Making a simple Photogram using the traditional B&W photographic process

EXPOSING THE PAPER

1.
Generally the photographic paper is laid on a flat base, emulsion side up with the selected objects placed on it below an enlarger. If you have never worked with photographic paper use glossy paper as it is much easier to find the emulsion side.

Remember that the paper is sensitive to blue green light and you need a red or yellow safe light.

2.
The enlarger light is turned on for a predetermined time to expose the print. When the objects are removed, there is no visible image on the paper , the image is there in a latent form only. It is important the photographic paper is only handled, exposed and processed only in a safe light. As black and white photographic paper is sensitive only to the blue/green end of the visual spectrum, we can have the luxury of watching the image form at the development stage without 'fogging' the paper under a yellow or red safe light.

While exposing the paper to the correct amount of light is important to produce specific results, the photogram process has great tolerance and it is quite easy to make some kind of image with a wide range of exposures.

As the fundamentals are the same for the normal black and white photographic printing process using negatives, the photogram is a great way to introduce students to photography. No camera, film development or even an enlarger is necessary, but it is important to remember the following principle, which is the basis of all black and white processing:

Light makes silver (the photosensitive particles embedded on the paper) turn black.

While exposure to some light might produce an image on the paper, exposure to not enough light and the paper will not produce a rich black background. The print will look look flat and quite gray. To overcome this it might seem better to give the paper more than enough light to make sure that it gives a good black in the print, but when using objects that are semi-transparent, the correct exposure is more critical to produce just the right tonal and textural qualities that you might require. It may take some time, but through a number of experiments using different exposure times you will be able to work out the correct exposure on the paper.

Remember that light makes the paper turn black, and if the print is too light expose it for a longer time.

Want to learn more? - do a workshop or one on one with Lloyd Godman