Thank you to everyone who chimed in on this one, on and off list. My student and I are trying out some things later this week, and if the results are worth hearing about, I’ll share. We’re trying acid resist, which might just vaporize the entire filmstrip, but we’ll see.
Thanks for sharing your wisdom, everyone. JW > On Apr 2, 2022, at 12:05 PM, Eric Theise <[email protected]> wrote: > > Hi Jonathan, > > One approach to etching and film, which I may be the sole practitioner of, is > to print etchings onto very fine Japanese papers and then to contact print > the etchings, as a negative, to print stock. I did this using soft ground > etchings, a long sheet of glass mounted over a fluorescent light tube, and > strips of mat board used to hold the stock, paper, and gels in place during a > flashed exposure. There's a more detailed description on the Hojas de Maíz > <https://erictheise.com/films/hojas-de-maiz/> page on my website. > > Not exactly what you're looking for as the etching is separate from the > filming but it does preserve and take advantage of the textures inherent in > intaglio printmaking – qualities of line, shading given by aquatint – plus > the fibers of the paper itself. > > Eric > > > On Sat, Apr 2, 2022 at 4:51 PM Jonathan Walley <[email protected] > <mailto:[email protected]>> wrote: > Hello Frameworks community, > > I’m hoping to tap your knowledge on filmmaking matters. I’m working with a > student on an independent research project that is primarily “academic” (i.e. > reading and writing scholarly stuff). However, it has taken a turn into > filmmaking, as this student wants to work directly with film in the interest > of producing better ideas and writing on the subject, something I heartily > endorse. She is especially interested in etching, and is in an etching class > in which they’re working with all manner of chemicals and doo-dads (a press, > for instance). > > I wonder if anyone here has experience with this sort of thing - i.e. > subjecting celluloid to the processes and machinery of etching. Of course we > are exploring scratching on film, but we are both more interested in going > further with a film/etching analogy. Anything at all would be helpful, > because while I am familiar enough (for the purposes of this study) with > cameras, processing, etc. (the student is using my own Bolex), I am at sea > when it comes to this. > > Ideas, references (films or texts), warnings, etc. all welcomed. > > Thanks in advance! > JW > > Dr. Jonathan Walley > Associate Professor > Department of Cinema > Denison University > https://denison.edu/people/jonathan-walley > <https://denison.edu/people/jonathan-walley> > Cinema Expanded: Avant-Garde Film in the Age of Intermedia (Oxford University > Press, 2020) > <https://global.oup.com/academic/product/cinema-expanded-9780190938642?cc=us&lang=en&#> > > > > -- > Frameworks mailing list > [email protected] <mailto:[email protected]> > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > <https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org> > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org Dr. Jonathan Walley Associate Professor Department of Cinema Denison University https://denison.edu/people/jonathan-walley Cinema Expanded: Avant-Garde Film in the Age of Intermedia (Oxford University Press, 2020) <https://global.oup.com/academic/product/cinema-expanded-9780190938642?cc=us&lang=en&#>
-- Frameworks mailing list [email protected] https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
