basically the same as still life 2 but a new negative of the same subject. Also a new contact print from the paper negative.
Lovely. And done without regard for lines/mm resolution, acutance, bokah, etc. Visual proof that lighting, subject and composition are indeed the most important factors in art, for art this is, and that photography is their servant -- not their master.
Thanks and my only response is,: You shoot enough film, you have to get lucky once in a while. It isn't so much in the technique as it is in (the words of the song) Knowing what to throw away and knowing what to keep
How do you do prints from a paper negative :meh: Its confuxzling to me. Do you just shine a really bright light through the paper?
Okay details on this particular type printing. I do not use a darkroom. I am writing a serial story based in 1925. It will go on into the great depression. As such I needed some photo tools which I have no idea if they existed or not so I improvised. First of all the image was shot on a 3 1/4 x 4 1/4 paper negative. Once it was developed I decided to build a daylight compatable printing system. I built what in effect is a box with a f22 opening on one end and a camera back on the other. But the printer will work with daylight as the light source. Then I took a 4x5 film holder and removed the interior seperators. I permenantly affixed one dark slide to make a bottom to the film holder. That left me with a much deeper and wider box than either side of a holder would have been. Actually double. I made myself a little cardboard frame to hold the paper negative flat against the blank sheet of printing paper. Then i replaced the dark slide. I loaded it into my pinhole contact print box. I read the light added five stops then pulled the dark slide. I exposed it to the light about twelve minutes, I believe. I had to do a second one to correct for the exposure error. I believe that the cardboard frame allowed part of the paper to lose contact. There by giving the partially sharp partially way out effect. Note still life #3 stayed in full contact. that is pretty much all there is to it. After I load the film into the film holder I can work in daylight... After I reload it into the daylight tank, I can do the rest in the kitchen sink. In other words I can make contact prints without a darkroom. I did it so that I could have a viable way for my character in the 1930 depression era to travel around making pictures of the scenes around him without having to be tied to electricity. thats all there is to it. No mystery at all. I'm still working on getting the exposure down. But as of this moment I can shoot an exposure and make a print of it all in the same day with the same chemicals and all in the sunlight. Oh I also have a small fishtank 7watt bulb to use if i want to control the lighting better.
It has been running on my blog for months.... feel free to drop by I still have the whole series up ... If yoiu like it just go to the first one and enjoy
