![]() ![]() Other factors involve the type of developer used and the exact timing of the re-exposure: that is, how long you develop the print both before and after re-exposing it to white light. Some people may refer to this as the flash exposure. (I will generally refer to this second exposure with pure white light as the re-exposure. Solarization has many variations, and a wide range of effects can be obtained by varying the first exposure of the photo paper (that is, the exposure made with the negative in place in the enlarger) and the length and intensity of the second “re-exposure” to white light. Like “true” solarization, though, it involves some unexpected reversals of tonalities. The solarization we are concerned with is purely a darkroom technique, and involves precisely timed and controlled re-exposure of the image, rather than overexposure. Nowadays, probably because of exposure controls on cameras and because of changes in photographic materials, “true” solarization is a rare phenomenon. If you look through piles of old landscape photographs, you may come across one or two examples of this “true” solarization. (Ansel Adams and Minor White encountered this effect, and called the results their “Black Sun” prints.) The usual relationship of exposure to density, where more exposure to light steadilyĪnd predictably produces more density in the negative, breaks down in this situation where the film is pushed beyond its limits. In the print, the sun looks dark, sometimes even black. In the area where the film should be most dense, e.g., in the area of the image of the sun, you find instead a light grayish tone. “True” solarization happens when a piece of photographic material (film) is extremely overexposed, typically by photographing the sun itself (hence, solarized). are black rather than white: this may be because Man Ray solarized the negatives rather that the prints, or in one or both of these instances he may have used another technique, making solarized prints or negatives as an intermediate step and then printing the final image from those intermediate prints. The visual effects of this technique are described in broad terms below: these effects can be difficult to predict or to control exactly, but an understanding of the basic factors involved will allow you to experiment wisely and with good results. Both photographic film and paper, and both positives and negatives, can be solarized. Solarization, somewhat more properly known as the Sabatier effect, is a process which involves re- exposing a photographic print to white light during the development of the print. ![]() Shayan Abbasi on The Wasteland: A Poem about De… Street Photography R… on Henri Cartier Bresson’s… Criticizing Photographs, Chapter 2: Describing Photographs.Photo Resurrections & Myth of Narcissus Reflections. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |