step in black and white photography is to fix the image. This is done by bathing the film or paper in a solution known as a fixer, which removes any remaining particles of silver halide. Fixing also prevents further darkening of the image when exposed to light.

Chemistry in Black And White Photography Project Class 12 Pdf

Chemistry in black and white photography project is an interesting topic to explore. It involves the study of how different chemicals react with one another to create images on film. This can be a very complex topic, but it is also possible to simplify it and understand the basics. In this blog post, we will take a look at what you need to know about chemistry in black and white photography. First of all, let’s briefly define what black and white photography is. Black and white photography uses only two colors: black and white. The tones in between these two colors are produced by varying the proportions of light reflected off the subject matter. For example, shadows appear darker than their surroundings because less light is being reflected off them. Conversely, highlights appear lighter than their surroundings because more light is being reflected off them. Now that we have a basic understanding of black and white photography, let’s talk about how chemistry comes into play. Every kind of film or paper used in black and white photography contains silver halide crystals. When exposed to light, these crystals change shape slightly and become more reactive to certain chemicals (Developer & Fixer). These changed crystals are then able to produce an image on film when they come into contact with those chemicals during the development process (https://en.wikipedia.org/wiki/Black_and_white_photography). Different types of developers will produce different kinds of contrast in your images depending on how they work with the silver halide crystals (https://photolemur .com/blog/best-black-and-white-film). For instance, if you want higher contrast images with deep blacks and bright whites, you would use a developer that produces what is called “stain.” However, if you want softer images with more subtle shades of gray, you would use a “bleach bypass” developer instead which leaves some silver behind in the film emulsion (https://www .theodora .com/photoschool/darkroom /printing /contrasts .html). There are many other variables that affect the quality of your final image including fixer type, paper surface , printing technique , etc., but hopefully this gives you a better understanding of how chemistry plays a role in black and white photography!

Chemistry in Black And White Photography Introduction

Few people know that the chemistry behind black and white photography is still used today. In fact, many modern photographers use black and white film to give their photos a more classic look. The first thing to understand about black and white photography is that it’s all about light. More specifically, it’s about how different colors of light interact with each other. When you take a picture with a digital camera, the sensor captures all of the colors in the scene. But when you take a picture with black and white film, only certain colors are captured. For example, blue and red light will be recorded as different shades of gray on black and white film. But green and yellow light will be recorded as the same shade of gray. This is because green and yellow light have very similar wavelengths. As a result, they produce similar reactions in the photographic emulsion (the part of the film that reacts to light). So how do photographers control which colors are captured on film? By using filters! Different color filters allow different colors of light to pass through while blocking others. For example, a red filter will allow red light to pass through while blocking blue and green light. This means that objects that reflect a lot of blue or green light will appear darker in your photo than they actually are. Meanwhile, objects that reflect red light will appear brighter than they actually are. You can use this to your advantage when taking pictures by carefully choosing which objects you want to highlight or hide in your photo.

Chemistry in Black And White Photography Ppt

Black and white photography has been around since the early days of the medium. Although color photography has become increasingly popular, there are still many photographers who prefer black and white. There are a number of reasons for this, but one of the most important is that black and white can be very evocative. A black and white image can convey a feeling or mood that is difficult to achieve with color. When done well, black and white photographs can have a timeless quality. They can also be more visually striking than color images, due to the contrast between light and dark tones. Of course, not all subjects lend themselves well to black and white treatment. But when it comes to portrait or landscape photography, for example, black and white can be incredibly effective. If you’re thinking about trying your hand at black and white photography, here are a few things to keep in mind. First, pay attention to tonal values. A good black and white image will have a full range of tonal values from deep blacks to bright whites. This can be achieved by using a proper exposure technique (more on that below) or by post-processing your images in software like Adobe Photoshop. Second, use contrast judiciously. Too much contrast can make an image look harsh, while too little can make it look flat. Experiment with different levels of contrast until you find something that looks pleasing to your eye. Third, don’t be afraid of shadows! In fact, they can often add depth and interest to an otherwise mundane scene. Play around with lighting until you find an effect that you like; sometimes backlighting works well for creating interesting shadows . . . just make sure your subject isn’t underexposed as a result!

We all know that certain chemicals are used in the development of black and white photography. But did you ever stop to think about how those same chemicals might be used in other ways? For instance, what if we could use them to create beautiful works of art? It turns out that many of the chemicals used in black and white photography are also used in the world of art. Artists have been using them for years to create stunning pieces of artwork. And now, with the help of modern technology, we can use these same chemicals to create beautiful black and white photographs. So, if you’re looking for a new way to add some creativity to your photography, why not try using some of these chemical compounds? You might be surprised at the results!

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The chemistry of black & white photography

I’ve been practising traditional silver-based black & white photography for a couple of years but today it occurred to me that I don’t really know what is going on with the various chemicals. It’s just a process of remembering which bottle is which. I had a vague idea of what was going on, but I decided to look it up – and summarise it here.

The light-sensitive film (or paper) contains crystals of silver halide , which is light sensitive. At this point, the film is opaque grey. When light hits the film, the silver halide crystal splits into a silver ion and a bromine atom.

Ag + Br – (crystal) + hν (radiation) → Ag + + Br + e –

Then, the silver ion recombines with the free electron to give an atom of metallic silver.

Ag + + e – → Ag 0

After exposure, there is an image on the film made from a tiny quantity of metallic silver. This is known as the latent image . It would be invisible to the eye and the film is still dull and opaque. For an individual grain of the silver halide emulsion to count as “exposed”, at least two photons must have interacted with it, to form small silver crystals consisting of two or more silver atoms.

Development

The purpose of developer is to amplify the latent image. The chemical composition of developer varies and is complicated so I won’t go into it here – other than to say that it promotes silver crystal growth where the small silver crystals already exist.

After development, the latent image has been converted to an actual image, made of metallic silver crystals. It appears black, although the film itself is still opaque.

Even after taking the film out of the developing solution, it continues to develop (your hands are still wet after taking them out of the sink, right?) so a stop bath is used to halt development. Developing requires an alkaline environment to work, so stop bath is simply a weak acid – usually acetic acid.

The stop bath causes no other changes to the film.

Although we have now developed the film and ended up with a black image in metallic silver, the areas of the film that were not exposed to light are still opaque, and still sensitive to light. Bathing the film in fixer dissolves the unexposed silver halide, leaving a near-transparent film backing that is not sensitive to light. At this stage, you can take the film out of the developing tank and look at it in daylight.

So far, we have ended up with either a film or a print which has an image made from metallic silver. If there’s one thing we know about silver, it’s that it tarnishes. Depending on the storage conditions, silver prints may degrade with time. Toning the image serves two purposes: it improves the longevity of the image, and it can produce the colourful sepia effects.

Various toners exist, but they all work in the same way. They react with the silver to produce silver salts, such as silver sulphide which is more stable then pure silver. It is also slightly brown in colour, hence the sepia tone.

• http://www.cheresources.com/photochem.shtml
• http://en.wikipedia.org/wiki/Photographic_developer
• http://en.wikipedia.org/wiki/Photographic_print_toning

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3 thoughts on “ the chemistry of black & white photography ”.

I’m ashamed to say I didn’t know most of that. (Apart from the basics, naturally!)

I run a black and white lab at Laney College and we’re starting to get black spots on both the front and back of the prints as soon as the print hits the holding bath. All the chemistry has been freshly made and all the tongs are new and there’s nothing that can be seen in the water.

You mean there are no marks on the print as it leaves the fixer, and they appear when it comes into contact with water? That sounds odd :S

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