Cross-Processing Colour Film

The orignal (film) Cross Processing technique produces grainy images that are highly saturated and very contrasty. It started by developing color print or slide film in the wrong chemicals – for example, color negative film in slide chemicals (C-41 as E-6) or slide film by the color negative process (E-6 as C-41).

 

Not surprisingly, this causes wild color and contrast shifts and requires lots of trial and error. Now in the digital age, various digital techniques are now available to cross process digital images and give similar results.

Visit this cool site for some alternative photography techniques.

1. Try some different types of film, and compare the characteristics of each.
2. Try pushing or pulling your film.
3. Try over or under exposing your film.
4. Combine X-Pro with other techniques: multi-exposures, 35mm, filters and flashes.
5. Get a load of expired film to use in your X-Pro experiments: expired film tends to be much cheaper than in date film.

Cross processing works best on bright sunny days, with plenty of light. The best subjects seem to be once with plenty of colour. Cross processing film shot on a dull day can be advantageous, as it can get help to improve the contrast.

   

 

 

Studio- Low Key/High Key Lighting

Low-Key Lighting
Low-key lighting is a style of lighting for photography, film or television. It is a necessary element in creating a chiaroscuro effect. Traditional photographic lighting, three-point lighting uses a key light, a fill light, and a back light for illumination. Low-key lighting often uses only one key light, optionally controlled with a fill light or a simple reflector.
Low key light accentuates the contours of an object by throwing areas into shade while a fill light or reflector may illuminate the shadow areas to control contrast. The relative strength of key-to-fill, known as the lighting ratio, can be measured using a light meter. Low key lighting has a higher lighting ratio, e.g. 8:1, than high key lighting, which can approach 1:1.
The term "low key" is used in cinematography to refer to any scene with a high lighting ratio, especially if there is a predominance of shadowy areas. It tends to heighten the sense of alienation felt by the viewer, hence is commonly used in film noir and horror genres.
Low-Key Tutorial 1
Low-Key Tutorial 2

High-Key Lighting

High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present in the scene. This was originally done partly for technological reasons, since early film and television did not deal well with high contrast ratios, but now is used to suggest an upbeat mood. It is often used in sitcoms and comedies. High-key lighting is usually quite homogeneous and free from dark shadows. The terminology comes from the key light (main light).

In the 1950s and 1960s, high-key lighting was achieved through multiple light sources lighting a scene—usually using three fixtures per person (left, right, and central) —which resulted in a uniform lighting pattern with very little modeling. Nowadays, multiple hot light sources are substituted by much more efficient fluorescent soft lights which provide a similar effect.

High-Key Lighting Tutorial 
Project Criteria

11 Darkroom FX

Man Ray

It's time for more fun in the darkroom. This project is designed for you to expand your darkroom creativity and give you the ability to print more professional and provocative prints. You are required to try the following experiments and print five 3.5x5 photos from the same, or using 5 different negatives that are appropriate for the effect...

Experiments
Here are the ones that I showed you how to do in class~

1. Photogram- Place objects on top of your paper before you print to block out the light so that a silhouette of the object is left on your print. Print one with only the objects as the image, and print another with a negative in the enlarger. Design it so that the shapes work with the image and it creates a strong composition.
2. Dodge and Burn- Block out an area on your print that is too dark, or expose another area that is too light for longer. 
3. Double Print- Either sandwich your negatives, or print the same one twice on the same sheet, or use two different ones and dodge an area, print two images on one sheet of paper. 
4. Contact Negative- Make a print in negative. Place one print faced down on top of un-exposed paper (works best in a contact holder), expose the light through the print, develop it, and volia. 
5. Solarizing- This is when you print a contact negative and then expose it to light part way through the developing stage.

... and or here are some more you can try...

1. Vignette
2. Spray on Developer or Fix
3. Curve Paper
4. Textured Screen
5. Oober High Contrast
6. Painting Chemicals
7. Embossing
8. Posterization
9. Experiment...

DON'T FORGET TO KEEP A DARKROOM LOG!

Marking Criteria
5 Experiments- 3.5 x 5 The prints will be marked for creativity, composition, success of the darkroom effect. You can try the ones I showed you in class, or other experiements as long as you have 5 total.