We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
331
Photographs by Marcell Seidler, ACL
FIG. 4: A sheet of white paper, hinged at one end, is now trimmed to fit still camera with lens out.
FIG. 5: The paper in position serves as a reflecting surface to center frame images. Sharp focus is below.
era at one end with cellulose tape. Now fold this paper sharply back in such a way that it will leave the complete lens opening unobstructed. While attaching the hinge, you probably moved the camera out of alignment with the projected image. Reposition the camera in the darkened room and make sure that the projected image exactly fills the camera frame.
Close the paper hinge and secure the free edge to the camera with a small piece of tape. Now stop down your enlarger lens to its smallest aperture. With a pencil, mark the four corners of the projected image as it shows on the white paper. Being much above the sharp image on the film plane, the image intercepted by the hinge will of course be blurred. But the area will be sufficiently indicated to be marked accurately on the white paper hinge. Turn the room lights on and connect the four points.
SELECTING THE FRAMES You are now ready to go. Take your favorite reel of Kodachrome footage and run it through a viewer or inspect it with a lupe (Fig. 6). Finding a scene you want to copy, inspect the frames one by one until you determine the exact one that is sharpest, cleanest and shows the best composition. Mark the selected frame by scraping a little of the emulsion off the film edge or by attaching a small piece of colored cellulose tape to the edge. When all your desired frames are marked, position the rewinds on either side of the enlarger so that the film can be wound through your gloved hand and easily inserted into the enlarger as the marked frames are located. This is done under normal room lights (Fig. 7).
MAKING THE EXPOSURES Once the marked frame is put into the enlarger, the room lights are turned off and the frame is. properly centered in the carrier mask. The paper hinge on the camera serves now as an easel to view the positioning of the frame and to center the blurred image within the rectangle drawn on the hinge. Then the hinge is folded back (Fig. 8) and the cable release pressed for an exposure. With your darkroom lights now on again, wind the camera for your next exposure, remove the movie film from the enlarger and [Continued on page 348]
FIG. 6: Choice of frames for enlargement should be checked on viewer for sharpness of image, contrast range and composition.
FIG. 7: With your selection of frames marked, the uncut film is threaded through the enlarger to a rewind unit on far side.
Here are the ways and means of turning a treasured movie
scene into a still picture. In black and white or color