Forensic Photography (Handouts)

Subject Instructor: Daisy Valerie M. De Ramos

(Final Term)
DARK ROOM PROCEDURE AND FILM PROCESSING
A. The process of film and enlarging of negatives can only be done in a
properly darkroom. 
DARKROOM 
    It is a room that can be made completely dark to allow the processing of
light sensitive photographic materials, including photographic film and
photographic paper. Darkrooms have been created and used since the
inception of photography in the early 19 century. Darkrooms have many
th

various manifestations from the elaborate space used by ANSEL ADAMS to a

retooled ambulance wagon used by TIMOTHY H> O”SULLIVAN. From the
initial development to the creation of prints, the darkroom process allows
complete control over the medium. Another use of darkroom is to load film in
and out of cameras, development spools, or film holder, which requires

complete darkness. 

CHANGING  BAG 
    The changing bag is a small bag with sleeved arm holes specially designed
to be completely light proof and used to prepare film prior to exposure or
developing.
    

DEVELOPING TANK 
    It is a light – tight container used for developing film. A developing tank
allows photographic film to be developed in a daylight environment. This is
useful because most film is panchromatic and therefore cannot be exposed
to any light during processing. Depending upon the size and type, a
developing tank can hold one too many roll or sheets films.
TYPES OF DEVELOPING TANK
1. STAINLESS STEEL REEL – 
    

2. PLASTIC REEL 

   

After the camera work is done, getting to the final picture is generally a two –
step process:
1. Production of the negative from the exposed film; and
2. Production of the positive, or print from the negative.
In developing either film or paper, there are three factors to consider:
1. TYPES OF SOLUTION
 There are various developers for black and white films, some are
general purpose for developing a wide range of films and other are
designed for fine grain, better contrast, or faster emulsion speed. Some
of the standard speed developers are:
a. KODAK d-76 – one of the more popular film developers. D - 76 gives full
emulsion speed, maximum shadow, detail, normal contrast, and good
grain characteristics.
b. KODAK MICRODOL – X – known for the finer grain and high sharpness
of Kodak image detail it produces. 
c. KODAK HC 110 – a liquid concentrate that can be diluted to make six
different working solutions to process a wide variety of films. It has
good grain, long density scale and good shadow detail.
d. KODAK T – MAX – a normal contrast, general purpose developers for
use with KODAK T – Max film.
e. KODAK TECHNIDOL – designed especially for KODAK TECHNICAL PAN
FILM.
f. ILFORD ID – II PLUS – similar to Kodak d-76 and offers increased
shadow and middle tone brilliance.
g. AGFA RODINAL – one of the oldest developing formulas in use. It is
known for the sharpness it produces on slow to medium speed films.
2. TEMPERATURE
The ideal temperature for standard developers ranges from 68 degrees to as
high as 80 degrees Fahrenheit. It is best to develop at the
recommended temperature of the film to ensure satisfactory result. 
3. TIME
The time factor is very important in developing. Time is variably,
depending primarily upon the particular film – developer
combination involved. If should be noted that the longer the
developing time, the more silver is formed and the blacker the
image becomes. Foe newly mixed D- 76 developers, the normal
developing time is 5-6 minutes. For newly mixed DEKTOL
developers the unusual time is 1 – 1 ½ minutes.
4. AGITATION 
The purpose of agitation is to flow exhausted developers away from the
emulsion surface and at the same time bring fresh developer into
contact with the film.
B. DEVELOPMENT PROCEDURE
STEPS / PROCESS IN DEVELOPING BALCK AND WHITE FILM
    In the development process of black and white film, it normally undergoes four
important processes that should not be over – looked by the photographer.
Following these processes insures satisfactory pictures. The four processes of
developments are:

1. DEVELOPMENT – 
Development is the called process of reduction in the emulsion. Exposed silver
halides are reduced into metallic silver. A developing solution normally
contains:
  DEVELOPING AGENT – developing agents usually contains the metol
and hydroquinone. METOL is used in many modern developers. It is
considered as “soft working” developing agent giving maximum
shadow detail but low contrast. Because it yields great shadow
detail, metol is used in many fine grain films. HYDROQUINONE is a
high contrast producing solution. 
 PRESERVATIVES – the purpose of the preservatives is to protect the
developing agents against aerial oxidation, prevents the formation
of staining developer products on the gelatine, acts as a silver
halide solvent and increases the rate of development and density.
The usual chemical solution is SODIUM SULFITE.
 ACCELERATOR – to speed up the process of reducing silver halide
into metallic silver, alkali – accelerating agent such as SODIUM
CARBONATE and BORAX are added to soften the emulsion.
 RESTRAINER – during the process of reduction the developing agent
may change unexposed silver halides into black metallic silver
known as fogging. In order to minimize such fogging effect and to
control the continuous reduction process, PTASSIUM BROMIDE is
added to the developer. The potassium bromide lowers the degree
o ionization of the developing agent thus retrains the development.
 NOTE:  1:3 chemical to water mix. That is 1 part developer to 3 parts
water.

2. STOP BATH –this is an intermediate bath between the developing

solution and fixer. Stop bath instantly neutralizes the action of the
developer and stops any further development. It neutralizes the
alkalinity of the developer and prolongs the useful life of the fixing
bath. It reduces the defect known as “pinholes” (minute transparent
spots or holes in the emulsion). Stop bath solution is usually weak acid
solution like acetic acid and vinegar.

 NOTE: 1:3 chemical to water mix. Mix the stop bath and water and
store in gallon jug. This is a working solution.

