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Extreme techniques... some questions
- To: telecine at alegria.com
- Subject: Extreme techniques... some questions
- From: Craig Leffel <acleffel at mindspring.com>
- Date: Sat, 07 Jun 1997 16:56:11 -0500
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Hello to all.
Chicago, as usual, is just making its annual rounds from Winter, bypassing
any form of Spring, directly to Summer. Oh what fun in the midwest.....
I've been doing some weird stuff lately with a couple DP friends and some
questions have surfaced. We all shoot stills and like to mess with
processing and printing but they've been asking questions I only have
glimpses of answers for lately.
Anyone have a favorite way they like to see cross-processing done? I've
transferred a bunch of film like this, but I can't say what is preffered --
I don't have enough time to get in long conversations with the DP's that
send this kind of work thru. There's just enough time to find out the look
in mind and then it's off to the races - no time for lots of detail on the
finer points of going either way in the crossover.
Anyone have a lab they can recommend for Bleached whites? Any details? will
they do it in the midst of the day? special run? etc.....
Anyone know a lab that will process Infrared Black and White 35mm ( I don't
know the motion picture stock number) Anyone know what the minimum amount of
footage Kodak will sell is? What the minimum amount the lab will process?
I get asked theses questions all the time, and while we usually work it out,
I'd love some definitives here.
Any other favorite film processes? The quest for a look is commonly talked
but I'm not looking for transfer techniques -- I'm mainly interested in
answering some questions for the DP's I work with about their own control
over their film.
I have been interested in the discussion about whose film it is in this
collaborative process we call our home. For me, I try and remember what
photographers like Minor White, Edward Weston, and Ansel Adams believed in.
-- Only half an image is made when the shutter is released... the other half
is made in the darkroom. We are the 20th century "darkroom". When a colorist
cares a great deal about the work they're MAKING --
they're not taking ownership, they're just living up to their half of the deal.
Happy knob twisting,
PS. feel free to respond to me personally if a general posting is giving too
** thanks to Chris Adams, Lloyd Braddy, and Craig Leffel for
contributing to the TIG in 1997
mailinglist digest available......posting guidelines on the webpage