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Character Between Sonny’s Blues vs a Rose for Emily

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Character In between Sonny’s Blues vs a Rose for Emily

PT202 Advanced Darkroom Tuesdays Spring 2013 Project: Moving Beyond Traditional Printing For this task you are to think about the five printing and one shooting methods laid out listed below. You will discover that each of these techniques will produce fascinating results. Start with a method that intrigues you and continue from there. 1) Mix Printing: Utilizing two enlargers- 1 Set up enlargers and easels utilizing negatives of your option. 2 Place a sheet of white paper in the easel of Image 1. Trace an easy overview of the portion of Image 1 that you wish to combine with Image 2.

Put this tracing into the easel of Image 2 and change the easel so that the part of Image 1 falls where you want into image 2. 3 Determine the proper exposure for each image individually. 4 Print the wanted portion of Image 1, masking out the area not intended to be exposed utilizing board simply as you would utilize for a burn exposure. 5 Move photo paper to the easel of Image 2, mask the location you simply exposed from Image 1 burning in the remaining location of Image 2. 6 Process as usual. 2) Sandwiching Negatives: Using one enlarger with 2 negatives sandwiched together: Pick two negatives to utilize- it helps to set some negatives on the light table and try combining different ones there to get an idea of what sort of image sandwich you would like to make try sandwiching negative emulsion to emulsion to maintain focus from both negatives. 2 Put both negatives into the enlarger. 3 Aperture ought to be as wide as possible. 4 Determine finest total exposure, begin with 10 second increments for you first several exposure test strip since it will take more light to permeate the two negatives, evaluate and continue to print as typical.) Sabbattier Result (Solarization) 1 Set up and focus enlarger as normal. Use a filter i. e.: # 3 or # 4, utilize a regular to high contrast negative. Set up a second enlarger with a blank unfavorable provider. Put enlarger head high sufficient to surround a print tray size are with white light and use tape on the base board to mark tray placement for exposure. 2 Make a several direct exposure test strip under image enlarger as usual, procedure as usual and identify finest exposure time. 3 Once the time is determined develop a sabbatier test print by exposing for the time identified in step 2, then … Develop print in designer for 1/2 typical development time (1 minute). 5 Staying in the darkroom move print to tray of running water, do 30-45 second rinse. Squeegee print, put on flat tray. 6 Location tray under enlarger. Stop down lens 2 stops. Make an action test on print (5-25 seconds). 7 Put print back into developer for rest of regular development time (1 minute). 8 Use stop and fixer as normal. 9 Examine your test print. 10 Use test print to identify best second exposure (white light) time and procedure as typical. 4) Photogram 1 Stop down all the method. 2 Location objects on test strip. Make multiple direct exposure test strips. 4 Make image on a full sheet of paper utilizing direct exposure determined from test strip. Keep in mind: Experiment with products- particularly interesting are products that allow some light to pass through them so that the locations are not solid white. Consider your composition and what you are trying to attain with the objects that you use, don’t simply toss a lot of elements on a sheet of photo paper. You can also utilize a little pen light to produce additional direct exposure in white areas. You can also photogram over the top of a negative. Set up picked negative as normal and create a test strip to identify finest direct exposure, when you are happy with the exposure time proceed to step 2 2 Lay photogram objects onto the picture paper and expose the print. 5) Negative Print 1 Pick a great negative with typical to high contrast. 2 Print and process generally other than print unfavorable upside down (emulsion up, ideal reading down). 3 Soak print in water if dry or use directly after final wash. 4 Take wet print, squeegee it then take a second sheet of unexposed image paper and press emulsion of very first (damp) print to the emulsion of the unexposed photo paper.

Set them in a tray under enlarger with an empty negative carrier in it. Place them with the unexposed sheet on the bottom and the exposed print on the top. 5 Open the aperture all the method. 6 Do a direct exposure test. 7 Peel apart and process the second print generally. 8 Choose the very best direct exposure and repeat the process with the selected direct exposure time. 6) Proof Sheet as image 1 Use a roll of 36 direct exposure 2 Pick landscape or environment. You will be using all the shots of the roll to piece together the scene.

Align each shot as best as possible however some spaces and overlaps are natural and part of the effect. 3 Meter thoroughly, a gray card is recommended. 4 Shoot the entire roll without altering the setting. 5 Begin shooting in the top left area of your scene and cross the scene horizontally to the right till you complete 5 frames. 6 Move the electronic camera down vertical and to the left about one frame listed below the first shot and then continue to shoot 5 frames once again moving horizontally to the right. 7 Repeat the process until 35 frames are shot. You will have 7 rows. 8 Process movie carefully. Make a contact proof sheet as your last print- dodging and burning can be used as with a normal print. This is your framing chart for your scene: 1. 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 Due Date: A minimum of 3 prints utilizing three different methods are due Tuesday March 5th start of class session. Loss of one letter grade dates: up to one week after due date, job won’t be accepted after one week without a concurred upon extended late due date.

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