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Multi Exposure
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This is a second article addressing SLR film photography Special Effects techniques that can be accomplished "through the lens", being immediately immortalized on the film and ultimately the negative.

It requires no special instructions to the developing agent, whether your local photography shop or mail in developing service. Your prints will be developed with perfect exposure.

The Impressionist Effect, like the Ghosting Effect detailed in Part 1, is accomplished by using your SLR's multiple exposure feature, with a simpler procedure than outlined in your SLR user manual. The Impressionist Effect is more like photo art, ideal for still life or landscape photography, where all is motionless. This effect works particularly well for photographing flowers but would create an equally impactful and artistic photograph of any still life shot that exhibits lots of different colors; like brightly painted houses, fishing boats or toys.

You only take two exposures on the same film frame, one in-focus and the second out-of-focus. This will give your photograph that Monet-style look. The key is that nothing within the frame moves between the first and second shot.

The simple steps to execute the Impressionist Effect are:

1. Stabilize the camera using - a tripod is best, a stable surface is a second option. You might even want to use a remote shutter release cable to avoid any camera jitter.

2. Set number of multiple exposures on your SLR to '2';

3. For the roll of film in your SLR, determine the film speed (S);

4. Reset the camera film speed (Yes, you can override the setting) to (2 × S) or, if not an exact match, set it to the absolute closest speed ((2 × S) ± adjustment);

5. Turn OFF the camera's LENS Automatic Focus feature (located on the Lens itself);

6. Take your first shot with the frame in sharp focus;

7. Take the second shot with the frame completely out of focus (Yes, turn your lens to extreme out of focus.

REMEMBER: Check and reset the SLR film speed and number of exposures to their original settings before continuing with your next shot. Some SLRs will automatically reset the number of exposures back to '1' before advancing the film to the next frame. It's always better to verify this.

All of the SLR Film Special Effects for the Impressionist Effect, detailed in this and the previous Ghosting Effect article, require no special instructions for developing your film. Normal developing at the rated film speed will ensure the picture is properly exposed and developed.

This truly artistic photograph will have you considering a number of display options - maybe an 8" x 10" enlargement, or alternatively, a 4" x 6" print in an 8" x 10" double mat - accentuating the Impressionists Art with the classic beauty of a pewter frame. What a thoughtful gift idea for someone special or that special occasion.

Carl Chesal is a business development consultant, trainer, photographer, and avid snowmobiler. He owns Bizfare Enterprise Inc.(http://www.bizfare.ca), Foursight Marketing and Consulting, and Foursight Photography (http://www.foursight.on.ca) which provide business, marketing, and internet marketing consulting services. He also co-operates a number of e-commerce web-sites with his wife: MyLeatherExpressions.com, CoolComfortWear.com and Pewter Frames and Collectibles ([http://www.PewterExpressions.com]), which in addition to Pewter Home Decor, sell custom leather bags and casual and activewear apparel.

High Definition Multi Camera

HIGH DEFINITION MULTI-CAMERA

On March 26th I directed our first HDCAM multi-camera job using six Sony HDW-F900 camcorders. It was a great experience that brought to light several things that you should consider if you do a similar job.

First, some details. We were shooting two performances by stand up comedian Omid Djalili at the London Palladium. The production company that hired us has used Procam before to shoot performances by comedian Ross Noble and other comic acts. The end use will be for a DVD release and possibly television broadcast.

We were asked to use F900s because the company wanted the best quality HDCAM images possible. And of course, shooting in HDCAM increases the opportunity for international sales. After speaking to HD expert Paul Wheeler, we opted to shoot in 50i, the interlaced setting used for television broadcast in the UK and Europe (PAL). Paul suggested this to get more of a live look than using a progressive scan setting (film look) would achieve. (A previous E-Zine covered the difference between the progressive scan and interlace settings).

Downconverters
Using the F900 meant having to put downconverters on the back of every camera. This is because the F900 only has a component HDCAM output. To effectively direct the shoot I needed to watch the images from all six cameras at a basic gallery we set up backstage. Using the camera's component (RGB) output would require running three cables from each camera to our backstage monitoring set-up much more of a hassle and cost than running a single BNC from each downconverter using the HD SDI output. Also, the camera operators needed to use the camera's HD component output to feed the 7-inch HD LCD monitors we mounted on their camcorder handles so they didn't have to stare into the viewfinder for 90 minutes solid to monitor their shots.

Our engineer concluded that downconverters, particularly older models, are often not to be trusted for judging the sharpness of the focus and the exposures. You have to be very careful. We have some brand new Miranda downconverters and they were fine when you used the HD SDI output. On the engineering bench at our premises, we discovered that when using the SD (standard definition) SDI output the results are best when the camera is set to 24P. Otherwise, the image tends to be soft and the exposure you see on the monitor is not the same as that on the recorded image. The best signal came from the HD component outputs on the camera itself.

HD BNC Cables
A couple of comments here. First, if you're using an HD SDI output and you need to run more than ten metres of cable you need to use BNC cables that are made to carry HDCAM signals. These cables are thicker and capable of carrying more information. A standard BNC cable just can't handle carrying the signal over more than several metres and you won't see anything on the monitoring end.

Second, one of our HDCAM cables was about ten metres shorter than we needed. We tried using a barrel to join two HD BNC cables and it didn't do the job. So we had to use the SD (standard definition) composite video output on the downconverter which, as explained above, is not ideal. To get around the problem of looking at images that appeared to be soft and overexposed, I kept checking with the camera operator using the comms system to make sure he considered the image sharp. As for the exposures, our engineer looked at the images through an HD wave form monitor to confirm they were good.

HD LCD Monitors
In our backstage gallery we used two models of monitors discussed in an earlier E-Zine: the Panasonic BT-LH1700WE 17-inch LCD monitor and the Sony LMD-9050 LCD monitor. This was the first time I had personally worked with them. Both are HD monitors and both are excellent. Using these new monitors has eliminated previous concerns I had about LCD monitors not being able to deliver the same quality of image as CRT (cathode ray tube) monitors. The colours were true, the images sharp and the brightness and contrast were consistent no matter which angle you were viewing the monitors from. They are also light and take up less space. And let's not forget, they're environmentally friendlier.

Summary
To sum up, if you're using the F900 for a multi-camera job, use the latest model of downconverter, use HD compatible BNC cable for longer runs and by all means use the new models of HD LCD monitors. And of course, watch your focus! Keep it sharp.

Paul Wheeler DVDs
We have some more DVDs available with the interview I did with Paul Wheeler on high definition in December. If you'd like a free copy just e-mail me at cal@procamtv.com.

Until next time, happy shooting.

Cal Barton,
Procam Television

www.procamtv.com

About the Author

www.procamtv.com

Why doesn't my 35mm camera rewind crank work?

I have a Yashica 35mm SLR 108 MP (Multi-Program). I am a rookie photographer and I'm just beginning to get accustomed to the thing. After I finished my exposures, I wanted to rewind the film using the rewind crank and it won't rewind properly. It resists and it's very hard to rewind. I don't want to break the thing. If I could get some help, I would greatly appreciate it. Thanks, everyone.

There is a button on the bottom of the camera you have to press to disengage the film drive.

When you get to the end of a film press this button and lift the film rewind crank on the film cassette side of the camera and wind the film back into the cassette, if you don't any film not in the cassette will be exposed and just be black when developed, but you knew that bit.

Chris

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