Lesson Notes By Weeks and Term v3 - Senior Secondary 3
Creative Printing
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Creative Printing
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Subject: Photography
Class: Senior Secondary 3
Term: 2nd Term
Week: 11
Theme: Dark Room Printing
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This topic, "Creative Printing," introduces Senior Secondary 3 Photography students to various techniques used to manipulate photographic prints beyond standard development, thereby enhancing artistic expression and visual impact. Understanding these techniques is crucial for students aiming for careers in professional photography, graphic design, fine art, or media production in Nigeria, enabling them to produce distinctive and commercially viable visual content. The ability to creatively print photographs adds significant value to a photographer's portfolio and allows for unique artistic interpretations relevant to Nigerian storytelling, cultural documentation, and commercial ventures.
This section delves into specific techniques for creative printing, focusing on both traditional darkroom methods and their conceptual application in digital workflows. The goal is to produce a photographic print that deviates from a straightforward, factual representation, instead conveying a particular mood, artistic statement, or visual effect.
Core Concept: Creative Printing Creative printing refers to the deliberate manipulation of photographic images during the printing process (either in a traditional darkroom or digitally) to achieve aesthetic effects beyond standard tonal reproduction. This can involve altering colour, tone, texture, contrast, or combining multiple images.
Techniques for Creative Printing:
1. Toning (e.g., Sepia Toning, Selenium Toning)
Definition: Toning is a chemical process used in the darkroom to change the colour of the silver image on a black-and-white print. Instead of a neutral black and white, the image can take on hues like warm browns (sepia), purplish-browns (selenium), or blues, reds, and greens with other toners.
Purpose: To add warmth, coolness, age, or a specific mood to a print, enhancing its emotional impact or aesthetic appeal. It also often increases the archival stability of the print.
Process (Sepia Toning Example):
1. Wash the Print: A thoroughly fixed and washed black-and-white print is required.
2. Bleach: Immerse the print in a bleach solution (e.g., potassium ferricyanide and potassium bromide). This converts the metallic silver image back into a silver halide compound, causing the image to almost disappear.
3. Wash Again: Rinse the bleached print to remove residual bleach.
4. Tone: Immerse the bleached print in a toner solution (e.g., sodium sulphide). This converts the silver halide into a sepia-coloured silver sulphide image. The image reappears in a warm brown tone.
5. Final Wash: Wash the print thoroughly to ensure permanence.
Digital Equivalent: In digital editing software (e.g., Adobe Photoshop, Lightroom), split toning or colour grading tools can simulate toning effects. Specific colour overlays or adjustment layers can be used to shift the overall colour balance of a grayscale image or introduce specific colour hues into shadows and highlights. Nigerian Context
Example: A photographer documenting a traditional Nigerian ceremony might sepia-tone prints to evoke a sense of history and heritage, giving the images an antique feel that connects to the past.
2. Sabattier Effect (Pseudo-Solarisation / Solarisation)
Definition: The Sabattier effect is a phenomenon where the tones of a photographic image are partially reversed by briefly re-exposing the print (or negative) to light during development. This creates a distinctive outline effect between dark and light areas, often resulting in a metallic or surreal appearance.
Purpose: To create dramatic, graphic, and often abstract images with strong lines and unusual tonal relationships, lending an artistic or avant-garde feel.
Process (Darkroom Example):
1. Initial Development: Begin developing a black-and-white print in the developer tray.
2. Mid-Development Re-exposure: At a critical point during development (usually after about 30-50% of the normal development time, when some image has appeared but before full density), briefly remove the print from the developer.
3. Flash Exposure: Quickly and briefly expose the print to a dim light source (e.g., a low-wattage bulb at a distance) for a second or two. This second exposure affects the still-developing silver halides.
4. Complete Development: Return the print to the developer and continue agitation until the full image appears, observing the characteristic "line effect" or tone reversal.
5. Stop, Fix, Wash: Proceed with normal stop bath, fixer, and washing procedures.
Digital Equivalent: This effect can be simulated digitally using curve adjustments (creating an 'S' shape on the tone curve), layering with inverted copies, or applying specific filters that detect edges and reverse tones. Nigerian Context
Example: An artist might use solarisation for portraits of cultural figures or abstract cityscapes of Lagos, giving them a modern, edgy, and unique visual interpretation for contemporary art exhibitions.
