Home / Tips and ideas / Design hacks / How to make a room bright: 5 simple steps with design tips
Elena Eller Tue, 21 Oct 2014 06:45:00 +0300
In the pictures, everything does not look like it is in life. And what seemed irresistible on paper may not be so practical in reality. So, some designers, being carried away by the project, make the interior too dark, and people who are embraced by this magic do not think about how their daily life will flow in such walls. And when it turns out that the light is not enough at all - do not despair, there are simple ways to change it.
1. Add multi-level lighting
The first thing to do is pay attention to the main lighting. If you have only one chandelier in your room - this is not enough. Therefore, it would be wise to add at least one more light source, and just in time there will be additional illumination.
It’s great if all the lighting will be at different levels, and for this there is no need for multi-level ceilings. Place the planks around the perimeter and hide the hidden backlight in them - both ordinary and neon bulbs will do. No one bothers to put a floor lamp, attach a sconce to a wall or highlight some separate objects.
- Listen to the opinion of designers, they advise even in a small room to use three sources of lighting: general, local and decorative. Such a move will not only make the space much brighter, but also visually increase it.
2. We use mirror and reflective surfaces
This old trick has worked perfectly to this day. Not only mirrors, but also other reflective surfaces double the light, making the room instantly brighter and richer. Allocate some funds from the family budget and get a large full-length mirror, which is now so popular, or any shiny objects made of metal or glass. Even small details such as crystal glasses and a metal photo frame can give the room a reflection effect.
Stepan Bugaev, interior designer
- When used correctly, the mirror will have a big effect on the lightness of the room. It is necessary to place it so that it reflects the light penetrating into the apartment. It is important to discern its strengths and main advantages in terms of illumination in the room and to increase their influence with the help of reflective surfaces.
Also, mirrors can be used as wall decoration to increase space and its lighting. For example, in Ancient Egypt, interiors were illuminated by the proper exposure of mirrors. So, one mirror was placed outside so that it “caught” the rays, and the other inside. Choose furniture with a glossy finish, and use glossy materials as an interior decoration.
Episode 1: Chrysalis Edit
Before the fourth episode was released, the end frames only aroused interest in the story of Rachel Amber's disappearance, but after the shots take on a new meaning. At the end of the episode, in the final cutscene, the red folders are shown in a row, which, as is now known, were in the development, and the last of them was a folder named after the missing girl.
Episode 2: Lack of Love Edit
Frames with the participation of the developer again appear, like the last of the short cut scenes that complete the episode of the game. In it, the frame starts from the moment that the last episode was finished - from the folder with the name Rachel, and then the camera slowly moves to the right, to the table on which stands a glass with some kind of drink, a couple of packages with tablets and a folder with the name Kate A march next to her photo. Someone is sitting at the table, but it is not known who it was.
Episode Four: Developing
In this episode, it finally became possible to study this location, along with the discovery of several important secrets, both the Prescott family, and the missing girls.
After Max and Chloe conducted an investigation and, putting all the evidence together, found that the girls were taken to the Prescott's barn, they went there. Inside, Max found a secret door in the floor with a heavy lock on it. Going down, they find another door with a combination lock. To go to the development room, you will have to pick up the code combination on your own from the erased numbers (this code was also written on Nathan's sheet in the dorm room).
Immediately after entering, you can see the shelves completely filled with filtered water, food, canned goods, cans (possibly with gasoline, to support the generator) and other necessary things for survival in extreme conditions - almost the same set as David Madsen's. Directly opposite the door, on a metal table, lies a letter addressed to Nathan’s father, Sean Prescott, from his son’s psychiatrist, which says that Nathan’s father does not listen to the doctor’s instructions, does not come to his appointment with his wife and does not help Nathan recover from his condition. Thus, the doctor decided to refuse further consultations of their family.
In the main room of the bunker, on the right, near the wall, an expensive printer is installed for printing photographs. Next, you can find a receipt in which the bunker is called "Stormbreaker Bunker" and, apparently, its equipment and construction cost considerable money for the Prescott family - $ 1,350,650.
To the right of the wall is a poster of a girl tearing her throat, signed by the author. A little to the right is a rack with a metal tray, in which lies a package of syringes and several flasks with tablets. Max will suggest that these are most likely the same drugs that Nathan uses to bring girls to this place.
The center part is a real photo studio, with spotlights, lighting settings and other things for shooting. There is also a tripod with an expensive camera mounted on it. In the corner next to it is equipment and several lenses for the camera.
