Concerning scanning and re-touching, in fact, I already have. But I wanted to create silver prints and using traditional methods only. I'm going to try an adaptation of Jeffery's idea. That is, to use a plate of glass and use smearing of Vaseline or something to cause localized delusion. It's such a shame I didn't know about this skin feature before the shoot - as everything else is perfect.
Thanks for the suggestion anyway though. No need to discuss it here or elsewhere as I am already aware.
Develop, stop, fix.... wait.... where's my film?
There is a grain of truth there.
Originally Posted by Athiril
Mark Barendt, Beaverton, OR
"We do not see things the way they are. We see things the way we are." Anaïs Nin
how big is your negative ?
how big is your print ?
if you have a 4x5 negative you can
retouch it with leads and "smooth/blend"
the imperfections in her forehead ...
if you are a tea drinker,
you can take the wrapping from a box of tea
and wave it across your enlarging "light beam"
while printing your print, and it will smooth out her skin ...
you can also get a junk folder, and use its lens as
an enlarging lens and soften / diffuse your photo that way ....
you can also make a paper negative, and on the paper side
use pencil and smooth out her skin tones that way. and make
a contact print again as a positive ...
If you decide to try any sort of diffusion from below the enlarging lens, you might want to keep this effect in mind.
"There is very limited audience for the arty stuff, and it is largely comprised of other arty types, most of whom have no money to spend because no one is buying their stuff either. More people bring their emotions to an image than bring their intellect. The former are the folks who have checkbooks because they are engineers, accountants, and bankers—and generally they are engineers, accountants and bankers because they are not artists."
— Amanda Tomlin, Looking Glass Magazine, 2014
Originally Posted by F/1.4
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stretched sheer cloth/pantyhose midway between the lens and the print, constantly moving.
Can you read English? I said best discussed at places LIKE www.dpug.org.
Originally Posted by Athiril
"Often moments come looking for us". - Robert Frank
"Make good art!" - Neil Gaiman
"...the heart and mind are the true lens of the camera". - Yousuf Karsh
Get a black stocking,, that always can be the fun part
stretch the stocking over a support.
this stocking goes directly below the lens and is moved during main exposure.
Start with a 0 filter and get a good base exposure.
Then with this time start diffusion, it can be 100 % of the exposure or it could be 50% of the exposure. It all depends on your taste or how soft you want the troubling areas to be.
Then with the 5 filter give a 100% blast over top of your main.
By balancing the main with diffusion and the amount of 5 you will get, soft skin
sharp eyes, eyelashes hair ect..
You can also dodge while the diffusion is going on ,, you do have two hands, this will allow you to give more diffusion to areas you want to soften, but hold back key detail areas you want sharp.
for fun you can reverse what I just described and you will get bleeding soft blacks with sharp highlights, very beautiful for landscape with dark objects or archetecture.... you know the look I am talking about
btw dpug is a great place to visit, low activitey but some pretty darn good workers on that site.
I had a portrait and head-shot business in the days of film photography. At the point at which you've arrived, anything you do has to be post production. Assuming you do you're own printing, you can diffuse during the enlargement exposure. I used a piece of lens cleaning tissue taped over a cut out opening in a piece of cardboard. (Some folks used nylon from hosiery.) I would expose through the tissue for 1/2 the exposure. You will find this lowers the contrast, so start with a higher filter than you would expect. When done right, it works! Practice makes perfect.
The other thing I did was to use professional retouch artists. They would bleach and spot out imperfections. The ones I used were good and you'd never know the print was worked on. I could do a limited amount of that myself. Then we'd copy that print on large format. Of course one had to charge enough to make it all worth while. A friend of mine still uses a retouch artist for gelatin silver printing. You could also just hand it over to a profession lab and let them do it all. (Analogue or, you know, otherwise.)
You know, somehow I missed reading this entry from Bob Carney. Duh. So now you have two variations of the same technique. Sorry for the repetition. Didn't mean to bomb someone's post.
Originally Posted by Bob Carnie