This film, PRINTING THE POSITIVE is a United States Training film that was intended to follows an instructional film on another topic — developing the photographic negative. This film shows the equipment, techniques, and materials used to make black and white photographic prints. It limits the method of printing to the contact printing process. A contact print is made by placing a film negative directly on a piece of light-sensitive photo paper and making an exposure. A dedicated contact printer (light box type) was used to make all of the prints in the film. The common practice of enlarging prints was not discussed. The prints in the film were made using Kodak “AZO” paper. No longer manufactured, this was a paper specifically designed for contact printing.

The film focuses on the fundamentals of photography (:17). Equally as important as taking the time and care to shoot the photograph, is the process in which it will be developed (:41). The darkroom should be entirely dark (:48) and safe light should be checked to ensure proper filter (1:02). Yellow lights are used for low sensitivity and orange for high. Clean rooms and trays prevent spotting and contamination (1:22). Materials should be kept within reach (1:29) and water supply should be tested for temperature (1:40).

Three trays will be required; one for the developer, another for the rinse or short stop and third for the fixing bath (2:10). Solutions prepared with one part stock solution and two parts water must be readily available (2:32). The solution’s temperature should be just above or below 68 degrees (3:04). Also, fixing bath and short stop must be prepared. For an acid short stop, 1.5 oz of acetic water is mixed with 32 oz of water (3:42). There are varying types of printing machines, one includes a lamp house to enclose bulbs (4:19) and another includes individual switches for bulbs (4:32). A pressure platen will be used for pressing paper and negative together (4:47). Orange or Ruby tinted pilot lights enable vision while placing the negative atop the printer surface (5:06). The negative is set dull side up (5:44), printer paper is set over (6:07), and platen is firmly shut (6:15). Regardless of the negative’s contrast, the photograph is expected to be of good quality and while there are varying degrees of contrast (7:12), the example will be normal. Normal grade of paper is selected (7:16). The density of the negative determines the amount of time of exposure needed (7:24). To save paper, test strips are recommended to determine the exact timing (8:14). After the testers go through the developing process (9:13) the full negative is placed evenly atop the printer surface (9:46). In the first tray, the print will be slid along the bottom face down (10:13), and then flipped and dragged just under the surface. The image will begin to develop as it is gently stirred (10:27). It is important to refrain from handeling or removing the print for too long as it can be ruined (10:44). Once fully developed, it’s moved to the surface of the next solution (10:58). No detail should be lost in the process; light tones should have full detail and even dark should not be completely black (11:02). If needed, tissue or tracing paper, or dimming of lamps can be utilized to make adjustments (12:01). Afterwards prints must be set into the rinse tray for only a few seconds (12:47). An acid wash is preferred over water for it neutralizes alkaline and halts the developing process instantly (12:54). Chemicals must then be removed (14:32) and there are multiple methods including a siphon device (15:02) and an ordinary chemical washer (15:20). For drying, a drum dryer can be used (15:53) and for glossy prints the dryer has polished chrome surfaces and excess water will be drained off in the process (16:00). Hand rollers or flat squeegees may also be used (16:35) as well as hanging the prints (17:01). Once dry, the print can be trimmed if necessary (17:54). The film is concluding with the reminder that the print will be judged by it’s quality (18:13).

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