USE PHOTO TEXTURES FOR DREAMLIKE EFFECTS
by Marino Colmano
The soft, moody portraits on these pages have a subtle textural quality all their own--the result of the fibers in the pulp of photographic paper. The process yielding these proof textures is amazingly simple and the results are sure to be rewarding.
Naturally those of you that have Adobe Photoshop and are computer savvy are already familiar with that program's various tools for manipulating digital images. However, I've not found that they have a texture quite like the ones illustrated here. And if you don't have a computer this more hands on technique becomes a viable alternative.
For years photographers have used various texture screens, special developers and pushed film to simulate the effect of Impressionist paintings. Impressionists, in photography as well as in painting, depict scenes, emotions or characters by evoking subjective reality. Often, the vague impressions and moods resulting from this approach achieve a vividness or effectiveness that just isn't possible with "straight" photography.
Make a contact sheet, contact print or projection print of the original negatives onto a fibrous type of photographic paper, such as Kodak AZO Contact Paper. Since various qualities of paper have different textures, you may want to experiment with several paper types.
Now place the printed photograph or contact sheet on a light box or light table. When light is transmitted through the photographic paper, the image will appear cloudy. If you look at the paper closely with a magnifying glass, you'll see that the cloudy appearance is due to the fibers in the paper pulp.
With the print still on the light box, position a copy camera to make at least a 1:1 reproduction copy of you printed photograph. You can use a camera as sophisticated as a 4X5 or one as simple as a 35mm with a macro lens. A plus diopter close-up attachment can be used on a normal lens to copy your photos. Stopping the lens down quite a bit will ensure that depth of field will promote the retention of the desired texture detail.
For maximum enlargement from the new copy negative, position you camera and tripod to make as close to a 1:1 reproduction as possible. The fuzziness achieved by copying contact sheet prints will produce interesting effects. However, you may decide to re photograph an enlargement to retain maximum sharpness while "texturing you images."
Other textures can be achieved by experimenting with frosted plastic sleeves that are normally used for holding slides or prints. Place the plastic under the original print or proof sheet and continue with the process. Load you copy camera with copy film. Any kind of film can be used--everything from Kodak Pan-X to Tri-X or even color films, transparency or negative--all of them will give different and unusual results. The photographs on these pages were originally shot on Tri-X and then recopied with Tri-X from the original contact sheets.
Now re photograph your contact or enlarged print. Develop the copy negative. For photographs illustrating the article development was with Kodak D-76 used straight, with slightly extended development time for higher contrast. This is sometimes necessary due to the light table's diffuse nature, which would ordinarily cause a rather murky or gray image. If you're using a single-lens reflex type of camera with a through-the-lens light meter, you'll be able to judge the gradations of tone sufficiently to compensate when you make you new exposure.
Print your new copy negative on whatever type paper you prefer, including textured or high contrast to emphasize textures. Toning can now be used to produce remarkable effects. You don't have to limit yourself to the standard sepia. Try tinting your prints blue, green, yellow and red.
There are myriad possibilities that can be tried using this proof-texture technique. With a bit of experimentation, you too will be able to add mood and enchantment to your photographs--creating images that emulate those of the Impressionist masters.
©2002 Marino Colmano - Previously publisheed in PETERSEN'S PHOTOGRAPHIC MAGAZINE
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