National Public School
HSR, Bengaluru
CHEMISTRY PROJECT 2024-25
DEVELOPING A PHOTONEGATIVE
Name: Shakthi Vaibhav
Class: 12
Section: B
Registration no:
NATIONAL PUBLIC SCHOOL
HSR, BENGALURU
CERTIFICATE
THIS IS TO CERTIFY THAT SHAKTHI VAIBHAV HAS SUCCESSFULLY COMPLETED
THE C HEMISTRY P ROJECT- VARIANCE OF EMF WITH ELECTROLYTE
CONCENTRATION - AS PRESCRIBED BY THE C ENTRAL B OARD OF
SECONDARY EDUCATION FOR THE SSCE COURSE IN THE CHEMISTRY
LABORATORY OF THE SCHOOL IN THE YEAR 2024-25.
INTERNAL EXAMINER EXTERNAL EXAMINER
PRINCIPAL
NAME OF THE CANDIDATE :
REGISTRATION NUMBER :
EXAMINATION CENTER :
DATE OF THE EXAMINATION :
ACKNOWLEDGEMENT
I, Shakthi Vaibhav, would like to thank our school Principal, Chemistry
teachers, laboratory in-charge and support staff for extending their support that
enabled me to successfully complete my Chemistry Project on “DEVELOPING
A PHOTONEGATIVE” in the school laboratory for the academic year 2024- 25.
INDEX
Sl. No. Topic Page no.
1 Introduction 1
2 Theory 2
3 Aim and Apparatus 3
4 Procedure 4-6
5 Observation 7-8
6 Conclusion 9
7 Precautions 10
8 Bibliography 11
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INTRODUCTION
Photonegatives are essential in traditional photography, representing an inverted tonal
version of an image where light areas appear dark and vice versa. This process is
fundamental for creating high-quality photographic prints. Using a combination of
light exposure and chemical solutions, photonegatives are developed on photographic
paper. This experiment explores the methods of creating photonegatives using
developer solutions and examines various toning techniques to enhance the visual and
archival quality of the final prints.
Theory
The process of developing photonegatives involves the following key steps and
principles:
1. Light Exposure:
Photographic paper is coated with a light-sensitive emulsion containing silver
halides. When exposed to light through a negative, a latent image is formed as
the silver halides undergo partial activation.
2. Chemical Development:
o Developer: The exposed paper is treated with a developer solution
containing reducing agents (e.g., Metol), which convert the activated
silver halides into metallic silver, forming a visible image.
o Stop Bath: The stop bath neutralizes the developer and halts further
chemical reactions.
o Fixer: The fixer removes unexposed silver halides, stabilizing the image
and preventing further light sensitivity.
3. Toning:
Toning alters the metallic silver in the print to enhance color, contrast, or
archival stability. Iron, copper, and sepia toning techniques introduce alternative
chemical compounds to react with the silver, producing unique visual effects
and improving image longevity.
This structured process demonstrates the synergy between physics, chemistry, and
artistic precision in traditional photography.
THEORY
The chemical reaction of the silver salt with light leads to the photoreduction of silver
ion to metallic silver
Ag+(aq) → Ag(s)
which is found to precipitate out of solution. It is the formation of metallic silver that is
responsible for the brown image that appears on exposure of the silver salt to light. The
quantity of silver ion that is photoreduced to silver metal is proportional to the
intensity of light.
In the experiment using exposure through a mask, the full paper is coated with silver
ion. Only the portion of the paper exposed to light is observed to darken, creating a
contrast with the unexposed regions, and an image.
Our fully coated paper is similar to a piece of unexposed photographic film. A piece of
photographic film might hold silver bromide salt in a gelatin. The film is exposed to a
pattern of light. The light ionizes the bromide ion and the freed electron ultimately
reduces a nearby silver ion. Some regions of the film are exposed to more intense light
than others. The amount of silver reduced in a given region will be proportional to the
intensity of light. That variation in intensity creates contrast on the exposed film, and
an image.
Before the film can be exposed to more light, the unreacted silver ion must be washed
from the film. That is accomplished during the fixing process when the film is treated
with sodium thiosulfate solution known as photographic hypo. The hypo binds the
unreacted silver ion, leading to the formation of the dithiosulfatoargentate complex ion
AgBr(s) + 2 S2O32-(aq) → Br-(aq) + Ag(S2O3)23- (aq)
Once the silver ion is removed through the fixing process, the film may be safely
exposed to light.
Note that this process creates a negative of the image. It is the brightest regions that
lead to the darkest portions of the image. In the printing process, the image is corrected
to create a positive with the contrast and brightness of the original image.
