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Special effects
With color negative film you can control and manipulate the image during printing . This is easiest with subtractive printing . You can shade or print - in chosen areas to make the image lighter or darker in the same way as in black and white printing , see page 86. But in color printing these tech- niques alter not only the density but also the colors on the final print . For example , a portrait may have greenish shadows on one side of the face , cast by nearby foliage . If you shade this shadow area with a 50G filter for part of the exposure it will print lighter and more neutral in color . Or you can make a pale , gray looking stretch of sea print darker and more bluish - green , by printing - in for an extra period through a red ( or magenta plus yellow ) filter .
Special effects through printing
More experimental , interpretive effects are possible by printing black and white nega- tives on to color printing paper . You can then introduce any color or colors you choose by general or local color filtering . Both the pictures on this page were created by this method .
Unusual effects can also be achieved by printing color slides on to color printing paper . They give high contrast negative images in complementary colors , which can be further modified by filtration . In fact all the techniques described on pages 130-5 , such as making photograms , bas - relief , and solar- ization can be adapted to color printing .
Printing black and white . negatives on color paper
The picture above was produced by enlarging a black and white negative on color printing paper . Exposure and filtration tests were made to produce a neutral gray . Then the two strips above were made to assess the effects of adding and subtracting filters from the neutral gray filtration . The lower part of the landscape was exposed at the neutral filtration , and the rest shaded . The filters were changed to 66Y 30M , and the remainder of the image exposed . Since black and white negatives have no orange mask you must expect to use strong yellow and magenta filtering on all exposures to avoid an overall cast .
Local coloring
The picture , left , is a color print made from a black and white negative , using the method described above . But in this case only the tops of the trees were shaded during neutral filtration . They were then printed back with 65Y 35M sub- tracted from the pack , to produce this sepia looking effect .
Double printing
You can print two negatives on one sheet of color paper in the same way as in black and white printing ( see p . 133 ) . These might be two color negatives , or one black and white and one color negative . The picture right was made from two black and white negatives . The small image of the boat was exposed first , filtered to give neutral color , and vignetted ( see p . 130 ) to avoid hard picture edges showing . Then the second negative , of the landscape , was exposed with the filters set to give an orange - brown result .
When making a double exposure of two negatives , make sure that you trace out the images on a layout sheet so that you can position the negatives accurately on the paper .
Printing color slides
The bizarre beach scene below was created by printing a color slide on to normal color paper . The image produced is negative in color and tone . All the colors in the original subject , such as the yellow sandstone cliffs and the green grass , appear in their comp- lementary colors . Blacks and whites are reversed . The sky and sea were originally bluish - cyan , becoming paler and lighter to- ward the furthest horizon . In the print they graduate from fiery orange to dark brown . Notice how the aerial perspective is reversed , giving a stormy quality to the distant sky and adding to the strangeness of the scene .
Image contrast is always ex- tremely high in prints made direct from slides , because slides are de- signed to look bold and brilliant when projected , not to act as intermediates for printing .
Special effects
With color negative film you can control and manipulate the image during printing . This is easiest with subtractive printing . You can shade or print - in chosen areas to make the image lighter or darker in the same way as in black and white printing , see page 86. But in color printing these tech- niques alter not only the density but also the colors on the final print . For example , a portrait may have greenish shadows on one side of the face , cast by nearby foliage . If you shade this shadow area with a 50G filter for part of the exposure it will print lighter and more neutral in color . Or you can make a pale , gray looking stretch of sea print darker and more bluish - green , by printing - in for an extra period through a red ( or magenta plus yellow ) filter .
Special effects through printing
More experimental , interpretive effects are possible by printing black and white nega- tives on to color printing paper . You can then introduce any color or colors you choose by general or local color filtering . Both the pictures on this page were created by this method .
Unusual effects can also be achieved by printing color slides on to color printing paper . They give high contrast negative images in complementary colors , which can be further modified by filtration . In fact all the techniques described on pages 130-5 , such as making photograms , bas - relief , and solar- ization can be adapted to color printing .
Printing black and white . negatives on color paper
The picture above was produced by enlarging a black and white negative on color printing paper . Exposure and filtration tests were made to produce a neutral gray . Then the two strips above were made to assess the effects of adding and subtracting filters from the neutral gray filtration . The lower part of the landscape was exposed at the neutral filtration , and the rest shaded . The filters were changed to 66Y 30M , and the remainder of the image exposed . Since black and white negatives have no orange mask you must expect to use strong yellow and magenta filtering on all exposures to avoid an overall cast .
Local coloring
The picture , left , is a color print made from a black and white negative , using the method described above . But in this case only the tops of the trees were shaded during neutral filtration . They were then printed back with 65Y 35M sub- tracted from the pack , to produce this sepia looking effect .
Double printing
You can print two negatives on one sheet of color paper in the same way as in black and white printing ( see p . 133 ) . These might be two color negatives , or one black and white and one color negative . The picture right was made from two black and white negatives . The small image of the boat was exposed first , filtered to give neutral color , and vignetted ( see p . 130 ) to avoid hard picture edges showing . Then the second negative , of the landscape , was exposed with the filters set to give an orange - brown result .
When making a double exposure of two negatives , make sure that you trace out the images on a layout sheet so that you can position the negatives accurately on the paper .
Printing color slides
The bizarre beach scene below was created by printing a color slide on to normal color paper . The image produced is negative in color and tone . All the colors in the original subject , such as the yellow sandstone cliffs and the green grass , appear in their comp- lementary colors . Blacks and whites are reversed . The sky and sea were originally bluish - cyan , becoming paler and lighter to- ward the furthest horizon . In the print they graduate from fiery orange to dark brown . Notice how the aerial perspective is reversed , giving a stormy quality to the distant sky and adding to the strangeness of the scene .
Image contrast is always ex- tremely high in prints made direct from slides , because slides are de- signed to look bold and brilliant when projected , not to act as intermediates for printing .
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