ExperimentalTechniquesinPhotography

A beautiful photo, composed in the camera and perfectly printed, is still the primary aim of most photographers. However,
contemporary photography often includes manipulated photographs. Ideally, the projects listed here should be done only
with perfect photos. In reality, these are good uses for the out-throws that might be over- or underexposed or even slightly
stained. Dont ever throw away a photo. Even one tiny portion of it may come in handy later.

CHANGINGTHEALREADY-DEVELOPEDFILM
Burn a negative by holding a lighter under the film until you like what you see. It may burn all the way through, or
just buble the emulsion. Safety note: Do this under controlled circumstances with the teacher.
Draw on a negative with India Ink or a fine-line marker, outlining and creating patterns. These areas will print
white.
Select a section of film, and reticulate it by boiling in baking soda. Hold onto one end with tongs, and repeadly dip
until you see a transformation in the emulsion. Use approximately cup of baking soda per quart of water (it can
be stored and reused).
Use a sharp object and deliberately scratch around the edges of the image on the emulsion side of dry film. These
areas will print black

InTHEDARKROOM
Hold a crumpled piece of tissue paper under the negative in the enlarger. Results are unpredictable, but diffusion
results.
Make a combination print of photogram and negative. Place translucent or opaque objects on an unexposed
sheet of photo paper, then expose a negative onto it.
Make a paper negative by first printing a photograph using a negative. Then while the print is wet, place it on top
of an unexposed wet sheet of photo paper (emulsion to emulsion). Shine light through the back of the print (for a
5x7 print, approximately 45 seconds at F11).
Make a photomontage by using two or more separate negatives on one print. Make test strips to assure perfect
printing of each, then use black construction paper to mask out areas that will be printed. To blend edges, hold
the black paper about an inch above the photo paper, moving during exposure.
Place tissue paper over the printing paper, holding in place with glass before exposing through it. You will get
mottled, softened effect.
Using a precut oval mat. Hold this about an inch above the unexposed paper, keeping it in motion to vignette an
image such as a portrait. If you prefer a sharper edge, lay it in place directly on the paper. The edges will be light.
Put a nylon or silk stocking on an embroidery hoop and hold it under the negative. It will diffuse the print.
Put a roll of paper towels on the enlarger board. Take an unexposed piece of photo paper and drape it over the
towels, emulsion side up, holding it in place with a loop of tape underneath each end. This is particularly effective
with portraits-gives interesting distortions.
Put petroleum jelly around the sides of a glass slide or directly on a large sheet of glass, leaving the middle clean
When an image is exposed through this, you will have softened edges.
Sandwich two-negatives together and expose through both. Or print first one, then the other, varying the times of
each, so one is the dominant image, while the other may be lighter gray.
Solarize a print by flicking on an overhead light for a few seconds when the image can just be seen in the
developer.
Tilt an easel holding photo paper by resting one end on the paper towel roll. The result will be distortion.
To give an effect of motion, balance the easel on two pencils and roll it along during exposure.
Use a transparency positive to print a negative photo.