I like what you are doing with this project.
I like what you are doing with this project.
"Vocation to Solitude -- To deliver oneself up, to hand oneself over, entrust oneself completely to the silence of a wide landscape of woods and hills, or sea, or desert; to sit still while the sun comes up over the land and fills its silences with light." Thomas Merton
I am making 12 murals of the food group for a Contact Show in May and preparing for a show in Calgary in Feb /13 where I will launch the whole project.
Most everything is on a old century camera and I am having a lot of fun ..
I think I will be meeting some of the people you may have been involved with in Alberta... Paulette who has joined us on a ownership level went to Alberta College of Art and Design...and through her connections has landed us a couple of shows during Calgary's photo festival.
It will be dam cold in Feb but apparently nice people out west...
"There are a great many things I am in doubt about at the moment, and I should consider myself favoured if you would kindly enlighten me. Signed, Doubtful, off to Canada." (BJP 1914).
Hi Bill, Don't worry about the sigline, just sign your posts and we can call you by your preferred name.
You can call it whatever you want pseudo-solarization or Sabbattier effect or solarization (incorrectly but we know what you mean).
Have you checked out Wynn Bullock's work 1946-1948? When I first heard you were dabbling in this I began to "worry" we would lose you to the same kind of research. Then I came to my senses. It's OK. Everybody needs to dive off the deep end once in a while.
Totally illogical, but if you made a test strip of a step wedge I think you could see where it's going. Use a green filter and make the rest of the scene predominantly mid-tone. Let the reversal bring out the red that received zero exposure from the camera image.
Talking about going off the deep end... could you explain the green filter idea as you are right the reversal does create tone where there is none. I did not think about reverse engineering this work... very good on you to think of this.
I absolutely love this stuff, I will post the portraits I am doing tommorow,,, Big Head Pin Head diptichs.. if you look at your friends you will notice some have monster heads and some have tiny heads, I am finding these people in my friends and clients and doing this series... not very glamourous but these folks are keen... see where it leads.
So now I have to try a red filter, a cyan filter and now a green filter ... this will be interesting.. the meat series is very cool but for some kind of gross so I hope I do not offend any vegans when I post the images.
I can't say much from experience (I only did Sabattier one or two times).
But from Todd-Zakia you can see the "illogical" grayscale.
Since you are using the Sabattier effect... and you want to create contrast between subject matter using color filters... if you don't get the effect you want by going the normal route (red filter to lighten red subject)... You can try the other direction (green filter to darken subject then Sabattier effect will lighten it).
That is a very cool chart.
I am splitting the development equally between the normal and unreal... as I call it.
my flasher is an old separation point light source I have modified with new bulbs... I bought enough for a life time.
I can control with power and limited time.( power is more desirable, since you can get flow marks (though sometimes nice) with longer flash times lets say over 4 seconds.
I have sometime pulled the print early but never extended the time in either of the devs.. This would be another complete set of variables to get my head around.
Its enough to know that in a print solarization, more exposure(burning ) at the enlarger creates a normal version of the image , and less exposure(dodging) creates the unreal version.
The trick is to find the split from normal and unreal in exposure and flash and play with it on either side.
It is really cool to have a very normal image that just drops off to unreal in only one area of the print.. almost like MAGIC.
It would be nice to see crisp lines within each patch , this would allow one to see the makie lines if they want to come out and play or not.
I think I am going to see if I can design a test negative to show this at some time .
Much like a 0-100 grey patch with each L density number inside it.
this chart is a Sandy King idea or at least thats who I heard it from... With 100 steps you can see failures within any print system and give you ideas on how to modify the curves..
If I am not wrong, and I have been wrong a lot , Ron Reeder uses this madness for QTR.
Known density values that are placed on end processes , then read using the scanner and PS program he developed. Then modify the curve shape so that the end process shows as much of the original chart in its proper densitys.
going on a tangent here as I really do not think I can make the Solarization process work this way but I can think of ways of making enlarge film that funks out in areas by drastically altering the curve shape and re outputting a new master neg.
Thanks Bill now you got me going