photographs ever made were photograms. The results are an often-surprising
blend of shapes, forms, and tones that vary widely depending on the types of
objects, how they are used, and their relative transparency.
If you use an opaque object to make a photogram, it blocks all light from
reaching the paper or film, and thus is rendered as a silhouette. Translucent
objects usually work better, because they allow various degrees of light through
and render as one or more gray tones. Also, try laying the object against the
paper or film so it doesn’t lay totally flat; this can produce gradations in tones
that have a somewhat three-dimensional quality.
Correct exposure may be difficult to judge; you can expose photograms in
many different ways and still be happy with the results. A long exposure, for
instance, will allow more light to travel through translucent objects, and produce
a different look (darker grays, less white silhouettes) than would a shorter
exposure.
You can use a wide variety of objects and techniques to make a photogram.
Patterned fabrics and objects from nature, such as leaves, vegetables, feathers,
and so forth, work particularly well. Painting shapes and forms on a piece of
glass offers still another option. Place the painted glass over the paper (or even
place it in the enlarger instead of a negative carrier), and treat it like a negative
to make a print.Most photograms are made directly on paper, which means they are often
one-of-a-kind images, difficult to reproduce with precision. But you also can
make photograms on sheet film, and film photograms let you make as many
identical prints from the negative as you choose. Be sure to use very-slow-speed
films, because normal-speed films are too sensitive to light to use under an
enlarger. Slow litho films are especially good, because they can be used with a
safelight; most nonlitho films have to be handled in total darkness.
Follow these steps to create photograms:
1. Lift the enlarger head high enough to evenly expose the entire sheet of
paper or film.
2. Close down the lens to a small opening, say f/11 or f/16.
3. Position a sheet of paper or film on the base of the enlarger, emulsion side up
and directly under the enlarging lens. You can put the paper or film in an
easel to hold it flat, but flatness isn’t always necessary for a good photogram.
4. Place one or more objects either on or just above the paper or film.
5. Turn on the enlarger and expose the paper or film. Actual exposure time
varies widely depending on many factors, including the intensity of the
light source (brightness of bulb, f-stop, distance between light source and
film or paper) and the density/translucency of the objects. Also, film generally
requires much less exposure time than paper, and fiber-based papers
require more exposure than RC paper. Try starting with an initial exposure
of 20–25 seconds for paper and 1–2 seconds for film and adjust the time
when you see the results. If the results are too light, make a longer exposure
next time; if the results are too dark, make a shorter exposure.
6. Process the exposed paper or film as you normally would, in trays.
7. Examine the results and decide whether to make a new photogram, changing
the exposure, using new objects, or adjusting their position.
An enlarger provides a convenient and controlled light source, but you also
can use a low-watt (15–25 watt) light bulb suspended 3–4 feet above the film
or paper for your exposure.
The background of the photogram receives the most exposure, because it is
not covered by any opaque objects. If paper is used, the background is rendered
dark; if film is used to make the photogram, the background is rendered dark
on the negative and light on the print.
You are used to working with a film negative to make prints, but you can also
make a negative print, a negative image on printing paper. Dark parts of the
subject render as light, while light parts are dark. Reversing the tones in this
way often creates a surreal, otherworldly look.
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