thanks for posting your image, .. this is mindblowing !
probably not much help but...
burning / dodging the individual 35mm frames sounds
like something that might be insane, but a long wire - lollypop and a paper with a hole
might work, do it in stages with rubylith covering the stuff you have worked on
and are going to work on and do the varied exposures one at a time
and THEN layer on the complimentary light that will cover the whole image
(not sure if that makes sense )
.... if the exposure of the whole image is 15 seconds but the denser frames need 1-2 seconds less more, and the
thinner frames need 1-2 seconds less light do all of that 1 at a time .. then do the light they all have in common ( 13-14 seconds )
I don't know... looks kinda pixelated to me
I have to echo the WOW! That is quite impressive.
I finally found a (somewhat decent) scanner that will take the whole 16x20" without creasing it. So I scanned the 9 contact sheets, and digitally pieced them together.
Originally Posted by Bob Carnie
Light source is a Beseler 45MXT total exposure was equal for all the prints.
Originally Posted by JohnRichard
It took me about 11 solid hours to print the nine contact sheets, so I'm guessing the difference in print density is due to chemistry. I had to remake the developer after a few hours.
"Normal" dodging and burning is fine... But balancing density of all 1044 frames , I'd probably end up in the looney bin before it's completed!
Originally Posted by jnanian
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Very large contact print... Is it possible? Am I just crazy?
It looks like the density problems might be from the film itself? If you look at the second or perhaps 3rd row(it hard for me to see as im on my phone) it is lighter than the rest (maybe one or two more rows near the bottom also exhibit this). Maybe those rows were a bit thicker in density than others. Maybe copy them with a camera frame by frame again, or make some type of holder to do two contact prints.
As for registration maybe a simple setup of finishing nails evenly spaced on a board about 5.5 or 6 feet apart to latch onto sprocket holes at either end may help you line it up easier. You could slide your papers under and place a large plexi piece over it.
Very cool and very impressive by the way!
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You have silver gelatin paper that is 42x54"???
Originally Posted by Bob Carnie
I taped the film onto glass, but the finishing nails might work better. I just have to be more careful as to not damage the film.
Originally Posted by Newt_on_Swings
Holy Moly! This is one beauty of the project. Please tell us how did you take all of these shots? Did you shoot sequentially? Then how in the world did you make the model stand such a long time?
For the contact print, I would get a piece of clear glass (shower door, etc), tape the film to it, put paper on top of it, then 1-2in foam sheet, then plywood and slide everything into a vacuum seal bag like this: http://www.bedbathandbeyond.com/stor...f-4/1016738735, seal with a vac, put up against a wall, take a portable flash and flash it at slightly different angles from some distance away. I have never done it though, so take it as a speculation on my part Please please please show us the final result!
Another alternative is to forget about evenness across the whole print. Do a bunch of contact prints onto say 8x10 sheets and intentionally vary exposure by some random amount. When there is variation across the print, it will look really cool.
Sure. It comes on rolls 10 or 30 metres long in widths up to 50".
Originally Posted by jcc