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المونتاج وإضافة الملمس .. تقنيات الغرف المظلمة المتقدمة .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
Montaging and texturing
The most effective montage pictures are those in which the points where the over- laying prints meet the backing print are not obvious . It helps if you deliberately make the montage much larger than your usual print size because you can make smaller prints from this , on which the join lines and any retouching will also be diminished . The cut out parts of a montage should be on single - weight paper with a surface finish that matches the backing print .
Try to match the lighting on each part of the composite picture , and take care that the perspective is not distorted unrealistically in the different prints . When you place a sub- ject in the foreground , make sure it has been photographed from a close viewpoint so that it has a steep perspective . Con- versely , the backing print and overlays for background areas should have a shallow perspective to obtain a " realistic " result .
Montaged print
The montage , right , was constructed using prints from four negatives the background rocks , two shots of the standing figure , and the seated figure . All four negatives were printed to match in tone and contrast , to give added realism to the scene . Shadows at their feet were added by hand to the background print using watercolor .
Texturing the print surface
Although you can still buy print- ing papers with a variety of dif- ferent surface finishes ( see p . 77 ) , fewer types are made each year . It is becoming popular to add the final finish at the mounting stage . This was done with the canvas finish on the print shown below . To surface your prints you need a dry mounting press and a textur- ing kit for your print size . The kit includes sheets of clear , heat seal film , and embossed paper sheets . You place the film over your
print and then put the embossed paper on top . The texture is im- pressed into the film surface in the mounting press .
You can use a whole variety of embossing sheets - even devising your own , such as wallpaper , sandpaper , linen , or canvas . If one texture is unsuccessful , the print surface can be re - molded by re- turning it to the press with a dif- ferent embossing sheet . Uncopied montage prints will not texture well as their surfaces are uneven .
Mounting and texturing assembly
Emboss sheet
Release sheet
Heat seal film
Print
Dry mounting tissue Mount
Non - stick folder
The multi - layer assembly above will both dry mount and texture the print surface in one operation . At the bottom place the mount and the print tacked together by the dry mounting tissue . Above this , lay a clear heat seal film and lightly tack it to the print surface by touching it with the iron through a non - stick sheet . Remove the sheet and cover the film with a non - stick , release sheet . Different sorts of release sheet can be bought to produce a glossy or mat finish . Finally place your emboss ( textur- ing ) sheet on top . Insert the whole assembly in a folder of non - stick material , and place in a dry mounter set to 205 ° F ( 94 ° C ) . Leave in the mounter for 4-5 minutes .
After removing the folder leave it to cool for several minutes with a weight on top . Peel off the textur- ing and non - stick sheets , which can be used again , and remove the mounted textured print .
Montaging and texturing
The most effective montage pictures are those in which the points where the over- laying prints meet the backing print are not obvious . It helps if you deliberately make the montage much larger than your usual print size because you can make smaller prints from this , on which the join lines and any retouching will also be diminished . The cut out parts of a montage should be on single - weight paper with a surface finish that matches the backing print .
Try to match the lighting on each part of the composite picture , and take care that the perspective is not distorted unrealistically in the different prints . When you place a sub- ject in the foreground , make sure it has been photographed from a close viewpoint so that it has a steep perspective . Con- versely , the backing print and overlays for background areas should have a shallow perspective to obtain a " realistic " result .
Montaged print
The montage , right , was constructed using prints from four negatives the background rocks , two shots of the standing figure , and the seated figure . All four negatives were printed to match in tone and contrast , to give added realism to the scene . Shadows at their feet were added by hand to the background print using watercolor .
Texturing the print surface
Although you can still buy print- ing papers with a variety of dif- ferent surface finishes ( see p . 77 ) , fewer types are made each year . It is becoming popular to add the final finish at the mounting stage . This was done with the canvas finish on the print shown below . To surface your prints you need a dry mounting press and a textur- ing kit for your print size . The kit includes sheets of clear , heat seal film , and embossed paper sheets . You place the film over your
print and then put the embossed paper on top . The texture is im- pressed into the film surface in the mounting press .
You can use a whole variety of embossing sheets - even devising your own , such as wallpaper , sandpaper , linen , or canvas . If one texture is unsuccessful , the print surface can be re - molded by re- turning it to the press with a dif- ferent embossing sheet . Uncopied montage prints will not texture well as their surfaces are uneven .
Mounting and texturing assembly
Emboss sheet
Release sheet
Heat seal film
Dry mounting tissue Mount
Non - stick folder
The multi - layer assembly above will both dry mount and texture the print surface in one operation . At the bottom place the mount and the print tacked together by the dry mounting tissue . Above this , lay a clear heat seal film and lightly tack it to the print surface by touching it with the iron through a non - stick sheet . Remove the sheet and cover the film with a non - stick , release sheet . Different sorts of release sheet can be bought to produce a glossy or mat finish . Finally place your emboss ( textur- ing ) sheet on top . Insert the whole assembly in a folder of non - stick material , and place in a dry mounter set to 205 ° F ( 94 ° C ) . Leave in the mounter for 4-5 minutes .
After removing the folder leave it to cool for several minutes with a weight on top . Peel off the textur- ing and non - stick sheets , which can be used again , and remove the mounted textured print .
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