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Therefore he began by making a special negative-carrier for his enlarger. Equipped with a standard motion picture camera lens — in this case a 2-inch Carl Zeiss “Tessar’ — the negative carrier was fitted with a sprocket for moving the film and with a pair of accurate pilot-pins to hold the film in perfect registration. For simplicity of construction, the pilotpins were manually operated.
Three-Frame Printing
The nature of the scenes was fortunately such that there was very little movement between each frame exposure. Therefore Hansen found it possible to select groups of three frames from each scene for making his prints.
Each print was accordingly a tripleexposure, receiving approximately onethird of the total exposure to each of the three negative frames used. Since the original negative had been photographed with a pilot-pin equipped Mitchell, and the enlarger was fitted with equally accurate registering-pins, the three exposures were in perfect register.
The prints were 11x14 inches in size: the full frame area was by no means always used. The most highly magnified enlargement utilized but half the frame, and gave a 24-diameter magnification which in point of actual enlargement is roughly comparable to a 44x56 inch print from a standard minicam negative!
The negative used was a clip from the actual production negative; it received no special fine-grain treatment, but like all of Wanger’s negative went through the usual processing of the Consolidated laboratory. The lighting is of course Gerstad's, and it is to be
observed that he employed a very slight diffusion which in these prints gives a result comparable to that of the diffusion favored by many still portraitists.
The grain-structure, as the illustrations show, is exceptionally fine. When one realizes that these prints are “blow-ups” from 35mm. frames, and is looking for grain, it can be seen: otherwise it would probably pass unnoticed. The general quality is surprisingly well comparable to that of enlargements from standard portrait negatives.
Motion Picture Portraits
Hansen’s comments on his achievement are characteristically modest. “I can’t claim to have originated the idea,” he says, “for I know of several others who have used the same principle in the past. If the results I have obtained are better than those generally had before, I think most of the credit should go to the improvements in sensitive materials and methods. Gerstad gave me a fine negative to work with, made on modern film, and I made my prints on the new Agfa Cykora paper which, almost since its introduction, we’ve used practically
Three frames of the scene from which the enlargement on the opposite page was made. I Reproduced actual size. )
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