AIM & APPARATUS
Aim:
To create photonegatives of objects using the principles of photography development
processes.
Materials Required:
1. Negative
2. Developer solution (e.g., Kodak D-76)
3. Stop bath (e.g., Kodak Rapid Fixer)
4. Fixer solution (e.g., Kodak Rapid Fixer)
5. Distilled water
6. 400 ml beakers (minimum 4)
7. Light source (e.g., 60-watt light bulb)
8. Glass slide
9. Timer
10.Tongs
11.Paper towel
12.Thermometer
13.Chemicals for developer preparation:
Sodium sulphite (Na₂SO₃)
Sodium bromide (NaBr)
Metol ([HOC₆H₄NH₂]₂HSO₄)
Sodium carbonate (Na₂CO₃·H₂O)
P R O C EDURE
Section 1: Determining Optimal Conditions
1. Set up the darkroom
Ensure the room is completely dark, with only a safety light for visibility.
2. Prepare materials
Label four 400 ml beakers as follows:
o Developer
o Stop Bath
o Fixer
o Distilled Water
Pour the following solutions into the respective beakers:
o Developer: 250 ml
o Stop Bath: 100 ml
o Fixer: 250 ml
o Distilled Water: 250 ml
3. Expose the photographic paper
Place the photographic paper (emulsion side up) under the light source.
Place the negative on top of the paper.
Cover the negative with a glass slide to keep it flat.
Turn on the light for 30 seconds (adjust as needed).
Turn off the light and observe the paper under the safety light.
4. Develop the print
Use tongs to transfer the exposed paper to the developer solution.
Agitate gently for 5 minutes.
Transfer the paper to the stop bath and leave it for 1 minute.
Place the paper in the fixer solution for 5 minutes.
Wash the paper thoroughly in running distilled water for 5 minutes.
Hang the paper to dry in a dark area.
5. Evaluate and adjust
Analyze the developed print for:
o Contrast
o Overall quality
Adjust exposure time or the distance between the light source and the paper if
necessary:
o If the print is too dark, reduce exposure time or increase the light-paper
distance.
o If the print is too light, increase exposure time or decrease the light-paper
distance.
Repeat steps as needed to achieve the desired result.
Section 2: Preparing the Developer
1. Weigh the chemicals
Weigh out the following amounts of chemicals:
o Sodium sulphite: 2.0 g
o Sodium bromide: 0.25 g
o Metol: 0.6 g
o Sodium carbonate: 2.0 g
2. Dissolve chemicals
Add the weighed chemicals to 100 ml of distilled water in a beaker.
Stir until all chemicals are completely dissolved.
OBSERVATION
The development of the photonegative involved a series of precise steps, each
contributing to the clarity and quality of the final image:
1. Light Exposure:
o Photographic paper, placed under a light source with a negative and glass
slide, showed clear tonal inversion during exposure. The duration of light
exposure was critical; longer times resulted in darker negatives, while
shorter exposures produced lighter tones.
2. Chemical Development:
o Immersion in the developer solution brought the latent image to visibility
within minutes. Gently agitating the paper ensured even application of the
chemicals, avoiding streaks or uneven densities.
o The stop bath effectively halted the chemical reaction, preventing
overdevelopment that could obscure details.
o The fixer solution stabilized the image, making it resistant to further
exposure to light, and provided a permanent negative.
3. Washing and Drying:
o Rinsing in running distilled water removed residual chemicals, ensuring
long-term stability of the print. Drying the photonegative in a dark, dust-
free area maintained its quality and preserved fine details.
CONCLUSIONS
The result of a chemistry experiment in black-and-white photography provides
a deeper understanding of the chemical processes behind image creation.
By adjusting variables such as developer composition, temperature, and
development time, photographers can achieve desired tonal qualities, contrasts,
and image characteristics.
Experimentation highlights the effects of various chemicals on film emulsion
and photographic paper, offering insights into image quality, visual aesthetics,
and archival stability.
These explorations help refine techniques, revealing the relationship between
chemical formulations and photographic outcomes, ultimately enhancing both
the creative and technical aspects of black-and-white photography.
PRECAUTIONS
When developing a photonegative with Metol, sodium sulfite, and AgBr,
always work in a well-ventilated area and wear gloves to ensure safety.
Handle chemicals carefully, measure accurately, and maintain the developer
solution at the recommended temperature.
Dispose of chemical waste responsibly and keep the darkroom clean to avoid
contamination.
BIBLIOGRAPHY
https://www.opsweb.org/page/processingchemsitry
https://chemart.rice.edu/Photography.html
