darkroom shenanigans
Sorry about the load times

While at College studying graphic design, we were shown how to develop and print our own black and white films. Somewhere along the way I discovered how to make high contrast film liths from black and white negatives. The darkroom was a fascinating place where the magic of light, chemicals and time allowed the creation of all sorts of fantastic imagery.


Blah blah blah... 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. A desire began to grow to see these posterised images move.

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 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.

These kind of effects are so easy to do these days.
Here is a abstracted version of a full-colour photograph
found elsewhere on this site. It is simply a vectorised
trace-off made in Flash. Although similar in some ways
to the posterised graphics above, by setting various controls,
Flash can simplify the shapes of light and shade that it
encounters within an image.


other experimental stuff