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The Creation of Plate 21
Also about masking & movement.
(See Portfolio plate 21)
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Make
The Subject a Screen
So far all the techniques
described have involved using a screen, or a textured
surface as a screen. The fact that fabrics, to add a
texture do not have to remain flat, as has also been
mentioned. Once some experience has been gained, it
is not difficult to move on to other objects, that can do
more than just act as a screen. These are items that
become an important part of the subject of the new
photograph, as essential as the projected image.
Plate 18 may best demonstrate
this concept. The original portrait was projected on
to the shell, and the contours of the shell influenced the
projected image. The masking was achieved by using a
diffused mask behind the lens, that allowed light to
illuminate other parts of the scene. An extra light was placed behind,
and to the right of the shells, to help illuminate the
other shells.
There are a number of other objects (in the Poetic
Portfolio) that have been used in this way; a
butterfly with a river scene, an orchid, a ball of wool
and a Siamese cat, a coin, or a decaying holly
leaf. Plate 41 (Poetic Portfolio) is really
almost a texture study, but can you see the nude?
She is well worth another look!
Even a highly reflective surface can be used see
Plate 19. These coins were fixed to rods out of view
behind each coin. The camera was directly in front of the
top coin, so that the projected image from the projector
was to the left of the camera. This meant that the camera
lens avoided the very bright reflection. Had the camera
been moved a little to the right, the image would not only
have become too bright, but there would also have been a
hot spot from the reflection of the projector bulb that
would have spoiled the result.
The edges of the pages of a book were used to create plate
21 'The preacher' (above). Apart from masking the
projected image, other light sources had to be introduced
to illuminate the rest of the scene all without spoiling
the projected image.
It can be fascinating to take your projector for a
walk! Use a long extension lead and just
project a selection of slides on to everything in sight.
By focusing on to a wide range of objects, you will be
able to see what happens - expect to be surprised at some
of the possibilities that will no doubt come to light!
Masking
Masking is best achieved by using
black card that is stiff enough to stay upright; yet is
easily cut into whatever shape is required. It works
well in front, or behind the projector lens. If
masking in front of the lens it will quickly become
apparent that the nearer to the screen the mask is placed,
the sharper the shadow cast. The ideal is to always use a
soft edge shadow so the mask will not be very far forward
of the lens.
If it is possible to work behind the lens then the nearer
to the film, the sharper the shadows edge. The mask
is usually approximately 1cm. in front of the film, so
that a soft edge shadow is cast from each projected
image. It is then simple to perfectly blend
different images when working with more than one
projector.
There have been times when instead of masking with black
card a transparent opaque plastic has been preferred, this
avoids a black shadow forming, especially if the second
projection is not adding much in that particular
area. Tracing paper has been effective for this
purpose normally placed behind the lens near to the film.
Lastly, where small awkward mask shapes are required,
behind the lens, instead of using black card Blu-tack is
useful. It can be applied on to thin glass, as used
for mounting slides, and it is then easy to alter both the
size and shape of this pliable mask.
Movement
Many intriguing effects of projected images will only be
apparent so long as the projected image is moving. Stop
still in any one place and the effect is
lost. Heavily textured, or patterned material for
example can completely overpower the stationary projected
image, that is, until the projector is moved.
The only way to capture this phenomenon is to use cine, or
video equipment, but it is not too easy to achieve good
results, due to the low exposure that is often needed.
The author was lucky enough to be invited by a film
producer to experiment in the late 1960's with
professional 35mm movie equipment. To see if it could
be possible not only to film a moving projected
transparency, but to also capture the projected 35mm movie
image. The main problem was to gain perfect
synchronisation between the movie camera and the cinema
film projection. It is essential that the camera
shutter opens at the same instant that the individually
projected frame of the movie appears.
Good results were achieved. Projected moving images
were re-filmed, on objects that were also moving, without
too much difficulty. This is only mentioned as all
the described techniques still apply in this form too.
Many film titles and credits have since been created in
this way. The cine, or video enthusiast might well
find this of interest too.
Before considering a second projector, with just one,
there are now an amazing amount of possibilities that can
be achieved with the projected image. However with
two projectors the additional special effects are quite
sensational.
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