3. Photogram * Definition: A photogram is a photographic image made without a camera, by placing objects directly onto the surface of a light-sensitive material (like photographic paper) and then exposing it to light. The areas covered by the objects appear lighter, while the exposed areas turn dark. The varying transparency of objects creates different shades of and reverse tones. Nigerian Context
Example: An artist might use solarisation for portraits of cultural figures or abstract cityscapes of Lagos, giving them a modern, edgy, and unique visual interpretation for contemporary art exhibitions.
3. Photogram Definition: A photogram is a photographic image made without a camera, by placing objects directly onto the surface of a light-sensitive material (like photographic paper) and then exposing it to light. The areas covered by the objects appear lighter, while the exposed areas turn dark. The varying transparency of objects creates different shades of grey.
Purpose: To create abstract, graphic, or poetic images that explore form, texture, and light without the representational constraints of a camera lens. It's a foundational process in photographic art.
Process (Darkroom Example):
1. Darkroom Setup: In a darkroom under safelight, place a sheet of unexposed photographic paper on an easel or flat surface.
2. Arrange Objects: Arrange various opaque, translucent, or transparent objects directly onto the photographic paper.
Examples: leaves, keys, lace fabric, pieces of plastic, hands, feathers.
3. Exposure: Briefly expose the paper (with objects on it) to a light source (e.g., an enlarger lamp or bare bulb). The duration depends on the light source intensity and paper sensitivity.
4. Develop: Remove the objects (in darkness) and process the photographic paper in developer, stop bath, and fixer, then wash.
Digital Equivalent: While not a true photogram, digital collages or layering techniques that use silhouettes and transparency can mimic the aesthetic. Scanning objects directly onto a flatbed scanner in a dark room can also produce similar effects. Nigerian Context
Example: Students can create photograms using indigenous materials like cassava leaves, cowrie shells, traditional fabric scraps, or market items, exploring themes of local identity, nature, or commerce in an abstract way.
4. Hand-Colouring / Tinting Definition: Hand-colouring involves manually applying colour (using dyes, paints, or pencils) to a black-and-white photographic print. Tinting involves using diluted transparent colours to wash over specific areas or the entire print.
Purpose: To add a touch of realism, artistic flair, or specific mood to a monochrome image, often mimicking older photographic processes or achieving unique, painterly effects. It allows for creative control over the colour palette.
Process (Darkroom Print Example):
1. Prepare Print: Obtain a well-processed, thoroughly washed, and dried black-and-white print (often with slightly lower contrast to accommodate the colours). Matte or semi-matte papers are generally preferred.
2. Choose Medium: Select appropriate colouring media: photographic dyes (transparent), oil paints, watercolours, pastels, or colour pencils.
3. Application: Carefully apply the colour to specific areas of the print. For dyes, use small brushes; for pencils, gentle strokes. Build up colours gradually. For tinting, dilute dyes and apply them evenly over larger areas.
4. Drying: Allow the coloured print to dry completely.
Digital Equivalent: Digital painting tools, adjustment layers, and selective colourisation techniques can achieve highly realistic or stylised hand-coloured effects on digital images. * Nigerian Context
Example: A photographer might hand-colour a black-and-white portrait of a Nigerian chieftain, carefully adding the vibrant colours of their traditional attire, thus merging historical photographic aesthetics with contemporary artistic interpretation.
Teacher Activities: Introduction and Brainstorming (10 mins): Initiate a discussion on the concept of "creativity" in photography beyond simply taking a picture. Ask students how they think photographers can make a print unique or expressive after the image has been captured. Introduce the topic "Creative Printing" and its relevance to artistic and commercial photography. Concept Explanation and Visual Aids (25 mins): Clearly explain each creative printing technique (Toning, Sabattier Effect, Photogram, Hand-Colouring) using the detailed explanations provided in Section
2. Show visual examples of each technique. If possible, use actual toned prints, solarised images, photograms, and hand-coloured photographs. If not, high-quality projected images or printouts of examples are essential. For each technique, discuss the necessary materials/equipment and the step-by-step process. Emphasise safety precautions if discussing darkroom chemicals.
Demonstration (20 mins): Ideal Scenario (with darkroom): Conduct a live, simplified demonstration of one or two techniques (e.g., a quick photogram or a partial toning process if time and resources permit). Focus on the core manipulative steps.
Alternative Scenario (without darkroom): Show a video demonstration of a darkroom creative printing technique. Alternatively, demonstrate the digital simulation of toning or solarisation using image editing software on a projector, explaining how digital tools can achieve similar aesthetic outcomes. Show a step-by-step walkthrough of how a photogram is made using visual aids (diagrams, photos of the process).
