Both amateur and professional photographers rely heavily on photographic process workers and processing machine operators to develop film, make prints or slides, and do related tasks, such as enlarging or retouching photographs. Photographic processing machine operators operate various machines, such as mounting presses and motion picture film printing, photographic printing, and film developing machines. Photographic process workers perform more delicate tasks, such as retouching photographic negatives, prints, and images to emphasize or correct specific features.
Processing machine operators who work with digital images first load the raw images onto a computer, either directly from the camera or, more commonly, from a storage device such as a flash card or CD. Most processing of the images is done automatically by software, but images may also be reviewed manually by the operator, who then selects the images the customer wants printed and the quantity. Some digital processors also upload images onto a Web site so that the customer can view them from a home computer and share them with others.
Photographic processing machine operators often have specialized jobs. Film process technicians operate machines that develop exposed photographic film or sensitized paper in a series of chemical and water baths to produce negative or positive images. First, technicians mix developing and fixing solutions, following a formula. They then load the film in the machine, which immerses the exposed film in the various solutions to bring out the image. Finally they rinse it in water to remove the chemicals. The technician then dries the film. In some cases, these steps are performed by hand.
Color printer operators control equipment that produces color prints from negatives. These workers read customer instructions to determine processing requirements. They load film into color printing equipment, examine negatives to determine equipment control settings, set controls, and produce a specified number of prints. Finally, they inspect the finished prints for defects, remove any that are found, and insert the processed negatives and prints into an envelope for return to the customer.
Photographic process workers, sometimes known as digital imaging technicians, use computer images of conventional negatives and specialized computer software to vary the contrast of images, remove unwanted background, or combine features from different photographs.
Although computers and digital technology are replacing much manual work, some photographic process workers, especially those who work in portrait studios, still perform many specialized tasks by hand directly on the photo or negative. Airbrush artists restore damaged and faded photographs, and may color or shade drawings to create photographic likenesses using an airbrush. Photographic retouchers alter photographic negatives, prints, or images to accentuate the subject. Colorists apply oil colors to portrait photographs to create natural, lifelike appearances. Photographic spotters remove imperfections on photographic prints and images.
Work environment. Photographic process workers and processing machine operators generally work in clean, appropriately lighted, well-ventilated, and air-conditioned offices, photofinishing laboratories, or one-hour minilabs. In recent years, more commercial photographic processing has been done on computers than in darkrooms, and this trend is expected to continue.
Some photographic process workers and processing machine operators are exposed to the chemicals and fumes associated with developing and printing. These workers must wear rubber gloves and aprons and take precautions against these hazards. Those who use computers for extended periods may experience back pain, eyestrain, or fatigue.
Photographic processing machine operators must do repetitive work accurately and at a rapid pace. Photographic process workers do detailed tasks, such as airbrushing and spotting, which can contribute to eye fatigue.
| 1. | Read work orders to determine required processes, techniques, materials, and equipment. |
| 2. | Produce color or black-and-white photographs, negatives, and slides, applying standard photographic reproduction techniques and procedures. |
| 3. | Examine drawings, negatives, or photographic prints to determine coloring, shading, accenting, and other changes required for retouching or restoration. |
| 4. | Mix developing and fixing solutions according to established formulas. |
| 5. | Create work prints according to customer specifications and lab protocols. |
| 6. | Cut negatives and put them in order. |
| 7. | Place identification on film as necessary. |
| 8. | Examine developed prints for defects such as broken lines, spots, and blurs. |
| 9. | Reprint originals to enlarge them, or in sections to be pieced together. |
| 10. | Trim edges of prints to enhance appearance, using scissors or paper cutters. |
| 11. | Produce timed prints with separate densities and color settings for each scene of a production. |
| 12. | Immerse film, negatives, paper, or prints in developing solutions, fixing solutions, and water in order to complete photographic development processes. |
| 13. | Place sensitized paper in frames of projection printers, photostats, or other reproduction machines. |
| 14. | Correct color work prints to adjust for outdoor filming. |
| 15. | Thread film strips through densitometers, and expose film to light to determine density of film and necessary color corrections. |
| 16. | Mount original photographs, negatives, or other printed material in holders or vacuum frames beneath lights. |
| 17. | Select lens assemblies according to sizes and types of negatives or photographs to be printed. |
| 18. | Record test data from film that has been examined, and route film to film developers and film printers for further processing. |
| 19. | Set automatic timers, lens openings, and printer carriages to specified focus and exposure times, and start exposure in order to duplicate originals, photographs, or negatives. |
| 20. | Evaluate film and negatives to determine characteristics such as sensitivity to light, density, and exposure time required for printing. |
| 21. | Dry prints or negatives, using sponges and/or squeegees, mechanical air dryers, or drying cabinets. |
| 22. | Expose film strips to progressively timed lights to compare effects of various exposure times. |
| 23. | Mount cameras on tripods or stands, and load prescribed types and sizes of film in cameras. |
| 24. | Examine quality of film fades and dissolves, and evaluate potential color corrections, using color analyzers. |
| 25. | Shade negatives or photographs with pencils to smooth facial contours, soften highlights, and conceal blemishes, stray hairs, or wrinkles. |
| 26. | Measure material to be copied, and compute percentages of enlargement or reproduction necessary, using rules, charts, or percentage scales. |
| 27. | Thread film strips through sensitometers, expose film to light, and read gauges to assess light sensitivity. |
| 28. | Rub erasers or cloths over photographs to reduce gloss, remove debris, or prepare specified areas of illustrations for highlighting. |
| 29. | Clean and organize darkrooms, and maintain darkroom equipment. |
| 30. | Apply paint to retouch or enhance negatives or photographs, using airbrushes, pens, artists' brushes, cotton swabs, or gloved fingers. |
| 31. | Ink borders or lettering on illustrations, using pens, brushes, or drafting instruments. |
| 32. | Cut out masking templates, using shears, and position templates on pictures to mask selected areas. |
| 33. | Color photographs to produce natural, lifelike appearances, using oil colors. |
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