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Shortly after graduating from film school, I successfully applied for an Australian Film Institute Experimental Film Fund grant. While at College studying graphic design, we were shown how to make high contrast film liths from black and white negatives. I found the darkroom a fascinating place where the magic of light, chemicals and time allowed one to create all sorts of imagery.
I found that shooting on overcast days gave the best results as there was a broader range of tonal information which could be extracted from the original negative.
I was frustrated that the cinefilm laboratories found it so difficult to produce what I had found so easy in the darkroom.
I especially loved what the technique did to the blurry parts of the image. It would get grainy, and the tonal range would spread.
I have been given an appreciation of old buildings while at art school.
A sequence showing camera move with a 'pull focus' from a gravestone to thistle. 12 exposures were used to compile this image.
I particularly wanted to shoot film on an under cranked Bolex at around 6 to 8 frames per second. I would re-establish the original time by duplicating each frame 3 to 4 times using an optical printer. This would give an exposure time of around a six of a second so that if anything moved, it would be blurred on that frames. Occasionally subject would be captured near still. It is amazing the way the brain can grab hold of a fleeting image and keep it in the mind's eye long after it had gone. We seem particularly wired to freeze frame facial expressions in this manner. I looked at my blurry bits of film by projecting them back on a variable speed projector.
Trying a number of exposure on each pass, taking meticulous records. I didn't know it at the time, but all I really needed was a set of digital tools. It would have been a breeze.
other experimental stuff