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تقنيات خاصة ..
كتاب التصوير الفوتوغرافي
Solarization
Solarization - also called the " Sabattier effect " - is the partial reversal of the negative to positive caused by briefly exposing it to light during development . Of all the manipulative darkroom processes , solarization is possibly the most difficult to apply to portraiture . Fast , modern materials react very quickly to mani pulations , so the facial features may distort so much that the portrait becomes totally un recognizable . The great surrealist photographer and artist , Man Ray , who discovered solariza tion accidentally , worked in the 1920s and 1930s when negative materials were far slower and easier to control . He was able to create beautiful effects , outlining the contours of his sitter's face in black while keeping the rest of the face unchanged . Nowadays it is still exciting to use this process , but you will find it difficult to use direct solarization , especially on color negatives . Instead , you will have to make a copy negative with which to work .
Start by giving the negative a brief fogging exposure midway through development . A long exposure to light brings about a complete reversal to positive but a short exposure usually just a few seconds results in only partial reversal . Where light and dark areas of the image meet , a strong black and white line , known as the " Mackie line " , appears . For best results , process your color negatives normally , copy them onto a contrasty negative material such as Kodalith , and then solarize the copy halfway through development ( see p . 161 ) . Print this solarized positive first , and then super impose the color negative in exact register as a second exposure on the same piece of color paper . In this way your portrait will still be more or less recognizable . Since you are solarizing a copy and not an original , a number of varia tions are possible . For example , instead of solarizing the first copy , try developing it normally without a fogging exposure , make another copy from it this time a negative - and then proceed to fog this second copy .
Some photographers prefer to use a modern solarizing developer such as " Solarol " to solarize prints rather than negatives because the process is more controllable . To get a color result you will have to rephotograph the black and white solarized print and make three inter mediate negatives - one with a red filter , one with a blue , and one with a green . Combine these color separations in a sandwich for the final film transparency .
Solarization in black and white Here , I contact printed my black and white negative onto Kodalith sheet film , made another copy from it . and gave this copy a fogging exposure at the halfway stage of development . For the fogging exposure I used a 15 watt bulb about 3 ft ( 1 m ) above the developing dish , switching it on for 3 sec only . Mamiyaflex C3 , 65 mm . 1/60 sec at f8 , Tri - X .
Solarizing in color V Tim Stephens made a contact positive on Plus - X film from his original color negative , fogging the copy during development for 1-2 sec to get the " Mackie line " . Then he printed the solarized positive and the original color negative on a single piece of color printing paper . He controlled the colors through his enlarger's filtration system . Pentax Spotmatic , 50 mm . 1/30 sec at f1.4 , Vericolor Professional Type S.
. Using a solarizing developer Bruce Pinkard shot this close - up of a head in profile on ordinary black and white negative material . From this negative he made a print on very hard paper , but instead of using a conventional paper developer he used " Solarol " developer . He exposed the print for about half the normal time , then placed it in a dish of Solarol . After about 30 sec the image appeared . Then , with the print still in the developer , he gave a 1 sec exposure from a 40 watt bulb . After fixing and washing the solarized print he copied it onto three sheets of color negative material using three different color filters . Finally , he made a color transparency by printing the three negatives in precise register onto a piece of color film . Nikon FE . 200 mm . 1/60 sec at f3.5 . FP4 .
تقنيات خاصة ..
كتاب التصوير الفوتوغرافي
Solarization
Solarization - also called the " Sabattier effect " - is the partial reversal of the negative to positive caused by briefly exposing it to light during development . Of all the manipulative darkroom processes , solarization is possibly the most difficult to apply to portraiture . Fast , modern materials react very quickly to mani pulations , so the facial features may distort so much that the portrait becomes totally un recognizable . The great surrealist photographer and artist , Man Ray , who discovered solariza tion accidentally , worked in the 1920s and 1930s when negative materials were far slower and easier to control . He was able to create beautiful effects , outlining the contours of his sitter's face in black while keeping the rest of the face unchanged . Nowadays it is still exciting to use this process , but you will find it difficult to use direct solarization , especially on color negatives . Instead , you will have to make a copy negative with which to work .
Start by giving the negative a brief fogging exposure midway through development . A long exposure to light brings about a complete reversal to positive but a short exposure usually just a few seconds results in only partial reversal . Where light and dark areas of the image meet , a strong black and white line , known as the " Mackie line " , appears . For best results , process your color negatives normally , copy them onto a contrasty negative material such as Kodalith , and then solarize the copy halfway through development ( see p . 161 ) . Print this solarized positive first , and then super impose the color negative in exact register as a second exposure on the same piece of color paper . In this way your portrait will still be more or less recognizable . Since you are solarizing a copy and not an original , a number of varia tions are possible . For example , instead of solarizing the first copy , try developing it normally without a fogging exposure , make another copy from it this time a negative - and then proceed to fog this second copy .
Some photographers prefer to use a modern solarizing developer such as " Solarol " to solarize prints rather than negatives because the process is more controllable . To get a color result you will have to rephotograph the black and white solarized print and make three inter mediate negatives - one with a red filter , one with a blue , and one with a green . Combine these color separations in a sandwich for the final film transparency .
Solarization in black and white Here , I contact printed my black and white negative onto Kodalith sheet film , made another copy from it . and gave this copy a fogging exposure at the halfway stage of development . For the fogging exposure I used a 15 watt bulb about 3 ft ( 1 m ) above the developing dish , switching it on for 3 sec only . Mamiyaflex C3 , 65 mm . 1/60 sec at f8 , Tri - X .
Solarizing in color V Tim Stephens made a contact positive on Plus - X film from his original color negative , fogging the copy during development for 1-2 sec to get the " Mackie line " . Then he printed the solarized positive and the original color negative on a single piece of color printing paper . He controlled the colors through his enlarger's filtration system . Pentax Spotmatic , 50 mm . 1/30 sec at f1.4 , Vericolor Professional Type S.
. Using a solarizing developer Bruce Pinkard shot this close - up of a head in profile on ordinary black and white negative material . From this negative he made a print on very hard paper , but instead of using a conventional paper developer he used " Solarol " developer . He exposed the print for about half the normal time , then placed it in a dish of Solarol . After about 30 sec the image appeared . Then , with the print still in the developer , he gave a 1 sec exposure from a 40 watt bulb . After fixing and washing the solarized print he copied it onto three sheets of color negative material using three different color filters . Finally , he made a color transparency by printing the three negatives in precise register onto a piece of color film . Nikon FE . 200 mm . 1/60 sec at f3.5 . FP4 .
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