Push processing
 | This articleneeds additional citations forverification.(June 2009) |
Push processinginphotography,sometimes calleduprating,refers to afilm developingtechnique that increases the effectivesensitivityof the film being processed.[1][page needed]Push processing involves developing the film for more time, possibly in combination with a higher temperature, than the manufacturer's recommendations. This technique results in effective overdevelopment of the film, compensating forunderexposurein the camera.
Visual characteristics
[edit]Push processing allows relatively insensitive films to be used under lighting conditions that would ordinarily be too low for adequate exposure at the requiredshutter speedandaperturecombination. This technique alters the visual characteristics of the film, such as higher contrast, increasedgrainand lower resolution.[1][page needed]Saturated and distorted colours are often visible oncolour filmthat has been push processed.
Pull processinginvolves overexposure and underdevelopment, effectively decreasing the sensitivity of the processed film. It is achieved by developing the film for a shorter time, and possibly at a lower temperature. Film that has been pull processed will display the opposite change in visual characteristics. This may be deliberately exploited for artistic effect.
Exposure index
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When a film's effective sensitivity has been varied, the resulting sensitivity is called theexposure index;thefilm's speedremains at the manufacturer's indication. For example, anISO200/24° film could be push processed to EI 400/27° or pull processed to EI 100/21°.
In cinema
[edit]Andy Warhol's 1965 8-hour art filmEmpire (1965 film),was shot on ASA 400Tri-X16mm filmstock, which was then push proceeded to ASA 1000 to compensate for the dark conditions of filming theEmpire State Buildingduring the night.[2]
John Alcottwon an Oscar "for his gorgeous use of natural lighting" inStanley Kubrick's 1975 period filmBarry Lyndon,set in the 18th century, where he succeeded in filming scenes lit only by candlelight through the use of special wide-apertureCarl Zeiss Planar 50mm f/0.7lenses designed for the low-light shooting on NASA's moon landings, and then push-processing the film stock.[3]
Larry Smith,the cinematographer for Kubrick's 1999 filmEyes Wide Shut,used push-processing to increase the intensity of the color.[4]
Paul Thomas Andersonand Michael Bauman used this technique on their35mm filmstock for the 2017 filmPhantom Thread,also filling its frames with "theatrical haze" to "dirty up" the look of the film.[5]
See also
[edit]References
[edit]- ^abMichael Langford (2000).Basic Photography(7th ed.). Oxford: Focal Press.ISBN0-240-51592-7.
- ^Angell, Callie (1994)."The Films of Andy Warhol, Part II: Exhibition Whitney Museum of American Art, March 30-April 24, 1994".
- ^Eggert, Brian (January 9, 2013)."Barry Lyndon".Deep Focus Review.RetrievedDecember 23,2020.
- ^Pizzella, Stephen (October 28, 1999)."A Sword in the Bed".American Cinematographer(33).Archivedfrom the original on June 21, 2013.RetrievedNovember 18,2012.
- ^O'Falt, Chris (December 20, 2017)."How Paul Thomas Anderson Dirtied-Up 'Phantom Thread' to Avoid the Polish of 'The Crown'".IndieWire.RetrievedDecember 23,2020.
External links
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