On the left are several cabinets. In one of them there is a transmitter for communication and an autonomous radio, the other is the same cabinet that we saw in the cut scenes of previous episodes, two shelves of which are completely filled with folders with the names of the girls on them. Max will get three folders - Rachel Amber, Kate Marsh and Victoria Chase. A computer is installed on the table, at the entrance to which Max will see an open Neonvault program similar to Photoshop or any other program whose purpose is to process photos. The file opened on the screen in the program will be a photograph of Kate Marsh, sitting against the wall and tied with electrical tape (which could be seen at the entrance to the bunker) with her hands and feet, and tears flowing down her face. It is not known whether Kate understood what was happening, but given her other photographs, it is unlikely. A sticker with a hand-written message to Nathan from his father was also stuck on the screen, which says that Nathan should not call his father on a regular phone, but use a spare one, and also that he should moderate his emotional explosions. Apparently, his father does not have the slightest idea (or does not want to understand) the state of the young man, and is also not interested in the events of his life, only crushing him with his authority.
Red folders with names.
Folders with the names Kate and Rachel have photos inside that depict girls in an almost unconscious state, in various poses. The folder with Victoria’s name will be empty, which will prompt Max to think that since all these folders are full of photographs of Nathan’s victims, then Victoria should be next. After Max gets the folders, Chloe finds out the place where Rachel was photographed, and asks Max to go to the dump with her. The player has the opportunity to further explore the location, but the plot will continue in another place.
As can be understood from the short scene after the credits, the events of the fifth episode take place in the development room, where Max will drag Mark Jefferson. A photographer fills a syringe with a drug from one of the bubbles, Max sobs are heard in the background.
Fifth episode: The Split Edit
The episode begins with Max waking up in the developing room, tied to a chair. Victoria, too, lies tied nearby, if Max believed in the previous episode. The camera and several lamps are aimed at Max. Her bag is in the far left corner of the room. To the right of Max is a syringe cart and photos from last night. Max focuses on one of these photos and falls into the moment when she was tied on the floor of the Developing Room, and Jefferson photographed her. Max manages to kick the cart, spilling drugs on some photos, and comes back. As a result of this change, Jefferson had to remove the photos from the wet folder. Now there are other photos on the cart, focusing on one of them, Max gets to the moment when she was awake and talking to Jefferson. He explains to her his motives and goes to examine recently taken photographs. Max asks for her diary, after which she rewinds time from a photograph taken in the first episode and ends up in the art class.
Max again finds himself in the Developing Room after having torn a photo for the Hero of the Day contest. Jefferson is about to inject her with a lethal dose as David enters the room. With the help of Max, he defeats Mark and frees the girl. Max can then examine the room and find Chloe’s necklace on the table by the computer. On the trolley lies a photograph with the associated Max. Before leaving, the girl speaks with David and he asks what happened to Chloe. Max can tell the truth or hide it. Then he goes outside to go to save Chloe.
Developing also appears in Max's nightmare. Tied up, she sits in a chair, and her friends and acquaintances conduct dialogues around her. The first dialogue takes place between Chloe and Mark Jefferson about fashion, and then they begin to discuss Max. The next dialogue takes place between Chloe and Warren, and then they kiss. Chloe then talks with Nathan about the party and the acquisition of drugs. Then Chloe in lingerie dances for Max standing on the couch. The next dialogue takes place between Victoria and Chloe. Then a paralyzed Chloe appears, again blaming Max for what happened. And finally, a healthy Chloe appears, taking photos of Max and saying that she doesn’t have a place here. After the flash, Max is transferred to the next location.
Film Development Tank
Buying a tank today is not a problem, the main thing is to decide which one you need. There are tanks for 35 mm film, there are for wide, there are universal ones. Universal, as a rule, are also convenient in that they can show two rollers of a narrow film at once.
In addition to sizes, tanks differ in the way the film is charged. The classic single-spiral tank for a narrow film of the times of the USSR charges very simply, but requires accuracy when charging. The tail of the film for this tank does not need to be cut: it is fixed at the base of the spiral, after which the film is wound at an angle. Since there is only one spiral in the tank, at the bottom, there is a risk of sticking of the coils of the film. When properly charged, this should not happen, but, alas, sometimes it happens.
Where the best choice would be modern double-spiral universal tanks AP, Paterson, Jobo. Charging the film in such tanks is very simple and convenient.
We took the universal tank AP Compact. Due to the special design of the axis of the spiral, films of different formats can be displayed in it: 135, 126, 127, 120/220.
But we are primarily interested in narrow (135) and wide (120) films. When developing one roller of a narrow film, 375 ml of solution will be required, two - 650 ml, and for one wide film - 590 ml.
Beakers and containers for solutions
A beaker is needed when leaving solutions. Of course, in the kitchen, a suitable measuring container may surely be found, but cooking and developing the film are incompatible processes.