3. FIXATION OR FIXER 
This is called the process of removing unexposed silver halides
remaining in the emulsion after the first stage of development of the
latent image. The fixing bath is employed to prevent darkening of the
image and to assure the permanency of the developed image.
 SOLVENT SILVER HALIDE OR “HYPO” – hypo solution is to convert
the excess silver halide into soluble compounds so it may be
removed and prevent the darken of the image formed by the
developer.
 ANTI – STAINING AGENT – the purpose of the anti – staining agent
is to neutralize the alkali in the developer carried over in order to
prevent oxidation and staining. The usual chemical use is acetic
acid.
  PRESERVATIVES – the common chemical use is sodium sulphite
to prevent precipitation of sulphur and also assists in preventing
the oxidation of the developing solution carried over in the fixing
bath.
 HARDENING – the usual chemical mixed is alum that helps in
hardening the gelatine that has soften during the developing of
the image.

 NOTE: 1:4 chemical to water mix. Mix the fixer and water together and
store in a gallon jug. This is also a working solution.

4. WASHING AND DRYING

Washing although uses only plain tap water is as important as
the first three processes. Thorough washing  is necessary to remove
any fixing agent and hypo cleaning bath. Failure to properly wash a
negative may result in brownish – yellow stains and may cause the
image to fade.
Again as with the other three processes, the temperature should
be check. The temperature of water used for washing should be 68
degrees Fahrenheit. Water at temperatures higher than 75 degrees
Fahrenheit can cause the emulsion to frill or reticulate.
The rate of washing for paper depends upon the degree of
agitation and the amount of fresh water that comes in contact with the
emulsion. Usually the washing time range from 15 to 45 minutes. For
negatives, the minimum washing time in running water is twenty (20)
minutes.

PROCESSING COLOR FILM

    All of the light sensitive emulsions in color film are basically silver
bromide. So when color film is first developed, it is just like black as
conventional panchromatic film. The only difference is the additional
chemical needed to achieve the actual color of the objects.
1. DEVELOPING 
After exposure, the film is developed in a conventional type of
developer. As a result of this development, there will be superimposed
negatives in layers 1, 3 and 4. In each negative, the density will be
proportional to the color to which the emulsion was sensitized.
2. SECOND EXPOSURE
The next step is to expose the developed but not fixed film to
strong white light. This second exposure in a sense reverses the first.
Where there is a dense area of silver produced by the first exposure
and development, there is very little unused silver bromide left, so that
the second exposure has practically no effect. On the other hand, if the
first exposure produced no silver deposit in any area of the picture, all
the silver bromide is still unchanged, and it will be strongly affected by
 the second exposure. This situation is very similar to that existing
when photographic paper is exposed through a negative.
3. COLOR DEVELOPING 
After the second exposure, the film is immersed in a special type
of developer called color developer. Remember, up to this point we
had no color. The first developer image is made of silver and is,
therefore, black. A color developer is a special developer that can
combine with certain chemical compounds in the various emulsions to
form colors or dyes in direct proportion to the amount of silver being
produced by the developing action. These compounds are called
COLOR COUPLERS. What happens in color developing then, is that
colored dyes are formed in the emulsion that received the second
exposure while the positive image is being developed.
4. BLEACHING 
After the second development, layer 1 has a yellow dye image,
layer 3 has a magenta dye image, and layer 4 has a cyan dye image.
In addition, substantially all silver bromide has been converted to silver
so that the film as a whole is practically opaque. The next step is to
bleach out the silver, leaving only the dye images. 
5. FIXATION
The final step in the development of color film is to make the
images permanent by fixing the bleached silver.
DRYING OF NEGATIVES AND PAPER   
The final step in processing a negative is a to the wet film. Upon completion
of washing, the film should be gently sponged on both surfaces with a wet
viscose sponge or wet absorbent cotton. This removes all dirt sludge.
Following the sponging, rinse the film and remove the water from the
surface with a sponge, chamois, cotton, or squeegee.
After wiping the negative with sponge, the film should be attached to a line
with a film chip holder or clothespin. It should hand by one corner   of one
end in a good circulation of dry   air and should be allowed to dry without
being disturbed.
The drying rate of films depends upon the humidity, temperature and
amount of air circulation over the film surface .The film may be mechanically
dried by using a forced flow of air.
PRINTING AND ENLARGING PROCESS
The final process in making a photograph is printing and/or
enlarging .Photographers produce prints by either of two methods: contact  
printing or projection printing. The contact method works for making prints of
exactly the same size as the negative. Using   this method, they place the
emulsion side of the negative in contact with the printing material and
expose the two together to a source of light. Photographers with 35 –
millimetre cameras commonly use this method to print is called a CONTACT
SHEET, which shows all the exposures from a single roll of film in small size.
    For projection printing, photographers first place the negative in the
enlarger and place a piece of sensitized material on the flat easel as its base.
Switching on the enlarger light source projects a enlarged image of the
negative onto the paper. An aperture on the enlarging lens controls the
exposure, along with a timer connected to the enlarger light. The exposure
commonly lasts from ten seconds to a minute. By blocking part of the light
source with hands or small tools, the photographer can reduce or increase
the amount of light falling on selected portions of the image, thus lightening
or darkening those areas in the final print. This technique is known as
DODGING used to lighten an area and as burning when making it darker.
    For either printing process, prints are made on sheets of paper or plastic
that has been coated with light sensitive emulsion. This coating is similar to
that used for film but is much less sensitive to light. After exposing that print,
the photographer can then develop and fix the positive image by a process
very similar to that used for developing film. To process black and white
prints, the paper is usually placed in a series of open trays; for color prints, a
drum or automatic roller processor is preferred.