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Helpful Photography Hints: One of the things I learned while taking photography classes and also while doing research to update some of the information in the book I was asked to help with, WEFTEC's Wastewater Biology "The Microlife" was some of the different nuances about film and developing. Did you know that certain films can vary in how they produce an image.

You could take the exact same picture of a place with Fugi or Kodak film and come out with slightly different tints on the final developed image. I personally like Fugi print for scenics or nature since it seems to have sharper greens and blues in the print when developed. Kodak print on the other hand seems to be softer on people pictures. Ilford has some really cool infrared films that can make some scenics look out of this world. Make sure to talk to your local camera shop and discuss your personal needs and find the specific film for what you are trying to achieve. Get creative and adventuresome and try something new.

Film speed also can impact the image you create. The higher the ISO you go, say from 100-400 speed or 1600 speed film, the grainer the image will be, specifically if you want to blow it up to larger size prints.

Another thing to note, different labs use different chemicals and paper. Again, if you take the same image on the exact same film to two different places to be developed, you might have the picture come out different looking. Some use Kodak paper, some Fugi, some glossy, some matte. Make sure to check and when you find a place you like, stick with it. Also, if they use the large automatic developing machines that many places have, ask them to check for color balance and tone. Sometimes at the end of a large run, these may be off. Sometimes they have dust also. This you can tell if your print has small white spots or lines on it that are not on the original negative. Make them reprint the picture at no charge or just remind them when you turn in your film to check for all of these things. You are paying for the developing and sometimes that is just as critical as the shooting of the film. A great shot that was taken half way across the world can be spoiled if the developing is not done properly.

Filters

Filters can be used for polarization, diffusion, reflection, color effects and mixed light correction. Filters can also be used for color conversion, color correction, graduated color, UV correction or Fluorescent color correction. Correction filters are generally required if the appropriate film is not available for the specific microscope light source. For precise color control, color compensating or balancing, filters are generally needed. Filters can be made of resin, glass, polyester, gelatin or plastic-coated glass, acetate, or gelatin bases that have been coated, mixed, or impregnated with organic and inorganic dyes obtained from both natural and synthetic sources. Gelatin filters require careful handling, are not easily cleaned and are easily scratched. Glass filters are more durable and easy to clean. Newer filters, made of polyester and resin, offer many advantages over traditional gelatin filters. They are easily cleaned, substantially cheaper, offer no image degradation and retain their color value even after extended use. Resin filters are lightweight and shatterproof.

Absorption filters, commonly manufactured from dyed glass or pigmented gelatin resins, are one of the most widely used types of filter for bright field and fluorescence microscopy. These filters operate by decreasing light through absorption of specific wavelengths. Light Transmittance is a function of the physical thickness of the filter and the amount of dye present in the glass or gelatin matrix.

Gelatin filters are the most cost effective and optically satisfactory filters available commercially, making this the filter material of choice for a wide variety of applications (including optical microscopy), despite the gentle handling required. Optical glass filters are also excellent, but these are generally not available to meet all of the consumer, industrial, or scientific applications. Acetate filters are generally useful for non-image forming applications where the need for quality and precision is unimportant. Typically, acetate filters are used in stage lighting, photographic enlargers, projection devices, and similar purposes. Plastic-coated filters are also limited in use to those applications suitable for acetate filters.

When using filters with 35-mm cameras, always adjust the shutter speed and the aperture to correct with the filter. Check the F-stop change recommendations that usually are included with the filter when you purchase it. Some filters are darker than others and transmit less light. While you eye may view the sample specimen correctly, your picture may come out significantly darker if the correct adjustments are not made on the camera. Play with the F-stops until you get the exact picture you like. If you need to over and underexpose a picture purposely on your first time with a new filter. Play with the settings, record down in a notebook the exact setting you used for each photo. When you have your photos developed, check the settings with the best photo that you took and use that setting for future images with that filter. Just make sure that you did not adjust the light on the microscope differently each time. Mark that down as well as the Aperture and F-stop.

If you have a digital camera, you can skip all of those steps, since the image you usually see in the viewfinder or on your computer is what you will capture. Many digital cameras do have settings though, that allow you to change the F-stops or aperture also. Check your camera manual. Playing with the light adjustment under your microscope as well as the lighting or white balance.

Many digital cameras have added features to help with adjustment of lighting. Side: Light intensity wheel, camera white balance button

FILTERS FOR IMAGING

(Although originally intended for use with black and whit film, these filters can also be used as a creative tool in color photography)

Basic Color compensating filters

Filter Color Colors absorbed by filter

Yellow Blue

Red Blue and Green

Green Blue and Red

Blue Red, green and yellow

#8 Yellow - Most natural tonal correction; improves contrast. Ideal for landscapes. #15 Deep Yellow - Enhances landscapes, marine scenes and aerial photography. #11 Green - Universal asset for all scenics. Especially suited for portraits photographed against sky. #25 Red - Creates dramatic sky effects and simulates moonlight scenes in daytime. Great for use with infrared film. Magenta - Balance excessive green cast and produce creative effects. Great for early morning tint. These filters can be combined to achieve more density.

*Note- Filters were designed for use with 35 MM cameras originally and for use with Black and White film. They have been used lately with color print film and with digital cameras to intensify the image, block out or change lighting. Play with the filters and see what effect you get on your own camera set-up.

The colors of the filters vary in strength (or intensity). Beginning with the palest color available, the exposure time must be increased as the filter strength increases.

Blue, Yellow, Green, no filter and white balance adjusted Exact same image, no changes to Iris or focus or manual lighting.

When film speed equalization is needed because exposure would otherwise be too short, a neutral density filter may be needed to reduce image brightness. This is best done at the light source rather than the camera lens. Neutral density filters can be used to control light intensity without changing the light's color. If a dimmer for the microscope light is not available, these filters are a necessity. If you take color photographs through the microscope, they will be needed even if you have a dimmer. Most camera shops also carry colored gel filters and quality polarizing filters that can be used to create special effects.

Neutral Density .3, .6, .9 - For all film types, color or black and white. Absorbs 1, 2, and 3 stops, respectively. Provides balanced exposures and depth-of-field control. Eliminates overly bright, washed out images. Great for video.

Hopefully, some of these hints help!

For more information: Film selection and exposure tips

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