tonyascrizzi@juno.com
Date: 01/19/01-04:22:04 PM Z
This was a private reply. It is being posted here at the request of the
sender so that all may benefit.
On Fri, 19 Jan 2001 10:24:55 -0300 ebenavidez@anses.gov.ar writes:
> Tony, I´m having some problems in accesing the alt-phto-list, so I´m
> answering your question privately.
>
> Please post my answer in the alt-photo-list.
>
> Regards.
>
> Eduardo Benavidez. Argentina.
>
> ------------
>
> Here is the full process as you wanted:
>
>
>
> Amazing visual events can occur by taking color slide film and
> processing it to produce negatives. It is possible to push the film
up to a
> speed of 10,000, dramatically increasing the color saturation, raise
the
> level of contrast, and crate a pointillistic grain structure.
>
> Get a thirty-six-exposure roll of Kodak Ektachrome 200
> Professional film.
> Set the film speed at 1,200. Bracket your exposures 1/2 and 1 full
> f/stop in both directions. If you push the film any higher, you will
> need to be extremely careful in your exposures to retain acceptable
shadow
> detail. You will be able to shoot in very low levels of light or use
very > high shutter speeds to stop action.
>
> Contrast will be greatly increased, as in all push processes. A
> scene of low contrast will come out to be one of at least average
contrast.
> A scene of high contrast will come out looking like it was shot on
litho
> film.
>
> There will be a noticeable increase in color saturation. Colors
> can begin to vibrate, look very intense, take on a "Day-Glo"
appearance, and
> become deeper and more brilliant. The grain will appear quite
oversized.
> You can literally pick out the different points of color.
>
> Overall, the composition will tend to become more abstract,
> bold, impressionistic, and striking. The process is great for creating
a
> mood. It is not suited for a situation that requires clarity and
sharp
> detail. It should offer the same oppurtunity to see things in a
different
> manner. Predawn, after sunset, and night now become times that are
> accessible for you to photograph. This is not the time to go and shoot
the > beach at noon. With these poster-like colors, the images
tend to cry out > to be printed bigger than normal. Consider
getting some larger paper to > print on if you find these images
successful.
>
> After exposing the roll, the film will be developed twice,
> once for black-and-white and then again for color. After
> completing the black-and-white process you can either dry the film and
carry > out the color process at a later time or continue on and
complete both
> processes in succession. Be certain not to use any type of
wetting
> solution like Photo-Flo if the film is dried before doing the
color > process. At this point, watermarks will not matter
because the film is going > to be developed again and the
wetting agent can cause difficulties > in the color
development.
>
> After completing the black-and-white process develop the film
> following normal C-41 development procedures. The color developing
process
> will add color couplers and the density and color saturation
will
> appear more normal. The entire process may be carried out under normal
room
> lights. Be certain to maintain accurate temperatures.
>
> After the film has dried, inspect it. It will appear pink because
> the slide film does not contain the orange mask as do regular color
negatives.
> Make a contact sheet to see exactly what you have to work with. The
> highlights should be fairly dense and bold and the shadow detail will
look
> thin. The colors should be intense with the grain quite visible.
Negatives
> with good detail in the shadow area and with highlights that are not
blocked
> indicate proper exposure. You should have exposures at 600, 800,
1,200, and
> 2,400. Check to see which film speed worked best.
>
> Because there is no orange mask you will probably have to add
> about 20-30 points of yellow to your regular starting filter pack. A
> low-contrast scene should print like a normal negative. A contrasty
scene may > require exposure times of over a minute. Although the
colors will be much more
> saturated and the grain very noticeable, the overall color balance
of the > scene should remain the same as you saw it. This
process does not create > false colors like infrared, but it
enhances what is already there.
>
> Use this process to step into some new areas that you felt were off
> limits with your conventional use of materials, Normally you
would
> use color materials to depict a scene. Now is your chance to open up
and
> express your feelings and mood about a subject.
>
> The following table for the black-and-white portion of the
> maximization process will give fairly accurate and consistant results:
> Best viewed in a monospace font.
> 1. Acufine (1,200) 12 min 75 F 30 sec. agitation
> Acufine (10,000) 25 min 75 F 30 sec. agitation
> 2. Water rinse 30 sec 75 F Continuous agitation
> 3. Fixer, without hardener 5 min 75 F 1 minute agitation
> 4. Wash 15 min 75 F
> 5. Bleach (C-41) 15 min 75 F 1 minute agitation
> 6. Wash 30 min 75 F
> 7. OPTIONAL Dry Room Temp.
>
> After the black-and-white portion of the maximization is
> completed, the same roll must be processed a second time with the
normal C-41
> development procedures, or you can dry the film and finish the C-41
process > at a later time. The finished negative
will appear extremely thin and
> kind of creamy-pink in color; this is normal.
>
> ------------
>
> Regards.
>
> Eduardo Benavidez.
>
Tony Ascrizzi - Electric Vehicle Systems
34 Paine St.
Worcester, MA 01605 (508) 799-5650
Web Page -->http://ElectricVehicleSystems.com
President -->New England Electric Auto Association
http://www.eaaev.org/neeaa
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