Text written by photographer, William Staffeld.

A. Copy Photography:

Currently there is a copystand with lights in B-19A Sibley, adjacent to the Green Dragon. The copystand can be used to photograph flat materials up to 20 x 24 inches in size and in some instances small models or three dimensional work.

Lights: Lighting for this copystand is daylight balanced.

Films: Be sure to purchase daylight film compatible with the lights. A table of recommended films and their exposure is posted in the copystand room.

Exposure: Bracket exposures by half stops for slides or full stops for negatives.

Follow these exposure guides for Room B-19A:

Fujichrome 100 (Color Slides)	1/2 sec. @ f 8 (full page) 1/2 sec. @ f 5.6 (small images)
Fuji 200 (Color Slides)	1/2 sec. @ f 11
Fuji 64T (Color Slides)	1/2 sec. @ f 5.6 w/ 85B filter
Kodak Royal Gold 100 (Color Negatives)	1/2 sec. @ f 8
T-Max 100 (Black &White Negatives)	1/2 sec. @ f 5.6
LPD4 (B & W Line Slides)	20-22 sec. @ f 5.6
LPD4 (tonal B&W slides) See College Photographer for details.	1) 24 sec. Preflash exp. with graycard, 2) 12-16 sec. Exp. @ F-5.6 Bracket smaller, darker images between f 3.5 & 5.6

Camera: A Nikon F-2 with macro-lens is provided. This camera also has a waist level view finder for easy framing and focusing when mounted on the copystand. You will need to set both the shutter speed and the aperture. Check the exposure guide in B-19A for specific settings.

The Knight Visual Resources Facility staff is available to answer specific questions about copywork.

B. Large size drawings or paintings, and three dimensional work.

For drawings or paintings larger than 20 x 24 inches plan your shooting session ahead of time. You will need to reserve a space with a wall that will accommodate the work to be photographed.(1) For drawings, a Homosote board painted white, is best. For paintings, sculpture or models, a black background works best. For two or three dimensional work either a black wall or a black cloth (available for checkout) are preferred. For three dimensional objects you will need both, so that you can surround the object with black.

Lights: The Knight Visual Resources Facility has tungsten balanced "Tota" light kits and video lamps available for daytime and overnight use. Extension cords, tripods and gray cards are also available for checkout. If you are using video lights or halogen lamps from the Knight Visual Resources Facility and are unsure of how to light your subject, consult with the College Photographer for assistance.

Film: The Knight Visual Resources Facility sells a variety of black and white and color films based on the needs of our students and faculty. Several films including L.P.D and Technical Pan require careful exposure and development. Consult with the Knight Visual Resources Facility staff when using these films.

Exposure: When photographing drawings or paintings with portable lights, remember to place the lamps at 45 degrees to the copy, pointing toward the edges of the image, about four feet from the board. Check to be sure that the copy is evenly lit. Meter using a gray card held in the middle of the scene with the meter about 12" - 18" away. Be careful not to shadow the card when you take your meter reading. Always bracket your exposures. Consult with the College photographer for specific questions about metering and using a gray card.

Camera: You must provide your own camera with a light meter for any photography work, except for the copystand (B-19A).The Knight Visual Resources Facility staff can assist you with general camera questions, but please familiarize yourself with the specific camera you will be using.

C. Site Photography:

Site photography refers to any photography beyond the confines of the copystand or studio set-up. Architectural photography, displays of art work, or street scenes are examples of site photography. If you plan to photograph under natural light:

1. Be sure your light meter is working.

2. Be aware of the direction of the sun's light, and use it to your advantage. Whenever possible, utilize early morning or late afternoon light.

3. Carry extra film, lenses, and if possible an extra camera body.

4. Load your camera in subdued light, and avoid dust, sand, and water.

D. Darkroom

The College of AAP darkrooms are available for student & faculty use on a one time use or semester basis. For a schedule of hours and fees, see the Darkroom Manager in Tjaden Hall.

1. Due to College renovations, there is no permanent location for shooting large drawings or other art work.

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This information sheet is a guide for choosing films for the various photographic applications and needs of students and faculty in the College.

Color films:

Shooting outdoors:(choose daylight balanced film as follows)

100 speed film for bright sunlight, daytime fill flash (i.e. bright sunshine with main subject in shadow), or outdoor copywork

• 200 speed for general purpose or light overcast days,
• 400 speed for heavy overcast, nightime or indoor flash.

Copywork:

• If you are shooting color slides using the College copystand (daylight type 5500-6000 Kelvin bulbs), choose a daylight balanced E-6 color slide film like 100 speed Fujichrome or Ektachrome film. E-6 color slide films are preferable because they can be processed locally.
• When shooting color slides of drawings, models or artwork using tungsten lights (3200 Kelvin), use the 64T color slide film.
• If you need to shoot color prints, try Kodak Gold or Kodak Royal Gold 100. Almost all color print film is daylight balanced and all can be processed locally.(1)

Black and White films:

For copy negatives - try Ilford PAN - F

For plans, drawings, etchings or any line rendering w/ black line on a light background - LPD4

For high resolution, high contrast negatives or reverse figure-ground slides from drawings or prints, try Technical Pan.

In either case - slides or negatives - for copywork, choose a lower speed - higher resolution, fine grain film. Use a film speed of 100 or less.

Most of these black & white films are available in the Visual Resources Facility.

