Not sure if best category: I'm recently have become interested on modifying an old 35mm VF & a 16mm movie cam camera to make color photos on regular panchromatic stock using a lenticular lens on the focal plane & a three color filter in front of the lens for color separation.
I know Kodacolor 16mm (Process 1 I think) used an etching of fine lines on the back of the base acting as a lenticular lens.
Instead I want a camera using a tricolor filter that can use regular film stock using maybe a plastic lenticular lens (like the 90s cereal box giveaways) on the focal plane, touching the emulsion to emulate this. I wonder can this be possible, anyone else have any experience w/ this? Does this sound possible? Also can one use Red Blue-Green 2 color instead of tricolor, r,g,b filters?
extinction meters tend to be more accurate if you substitute your morning oj for carrot juice.
partial success. I mounted a lenticular sheet used to magnify roadmaps (approx 100 lines per inch) onto the focal plane of my Pentax. Shot on Valca 6 Din processed reversal. I then used the same camera setup as an enlarger to view the projection. It worked poorly which I attributed to the lines per inch of the plastic sheet I used. My mission is now to find a 3000+ line per inch sheet or even double that so I can shoot on s16mm.
extinction meters tend to be more accurate if you substitute your morning oj for carrot juice.
I'm very interested in this project, I don't know how I missed it!
Wow, so you actually got workable color using a lenticular process?? That's quite an achievement! If you could post pictures or something, that would be awesome.
If you're a reader, check out J.S. Friedman's "History of Color Photography". He has a lot of information devoted to the lenticular processes.
Following with interest, but I need a refresher/primer before I can be of much use.
From the film shooters will rise a well developed practice of the alternative processes that, in time, will be adopted in the age of the digital image to free it from the extreme boringness of pressing print.
Ok, so after refilling my coffee, let me see if I have this right... somewhat for my sake and also for other reader's sake.
You have a filter over the lens with 3 strips of RGB, running parallel to your lenticular screen, which is placed as close to the film plane as possible. Right?
A lenticular screen is "uni-directionally discriminating", or in this case, "horizontally diffusing". This means that it only makes an image in one plane, and not in the other. That's a confusing way to say it, I know, but what it means in this case is that it's seeing the 3 strips and imaging them in a different spot behind the "lenticle" (seems like a good time to make up new words). Thus, upon projection, the 3 color-separations that are "coded" behind the lenticle are projected back through the lens/filter to produce additive-color synthesis by projection, all from the same piece of film and in b&w.
I would think that your biggest troubles will come from registration, and this will get worse and worse as you increase the resolution of the lenticular screen. Also, not having the lenticles at the film plane, as was the case in Kodak's specialized film base, this might compound the problem, but I don't really know to what extent.
Furthermore, a 2-color scheme would most definitely work.
All told, I think it's way cool that you're experimenting with lenticular color processes; a completely forgotten beast.
From the film shooters will rise a well developed practice of the alternative processes that, in time, will be adopted in the age of the digital image to free it from the extreme boringness of pressing print.
You have a filter over the lens with 3 strips of RGB, running parallel to your lenticular screen, which is placed as close to the film plane as possible. Right?
A lenticular screen is "uni-directionally discriminating", or in this case, "horizontally diffusing". This means that it only makes an image in one plane, and not in the other. That's a confusing way to say it, I know, but what it means in this case is that it's seeing the 3 strips and imaging them in a different spot behind the "lenticle" (seems like a good time to make up new words). Thus, upon projection, the 3 color-separations that are "coded" behind the lenticle are projected back through the lens/filter to produce additive-color synthesis by projection, all from the same piece of film and in b&w.
I would think that your biggest troubles will come from registration, and this will get worse and worse as you increase the resolution of the lenticular screen. Also, not having the lenticles at the film plane, as was the case in Kodak's specialized film base, this might compound the problem, but I don't really know to what extent.
pretty much nailed it on the spot. ironically, i stumbled upon this when I compelled to research a 3D digital cinema system for work. seems that the forgotten beast might be making a come back for now (or at least until 3D fades out from overexposure) i will post some pix as soon as I have some free time. My best results insofar for additive color are by using micro meshes. Basically, I take a very fine cloth or nylon mesh (a stocking will even work) that is dyed red-orange and secure it on the focal plane of a 120, then I use a green filter and snap away. I will be working on these some more during the upcoming holidays. Also thanks for the book recomendation I am sure to buy it for myself.
extinction meters tend to be more accurate if you substitute your morning oj for carrot juice.
Wow, very fascinating.. this micro mesh idea is new to me; I'm gonna need to chew on that one for a while... How exactly does it work?!
I look forward to seeing the results and take your time, but know that at least 1 person is keenly interested. (hopefully others as well)
The Friedman book is an excellent investment. Everytime I open it up I learn something new.
- take care -
From the film shooters will rise a well developed practice of the alternative processes that, in time, will be adopted in the age of the digital image to free it from the extreme boringness of pressing print.
you can check out the thread I made on quick n' fun color screens in the Alternative Process forum, I am constantly looking to refine these. my goal ultimately is to be able to make an attachment that would work with any old camera on any old B&W pan stock.(heck I'll sacrifice a little quality for that) I have attached a few images here that I made using (photo paper!) recently using a 120mm Kiev camera w/ green filter and red mesh. Now heres the fun part, originally I was scanning these in through a similar mesh/filter arrangement but the colors were pretty dull. then I found it best to do a digital intermediate process making separate CMYK layers. I then print these out at the local Photo Lab. as you can see classic color discrepancies are very apparent, and totally lacking red info, any reds are more like violet. Unfortunately, I get all my film & supplies from work and we mainly use 16mm and I haven't had the time to go to buy my own, i'm limited to 16mm tri-x reversal, orthro 35 (asa 3!) and a whole bunch of photopaper. I think maybe on nice pan 120mm rollfim I can start to more promising results. please excuse the pics as there a bit hastily done, and the mesh had a tendency to wrinkle just look at the bottom left corner of my backyard snap.
extinction meters tend to be more accurate if you substitute your morning oj for carrot juice.
I admit, I don't get how the mesh arrangement leads to color reproduction. Can you shed some light on the matter?
The still life is really awesome. From my screen plate experiments, that rainbow-y look is very familiar, and I also know that the right colors can pop when the registration is spot on = Awesome!
From the film shooters will rise a well developed practice of the alternative processes that, in time, will be adopted in the age of the digital image to free it from the extreme boringness of pressing print.
i'm by no means an expert on color theory as my knowledge lies mainly in motion camera operation & lighting. but i do believe its works in a similar manner to early additive color screens like those made so popular at the turn of the previous century, except my matrix is only made up of red and green. if you want a sample of the same mesh I use I'll be happy to send one over to you as the postage costs more than the mesh, just let me know what film format you need. I use a green (X1) filter and some gaffers tape to secure the mesh on the back of my Kiev 88. i like to call it "magecolor" magically turns b&W to "color"
extinction meters tend to be more accurate if you substitute your morning oj for carrot juice.
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Originally Posted by holmburgers