Guided Discussion and Q&A (10 mins): Facilitate a discussion on the artistic impact and practical challenges of each technique. Encourage students to ask questions for clarification. Relate the techniques to potential applications within Nigerian contexts (e.g., "How could toning be used for a documentary series on Nigerian history?").
Student Activities: Active Listening and Note-Taking (Throughout): Students listen attentively to explanations and demonstrations, taking comprehensive notes on definitions, processes, and applications.
Observation and Analysis (20 mins): Students observe the visual examples and demonstrations, identifying the characteristic features of each creative printing technique. They should be encouraged to articulate what makes each technique distinct.
Group Discussion (15 mins): Divide students into small groups. Assign each group one creative printing technique. Each group discusses potential scenarios in Nigerian photography (e.g., portraiture, landscape, cultural events) where their assigned technique could be effectively used. Groups prepare to share their ideas with the class.
Class Share-out (10 mins): Each group briefly presents their ideas on how their assigned technique could be applied in a Nigerian photographic project. These questions aim to reinforce understanding of the discussed creative printing techniques, with a focus on their practical application and effects.
Question 1: A Nigerian photographer is preparing an exhibition on "Historic Markets of Kano." They want to give their black-and-white prints a timeless, antique feel to evoke the long history of these trading centres. Which creative printing technique would be most suitable, and what is its primary effect?
Solution 1: Technique: Sepia Toning.
Explanation: Sepia toning converts the silver image of a black-and-white print into a warm, brownish tone. This effect strongly evokes a sense of age, nostalgia, and history, making it ideal for the photographer's objective of creating a timeless and antique feel for prints about historic markets. It visually connects the present-day images to the past.
Commentary: This solution directly addresses the performance objective of exploring techniques to produce creative photographs by identifying a specific technique and explaining its artistic effect in a relevant context.
Question 2: Consider a student photographer in Abuja who wants to create a surreal, almost abstract portrait for a school art project, where the subject's face has a distinctive line separating tones and a partial reversal of light and dark. Describe the specific darkroom technique required to achieve this and briefly explain the key manipulative step.
Solution 2: Technique: Sabattier Effect (Pseudo-Solarisation).
Explanation: The Sabattier effect is achieved by re-exposing the photographic print to light during the development process. The key manipulative step involves briefly flashing the developing print with a dim light source (e.g., an enlarger lamp set to a short duration) after some image has already formed but before full development is complete. This partial re-exposure causes a reversal of tones in some areas and creates the characteristic Mackie lines or edge effects, resulting in a surreal and graphic appearance.
Commentary: This question tests the understanding of a specific technique's process and its visual outcome, aligning with the objective to explore different techniques.
Question 3: Imagine a photography student living in Lagos who lacks access to a camera or darkroom chemicals but wants to create unique, experimental images using light-sensitive paper. They have access to various small objects found around their home or community, such as leaves, keys, and pieces of lace. What camera-less creative printing technique can they use, and how would they execute it?
Solution 3: Technique: Photogram.
Execution: The student can create a photogram. In a dimly lit room or under a photographic safelight, they would place the chosen objects (leaves, keys, lace, etc.) directly onto a sheet of unexposed photographic paper. Then, they would briefly expose the paper and objects to a light source (e.g., an ordinary room lamp or even sunlight, though a darkroom light is ideal for control). After exposure, the objects would be removed, and the paper would be processed normally (developer, stop bath, fixer, wash). The areas covered by the objects would remain lighter, while exposed areas would darken, creating a unique silhouette image.
Commentary: This scenario highlights a practical and accessible creative printing method, demonstrating how students can produce creative work even with limited equipment, a common consideration in some Nigerian educational settings.
Professional Photography Services: Creative printing techniques enable Nigerian professional photographers to offer unique and high-value products. For instance, a wedding photographer in Port Harcourt could offer sepia-toned prints for a classic, timeless album, or hand-coloured portraits for clients desiring a distinct artistic touch, differentiating their services in a competitive market.
Fine Art and Cultural Documentation: Artists and documentarians can use creative printing to convey deeper meaning in their work. A photographer documenting Nigerian festivals or historical landmarks might employ solarisation to give images a surreal, almost mythical quality, or create photograms using traditional artifacts to explore abstract representations of culture for gallery exhibitions or archival purposes.
Advertising and Media Industry: In Nigeria's bustling advertising sector, creative printing helps images stand out. Advertisers might use high-contrast lith prints for gritty urban campaigns or subtly toned images for luxury brands, creating visually compelling content that captures consumer attention and communicates brand identity effectively in print ads, billboards, and digital media.