Discussion in 'Photographers' started by polyglot, Jun 9, 2013.
more than 800 plates...
Wonderful! Thanks for the link.
Interesting. Reminded me a bit of Cirque Calder. http://www.ubu.com/film/calder.html
thanks for BOTH these links !
I can't even begin to imagine the scale of this project. How does one expose 800+ in such a short time frame? Scratch that... How does one expose even two consecutive plates in a way such as to imply continuity? I am flabbergasted. What a monumental task, but well worth the effort; it is pure magic on the screen.
That was pretty cool and I can't imagine how hard that was to pull off. There was a 360 pinhole shot of a music video recently done on film too which did have a making of video and that was crazy.
I have never poured a wet or dry plate, but it seemed like there were lots of defects in the final images that flickered past my screen. Was that normal in the past? And only the best plates were shown to the customer and the others discarded?
I linked to this one years ago, but still worth watching again!
the person who took all the plates might have had a 4x5 cameras, with 400 film holders filled with 2 metal plates each ...
and someone constantly feeding him one holder and another holder and another ... liquid emulsion is about asa 1-1/2
so if the lights were bright and he had a very fast lens
OR if he was kind of crazy, he could have hand coated an extremely long black strip of paper with the same emulsion
and put it in a enormous film holder ( like 100 feet of movie film enormous ) and used something like a noctilux lens
and just had a few large cassettes filled with hand rolled black paper ... ( and an auto winder ! )
unlike wet collodion, you can coat liquid silver emulsion on just about anything, and process it in reversal developer
to make a positive. i've made them on black metal, glass and even photo paper that i put through developer with the lights on to make it black
i've got some black paper to try soon, its coated with emulsion i just have to expose it
800 plates is a ton, its kind of mind boggling.
I'd say the original photos were digital, edited to the ones that would work for the animation and then printed as tintypes. Would be next to impossible to shoot live tintypes to come out as these did, e.g. consider the exposure times required.
And consider the mountain of film holders cascading around your feet.
IDK silver emulsion can be pretty speedy in certain situations. much faster than wet plate...
silver gelatin tintypes can also be done in the darkroom ... (i've done them in the darkroom )
maybe he shot the whole thing on film ( 35mm and an auto winder or 8mm film or ? )
and enlarged them on silver gelatin plates or glass ..
all the exposures would end up being exactly the same ... and it would be pretty easy.
From his Vimeo page
"Over 800 modern dryplate tintypes were made from b&w film to produce this experimental stop-motion video of a circus.
Antonio Martinez created this video to serve as a desired childhood memory of the circus, but through the mind of an adult.
The project began in 2005 and was fully completed in early 2010 with the help of sound designer, Ramah (Malebranche) Jihan, and assistant, Sarah (Lathrop) Midkiff. "
i contacted him
it was shot on film and printed on plates in the DR
then assembled &c with PS.
took 3 years ...
a piece of art
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