WTH IS THAT?!
This photo is a contact print. A contact print are sort of like paper that you print and you send to a machine, it’s like regular paper but it’s light sensitive instead. Light sensitive paper is made from little pieces of silver that when are activated by a light they “burn” a part of the paper to create an image. Kind of like when you leave a heart shape paper on your skin and that part stays that original color while the rest of your skin is burned.
They are made from developed 35mm negatives, in this case, i am using black and white film but, you can also use color. To create these sheets you need an enlarger, an art board with glass and light sensitive paper (i’m using 8 x 10). First you have to know how to use an enlarger, which might be for a different post but, you use all three together in a darkroom to create your print. To get a good contact print you have to learn from your 35mm camera how to use a light meter which makes it easier when trying to print a contact print since then all of the pictures that you take are the same exposure and no picture is under or over exposed (which means either too dark or too light).
Contact prints are a good way to see all of your negatives at once before you print them individually if you do so. It’s also a good way to see how long your light needs to shine on the paper to create the image(each one will most likely be a different time depending on however bright the thing is that you took a pic of). At first I would do a test strip to see how long I need to print my negatives and use that so I don’t waste paper, since a box of 100 sheets of light sensitive caper can cost up to $110 (wow real expensive), so you want to be very sparing on paper but, once you have the print now, it’s time to develop the image.
First you start with developer and pour it into a tray with tongs. Let it sit for a minute and 30 seconds, then switch it over to a tray with stop bath. This stops the paper from developing your image and making sure the entire paper has developed, after 30 seconds you put it in fixer for two minutes, this ensures that the develop process is fully stopped (even though you put it in stop bath),it makes the print last a very long time, no matter how long you keep it. then for the last step you let it sit in water for 10 minutes and then stick it in the dryer, and it is good to look at. This is just one of the many ways you can use light sensitive paper and an enlarger to create prints from 35mm film. (ps if you’re wondering what’s on this paper my assignment was objects that look like letters of the alphabet) Follow if you want more tips about film photography and more!
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Hey fellow film enthusiasts! So, you've developed your 35mm film, and now you have those beautiful strips of negatives. What's next? For me, the magic truly begins in the darkroom, especially when it comes to creating my 35mm film contact sheets. It’s not just a technical step; it’s where you truly connect with your work, much like when I was working on my "WHAT I DID IN FILM CLASS" assignment, arranging those 24 small photographs. Let's dive a bit deeper into making sure your contact sheets turn out perfectly. The original post gives a great overview, but I want to share some additional tips I've picked up, especially around getting that exposure just right and avoiding common pitfalls. Mastering Your Test Strips: The Key to Perfect Exposure You know how crucial getting the right exposure is for your photos, right? Well, it's just as important for your contact sheet! My initial guide mentioned test strips, but let’s talk about how to really use them. Instead of guessing, grab a small piece of light-sensitive paper (about 1x8 inches) and cover most of your negatives. Expose a small section for, say, 5 seconds. Then, move your cover to expose a bit more, and expose for another 5 seconds (making the first section exposed for 10 seconds total). Repeat this, creating sections with progressively longer exposure times (e.g., 5, 10, 15, 20 seconds). After developing, you'll see a range of densities. Pick the strip that looks best – not too dark, not too light, with good detail in both highlights and shadows. This tells you your ideal exposure time for the full 35mm film contact sheet. It saves so much expensive paper! Troubleshooting Common Contact Sheet Headaches Even with the best intentions, things can go wrong in the darkroom. Here are a few issues I've faced and how to tackle them: Prints are Too Light or Too Dark: This is usually an exposure issue. If too light, increase your exposure time (based on your test strip). If too dark, decrease it. Remember, consistency is key! Dust & Scratches on Your Prints: Oh, the bane of every film photographer! Always clean your negatives thoroughly before placing them on the enlarger glass. Use an anti-static brush or compressed air. Also, ensure your enlarger glass and the contact print frame glass are spotless. Uneven Development/Stains: This often comes down to improper agitation in your chemical trays. Make sure your developer, stop bath, and fixer are evenly covering the print and gently agitate the tray constantly but smoothly. This ensures all parts of the paper get equal chemical access. Yellowish or brownish stains, especially after fixing, might indicate exhausted fixer or insufficient fixing time. Always follow the manufacturer's recommendations for chemical lifespan and processing times. Safety First in the Darkroom! Working with chemicals requires respect. Always ensure good ventilation in your darkroom. Wear gloves to protect your skin from the developer, stop bath, and fixer. And remember to dispose of chemicals properly – don't just pour them down the drain! Most local photo labs or hazardous waste facilities can guide you on safe disposal. It's a small effort for a big piece of mind. Why Still Bother? The Enduring Charm of 35mm Film Contact Sheets In this digital age, why go through the darkroom process for a contact sheet? For me, it's about the tangible connection to my art. Each 35mm film contact sheet is a unique artifact, a direct print from my negatives. It's an immediate, unfiltered look at a whole roll of film, allowing me to quickly decide which individual frames are worth enlarging. It's also an incredible archival tool. Imagine looking back at a contact sheet years from now, seeing all those tiny moments, just like those "24 small photographs of various objects" I created for my project. They're not just proofs; they're pieces of history, telling the story of your photographic journey. Plus, there's something incredibly satisfying about pulling that print out of the fixer and watching the images magically appear!