It is optimal to purchase a 1 liter plastic beaker and a pair of 1-2 liter plastic measuring jugs in which you will mix the solutions.
For storage of ready-made solutions it is best to use accordion tanks. The fact is that the developer and fixer in the form of solutions can be stored for a long time, but the main factors affecting their preservation are light and contact with air. The smaller the area of the solution in contact with air, the better. The accordion tank allows you to solve the problem with different volumes of the solution: just squeeze the tank so that the solution rises to the edge of the neck and tighten the lid tightly.
Thermometer, scales, mixer
There is no way to do without a thermometer: the temperature of manifestation is one of the most important factors. Scales will be needed to accurately measure the right amount of chemicals. To stir the solution you will need a stirrer - the device is optional, but very convenient.
The time of manifestation is one of the most important factors determining the quality of the result. The shorter the time of manifestation, the more accurately you must control it. Sometimes an error even in 5-10 seconds can affect the quality of development.
It is not necessary to acquire a special timer, but it is necessary to attend to the monitoring of the development time.
Ideally, distilled water is best used to formulate solutions, especially the developer. But if it is not - it does not matter, you can use tap water or well.
In such cases, you will need filter paper or its analogues: various napkins or paper filters for coffee.
Dark room or lightproof sleeve
You need to charge the tank with film in complete darkness. So a dark (absolutely dark!) Room or a lightproof sleeve will be needed.
You can use the "classic" method - a buttoned jacket on the lining, having previously turned up the collar and the bottom: it turns out quite a lightproof bag with real sleeves. If in doubt about the lightfastness of one jacket, use two.
Tongs for pressing and clothespins for drying the film
After washing the film before drying, it is necessary to remove droplets of moisture from it, since when dried, they will leave traces on the film. And if droplets on the side of the substrate will be easy to remove, then the spots from the emulsion can only be washed off. Before drying, in professional laboratories, the film is briefly placed in a special rinse aid - it helps to get rid of excess droplets, but in everyday conditions it is quite possible to do without it.
To remove droplets, it is convenient to use special tongs with rubber jaws. It is only important to monitor their cleanliness.
No tongs? You can get along with a damp soft suede cloth.
Clothespins - an important trifle - will help to hang the film and will not allow it to curl when dried.
Now it remains to purchase chemicals. We need a developer and fixer. There is also a so-called stop bath (it stops the film development process), but, believe me, you can do without it.
I’ll make a reservation right away: we won’t climb into the jungle of various chemical compositions of developers and fixers, this is a topic for a separate book.
N.B. Please note that chemicals are not safe for humans. Keep them out of the reach of children. Avoid contact with eyes and, of course, do not try to eat or drink them: if this happens, consult a doctor immediately.
If your skin is sensitive to different chemistry, when working with solutions, it is not superfluous to use rubber gloves.
During the total dominance of A2-III and Type-17 films among professionals and advanced amateurs, photographers, realizing that the Soviet chemical industry did not care for them, showed miracles of ingenuity in compiling special developers that made it possible to squeeze the maximum quality at a sensitivity of 400 ISO. Alas, 25 years ago it was unrealistic to buy film in a Soviet store with a sensitivity above 250 ISO.
A wonderful photographer Valery Pavlov worked in our editorial office, who made us happy with his concentrated two-solution hot miracle developer for Type-17. A little developer with a drop of acetone dissolved in hot water, and we got incredibly sharp negatives with excellent study at a sensitivity of 400 ISO.
It’s easy to get a high-quality developer today. Ideally, developers recommended by the film manufacturer are better off. In addition, the result with each particular film depends on the developer used. The developer has a significant effect on the grain structure in the developed film, which inevitably affects the nature of the image. Using different developers with the same film, you get different results. But this is a very broad topic for creativity and discussion, and we will not touch on it in this material. Let's start with the basics and take the classic developer.
We take the most standard developer - D76 from Kodak. It happens in the form of concentrated solutions, but we take it in the form of a ready-made mixture of chemicals. We just need to dilute it with water.
While the developer merges, while water is poured and drained for intermediate washing, the development process, although it slows down, does not stop until we fill the fixer. The stop bath stops the development process.
По сути это обычная пищевая уксусная эссенция, сильно разбавленная водой: 20 мл уксусной кислоты на 0,5 л раствора. Пользоваться или нет этим этапом — дело ваше. Лично я избегаю этого действия, не забывая о том, что, пока не залит фиксаж, — плёнка проявляется. Для коррекции времени проявления достаточно просто начать сливать проявитель немного раньше.
С фиксажом премудростей существенно меньше. Обычно он продаётся в виде порошка. We took the universal fixer FOMAFIX P (it is equally good for film and paper).