1. A conversion filter must be used when shooting daylight films under tungstun light. See informantion on filters.

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A Checklist for Exposing 64T film with the TOTA lights

As a starting point for exposing Fuji or Kodak tungsten (64T) slide film, use the following procedure:

• Place the lights approximately 3-4' from the copy, with each lamp at a 45 degree angle to the copy as shown in the illustration below.
  
• Be sure all other lights are off.
• Open the Tota lamp reflector doors so the copy is evenly lit.
• As a starting exposure, try 1/8 sec. @ F-8 and bracket by half stops on either side of F-8.
• If you have a camera with a built in meter, you can check your exposure with a gray card.
• With the lights on and in position, place the gray card directly in front of the copy and take a reading off the card from about 12-18" away.
• Adjust F-stop and shutter speed as needed.
• With the lighting remaining constant you can continue with these exposure settings throughout the shooting session.
• For LPD Line Film (Plans/Drawings), 6 seconds between f-5.6 and f-8; bracket by 1/2 stops.

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E-6 color slides, negatives and prints: Ithaca Photo provides an on campus Tuesday/Thursday pick-up and delivery service to and from the Knight Visual Resources Facility. Below you will find a list of other local processing labs for color prints and slides.

The Department of Art Darkrooms in Tjaden Hall are available to students and faculty who wish to process their own film and prints. For more information see the Darkroom Manager.

Local processing labs: These labs are available in the surrounding community and are not necessarily endorsed by Cornell University.

Local Digital Image Processing Services: These digital imaging services are available in the surrounding community and are not necessarily endorsed by Cornell University.

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Filters are tools that help to balance and enhance color and contrast in pictures. The kind of light we use and the way light is reflected off the surface of an object, will determine its saturation (the way color and tonality look and feel), in the photographs we make.

The following list of filters is a guide for students and faculty in the college when color conversion, color correction and contrast are needed to achieve the best quality results in their photography work.

Filter Factors

Because filters absorb or subtract some of the light passing through a lens, exposure needs to be adjusted (increased) - by either shutter speed or aperture - to compensate for the loss of light.

Thus, if a filter has factor of 2x, you must double the exposure time either by slowing the shutter speed down by 1 stop or opening your aperture by one stop. A filter with a factor of 4x would require a two stop adjustment, a factor of 8x, a three stop adjustment and so on. For example, a filter with a 2x factor would change an exposure of 1 /125^th @ F-11 to 1/60th @ F-11. Because filters have different densities, they have different factors.

Finally, if the camera you are using has a built-in meter, the correct exposure will be indicated because the meter is reading the light through the filter. Please be aware that the cameras available in the Knight Visual Resources Facility do not have light meters. Exposure settings must be manually adjusted.

Conversion Filters for Color Films:

Color films are balanced for specific light sources. Using a color film with an incompatible light source requires a filter to adapt the film to the color of the light source. For example, exposing daylight balanced film under tungsten light will yield an image with a warm "yellow" cast. By using an 80A (blue) filter you can convert the film to the light source and get acceptable color balance. Conversely, using tungsten balanced film in daylight yields a cold "blue" cast. By using an 85B (orange) filter you can convert the film to the light source and get acceptable color balance.

You can use the following guide to convert films for use with different light sources.

80A (blue): filter factor is 4x or 2 stops. Use to convert daylight type films for use with tungsten 3200 K lamps - for slides or prints.

85B (orange): filter factor is 1.5x or 3/4 stop. Use to convert tungsten 3200 K films for daylight use.

Color Compensation Filters When Using Ordinary Flourescent Lights

These filters will help correct color rendition when shooting under flourescent lights. Without compensation filters, daylight balanced films will take on a greenish cast, and tungsten balanced films will have a bluish cast when exposed under flourescent lights. Warm white or cool white bulbs are the most common examples of institutional flourescent lamps. Use the following filter/exposure guide as a starting point when shooting under flourescent light.

Warm white type ( bulbs have a subtle pink-purple tint ):

Use 40 magenta & 20 cyan when shooting daylight film. Filter factor is 2x or 1stop.

Use 50 magenta & 40 yellow when shooting tungsten film. Filter factor is 2x or 1 stop.

Cool white type (bulbs have a subtle blue-green tint ):

Use 40 magenta & 10 yellow when shooting daylight film. Filter factor is 2x or 1 stop.

Use 60 red when shooting tungsten film. Filter factor is 2.5x or 1&1/3 stop.

Correction and Contrast Filters for Black & White Photography.

Often, the results we get on film when photographing outdoors do not look the same as the actual scene. Correction filters will have the effect of changing the way a film responds to light so that the tonal values approximate the way the eye saw them. A good correction filter is the K2 yellow. The K2 has a factor of 2x or 1 stop.

Contrast filters change the relative values in a scene so that tones which would normally be interpreted as the same shade of gray ( in black & white ), will separate more clearly in terms of brightness. A good example of a contrast filter is the #25 red. This filter dramatically darkens blue skys, making clouds stand out, and reflective surfaces more brilliant. The #25 red has a factor of 8x or 3 stops.

Polarizers

A polarizing screen is useful in both black & white and color photography. The polarizer will darken skys, reduce glare and reflection off non metallic surfaces and penetrate haze. Polarizers have a factor of 2.5 or about 1&1/3 stops.