Introduction to Black & White Photography - Stills Gallery

Rob MacKillop

Edinburgh Correspondent
Last night I started a course at the Stills Gallery in Edinburgh. The gallery puts on exhibitions of contemporary photographs in various media. I'm amazed the place exists [four floors!] right in the centre of Edinburgh, two minutes walk (I can do it in less) from Waverley Station and Princess Street.

They also have classes, and even Darkrooms and Media Suites for hire at £12 per day, with a lot of great gear.

Check out their website.

Here is the description of our first of four classes, each three-hours long:

"Week 1 Capture, technical notes, discussions, art context.
Understand the fundamentals of light and time in balancing an accurate exposure; No longer be a slave to the Auto setting! Know how to utilise the Manual functions of their 35mm SLR camera;Understand film types, film speed, depth of field, different lenses and how to use them creatively; Appreciate photography within an art context - Begin to look at the work of other photographers.

Assignment: You will be given a project and one roll of B&W film to be done for the second week "

Although I did an Open University course, an Intro To Digital Photography, there is much about analogue photography I need to revise or have explained. The teacher was a very confident, knowledgeable and entertaining young woman called Morwena Kearsley [Good website: Morwenna Grace Kearsley]. She pitched it just right for all the students. There were five of us, so it wasn't too embarrassing to ask basic questions, and everyone seemed relaxed and quite vocal.

This first week was just a run through the basics of analogue technique, though much of it is of course transferable to digital photography. There were a number of cameras for students to borrow, should they need to, including a Pentax K1000. I brought along my own K1000 plus my big Mamiya. I turned out to be not the only one with a medium format camera - one guy had a beautiful Pentax (or was it a Nikon?!) something or other - sorry for not catching the details! For me, the best part was getting a good grasp of Exposure - I feel much more confident about it now. Reading about it is one thing, but discussing it and practising it is another.

We were given a film of Ilford HP5 400, and instructed to photograph whatever we wanted over the coming week, as next Tuesday evening we will be processing our film.

The evening ended with a discussion of various classic B&W photos and photographers - what made their work so distinctive, what techniques were used and how to spot them. All very interesting.

I spent some free time this morning wandering around Edinburgh, thinking and seeing in black and white, something I found easier to do knowing there was a B&W film in the camera, rather than a digital process waiting for me in my computer at home.

So, a gentle start, with some messy chemical fun promised for next week.
 
Thanks. Yes, it does seem reasonably priced, but apparently it does get busy.

I'll be adding to this as the weeks progress, and - if not too embarrassing! - upload scans of my finished work at the end.
 
OK, here's the account of Week 2 (of four).

Tonight we developed the film we had shot since last week, Ilford HP5 400. I unwound mine, promptly ripping it in two by forgetting to depress the little button on the bottom of the camera body. Not a good start, but the teacher told me not to worry as I could take it out in the darkroom. "It happens to us all" - hmm...

Before going to the darkroom she gave us used film to practice loading into the round plastic wheels. I found it very hard to feel which side was the emulsion, and which wasn't. I thought I could feel it, though, and managed to load the film without difficulty. We did that a few times.

In the darkroom, though, things did not go so well. I just could not get the damn film into the damn wheel. None of us found it easy, but I found it impossible, and, alas, someone had to do it for me. This got me a little upset at myself, but practise is all that is needed.

Next came the chemicals. Sadly after being in the small room for a while I started to feel an asthma attack brewing. I mentioned it to the teacher, and she said that some asthmatics do have a hard time in the darkroom. This was news to me. Anyway, things became quite uncomfortable, and my claustrophobia started to wake up. I just started feeling very uncomfortable and wanted to leave, all the while getting annoyed at myself for feeling this way.

But, we got through the dev-stop-fix process, which took half an hour, but seemed an eternity. We then watched a DVD as the negatives dried. Can't remember who the film was about, as by this time I was feeling quite ill. After that we went home. The negatives hadn't dried in time, so we will see them next week when we are scheduled to make a contact sheet and start basic printing.

On reflection, the day after, I feel I might not be cut out for the processing part. I might well send my films off for processing only, then take them into Stills for development, dodging and burning, etc, the creative part. The processing part seemed purely technical.

Bit of a surprise for me, overall, and a potential setback, but not the end...watch this space.
 
Hmm, not good. I wouldn't worry about the damaged film business, you won't do it again, that is for sure! As for loading spirals, that is just a knack and comes down to manual dexterity. You play the guitar for goodness sake so you have it in shovelfuls so I'm sure it is just the novelty, the dark etc. As you probably noticed, when you take the film out of the cassette, it curls with the emulsion face inwards and so you don't need to feel the right side, it is obvious. Washed and dried film ends up flatter and so handles differently. If Patterson-type spirals don't load quickly and easily (once you've got the hand of getting started) they are probably either dirty or damp (or both) - you can always buy your own.

As for the fumes, that is more difficult. Larry always refers to a darkroom as the fume-room. I have worked in quite a few darkrooms over the years and a good, professional darkroom is well ventilated and not a fume-room in even the remotest sense. If the fumes are building up then it is poorly designed - maybe the one you were using couldn't cope with the number of people at that time. Mine run at 10 - 12 air changes per hour and the extraction vents are above the ares where either wet chemistry is handled or where heat is generated - there are no fumes! If you still have problems then you still have the option of either using a changing bag to load the spirals and then a daylight tank or loading the spirals in a darkroom and doing the processing in a better ventilated area. If that works for you then great, but, as you say, development is just chemistry, the next bit is where the interpretation and art lie.
 
Because my film had not been rewound, it wasn't curving the right way - that doesn't sound right to me this morning, but that is how it was explained to me last night - making it more difficult to thread into the spirals.

The room seemed well ventilated, and no one else was affected by it, so it might have been an asthma-related thing. Kind of put me off going back in there, but I'll definitely be there next week.

It was during a short break that one of the student's pulled out his M9...ahhhh
 
Rob i hope you dont get down on yourself ... ive been there too many times.
Everyone's a natural at something not so natural at many others ... Einstein was hopeless at wood carving :D
I wish i could play guitar as you do but im shiiiiiite.
 
It was 35mm. No need to destroy film, Pete, I know how to do that part myself [doh]

- - - Updated - - -

I should say we had a different teacher from last week, and she confessed that she used to get someone else to do his part for her as she found it difficult. However she does indeed do it herself now, and with apparent ease. So, I'm guessing it takes some people some time to make it seem easy. I'll buy myself a spiral and practice at home. I believe Hasselblad do a solid gold one for £50,000?
 
I used to have an ancient Patterson multi format tank and spiral and had no end of problems getting the film on. I recently bought a new Patterson tank (system 4 or something like that) that had nice new nylon (or some slippery white plastic) spirals. The film goes on really easy with no problems at all. It might be worth investing in your own tank. Mine can take a single medium format film or two 35mm films. The tank and spirals came to less than £30 with delivery.
 
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Your teacher has some interesting images on her website, Rob. Looks like she's done some Polaroid stuff as well. Very interesting stuff.
 
That was the first teacher we had, Morwenna Kearsley. I like her images and her aesthetic outlook a lot. At the moment she has a residency for a year, but I imagine making a living is not easy without such a thing.
 
Rob, I have 3 plastic spirals, 1 of them causes me load of problems!
for MF I found the steel spirals infinitely easier to use.
there is a knack to it, but even when you get ok at it you can guarantee to crease your film on the best photos ...
all fun and games!
if you can't hack the dark room, get a changing bag and go "hybrid" ;)
 
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