So, we have everything we need, so let's get started.
The first step is to prepare the solutions. As a rule, the developer is a concentrated solution that is diluted with water before developing the film. And this solution is well stored. This is convenient, since once you make up a relatively small volume of developer-concentrate, you can quickly prepare the developer for the film.
But first, let's make this concentrate.
On the Kodak D-76 developer packaging, you will not see any other film names other than Kodak films. Don't let this scare you. D-76 is a standard developer. This can be easily verified by looking at the developer table for your film (usually printed on the back of the package).
We purchased a D-76 developer packaging (415 g) for 3.8 L of developer. We don’t need so much, a quarter of this volume is enough for us. Therefore, we weigh a quarter of the powder.
Following the instructions on the packaging, carefully dissolve it in 750 ml of water (previously we filtered our well water), heated to 50–55 ° C. After complete dissolution of the powder, add water to a volume of 950 ml. Developer is ready! It remains only to cool it to the desired temperature of manifestation.
Now fixer. Unlike the developer, the fixer in our packaging consists of two parts that must be dissolved in water. Please note that the solution for the film should ultimately have a volume of 750 ml, while for photo paper it can be diluted to 1 liter.
Fixer is prepared in room temperature water. The principle of preparing the solution is the same - at first the chemicals are dissolved in a slightly smaller volume, after which the right amount of water is added.
Charging a narrow film
Our tank AP has a double-spiral design, which involves pushing the film to the center of the spiral. Before charging into the tank, using the extractor, remove the tip of the film from the cassette, trim the tail and round its edges.
Now you need to correctly connect the details of the spiral so that it fits the size of our film.
We place the tank, the lid, the spiral and the film in a lightproof bag (in our case, the jacket), put our hands into the sleeves, touch the film into the spiral and push it to the center, helping with special projections with balls, tear off the tail of the film from the cartridge, insert the spiral with film into the tank and securely close it with a lid. That's it, now all the operations of developing a film can be done in the light. Are you bothered by the holes in the tank cap? Do not worry: if the cover is closed, the light will not get inside.
Wide film charge
The design of the AP tank allows you to develop a film of different formats. For a wide one, it is enough to compose the details of the spiral so that its size matches the film.
N.B.Whether or not to remove the film from the cartridge before developing? If you use reusable cartridges or you have a special opener for cartridges, it is better to remove the film from the cartridge before loading it into the tank. It is undesirable to drag the film through the velvet of the cassette once again: there may always be a speck of dust that will scratch the emulsion.
You won’t have to trim the edges of the wide film. Having placed the film with a tank, a lid and a spiral in a lightproof bag, simply unfold the leader, carefully insert the end of the film into the guides of the spiral and, using special projections with balls, push it towards the center of the spiral. The main thing here is not to fuss and not grab the surface of the film with your fingers (try to touch only the edges). Spiral into the tank, close the tank with a lid. Everything is now manifest.
Drain the fixer. The fixer can be used repeatedly, so we do not pour it into the sink, but pour it into a container with a fixer.
Now the tank can be opened. For washing, it is enough to put the tank under a stream of cold water for 5-7 minutes and regularly shake it intensively or scroll the spiral.
In our case, there is no water supply, so we fill a portion of clean water, close the tank, shake it vigorously several times, and then drain the water. Repeat the procedure at least six times.
Having removed the film from the tank, it is necessary to rid it of droplets of water. For this we use tongs or damp soft suede. It remains to hang a film for drying. We attach clothespins to the ends of the film and hang it in a clean place where there are no drafts, for example, in the bathroom.
Film drying takes up to 2 hours. If you can’t wait to speed up the process, you can use a hairdryer, but not a hot one. And remember that dust that has settled on a wet film will not be easy to remove, so accuracy and cleanliness is the key to an excellent result.
Developer Quality Control
We showed the film, but the image is too faded, or, conversely, too dark. What is the problem? Incorrect exposure or improper development?
It is very simple to check it: on the perforation of the film, dashes and / or frame numbers are applied - this information is exposed on the film during production. If it looks faded, you have not shown the film, if it is too black, with blurry edges, the film is re-developed.
After the film has dried, cut it into pieces of 6 frames, starting from the last, and put it in slivers. Why do I need to cut the film from the end? There are seven compartments in a standard slider for segments of 6 frames, but, remember, there may be more exposed frames on the film than standard 36. If you start cutting from the first, there is a risk that 1-2 frames will remain in the end, and when printing, insert one frame in a magnifier is most often impossible. And the first frames will necessarily remain with an additional official segment of the film.
In the next publication, we will move on to the practice of printing black and white photographs. Remember: if you want to figure out something, you need to start with the basics.
To be continued…