THE ART OF DOUBLE- INTRODUCTION

The art of double-exposure (and ) is about capturing two or more on one single frame. We will focus here on our process and experience shooting multiple exposures on film.

Shooting multiple-exposures requires two things: you need to know how to stop your from advancing film automatically and you need to think about what effect you are intending to achieve. We will be showing three main styles of double-exposure that we have identified, and for lack of better words, let’s call them “the outline”, “straight double” and “scape & space”.

But first, two important initial concepts:

1. as you are exposing your film twice (or more), you should really “under-expose” your shots otherwise you will overlay white on white. You need to keep “dark spots” to expose more information over it.

2. in the same vein, when you take your second (or more) picture, it will expose over the dark areas, and your highlight areas will capture less information because it is already “too” exposed.

TIP: when it comes to metering and setting your exposure; in overcast and darker settings, we choose to go one stop down to what we would normally shoot at. In a brighter day, we would stop 2 down (maybe more) on the first picture depending how much detail we want to keep.

An “outline” on the Contax645 // Portra400 shot on an overcast An “two of the same” shot on the Contax645 // Fuji400H with the subject day, one stop down to what we would normally shoot. lit by a wide window and standing in front of a white wall.

We shot the profile first; the tree last; keeping the direction the same: We shot the wider portrait first and then went in for a detail shot. the highlight area on the left of the frame. HOW TO STOP FILM FROM ADVANCING

On the Contax645, there is a switch that you need to turn on. For as long as it is switched on, the film will not advance so you can keep taking pictures after pictures and they will lay on top of each other. So it important to remember to switch it off before your last intended frame so that film advances after the last shot.



NOTE: Certain do not have that option so our trick has been to “roll” the film back one frame; but it is more guess work than perfect overlay though it is the only way we have found to work for us so far. 1/ THE OUTLINE

An “outline” shot on the Mamiya645 with Polaroid back // fp100c silk. An “outline” shot on the Contax645 // portra400. Shot on a bright day shot on a bright day, one stop down to what we would normally shoot. in open shade against a white wall, one stop down to what we would normally shoot. We shot the profile first in a shaded area; the tree last; keeping the highlight area on the left of the frame for both shots. We shot the subject first, the flowers last - trying to have the white wall as bright as possible to have as little information in it for the second shot. The model wearing dark clothing helped with achieving this result.

This is probably the most common style of double exposure and probably the easiest one to achieve. The concept here is to create an outline (often with someone’s profile) and lay patterns over it.  Our best results were when we captured someone’s profile over a white background. When you have no access to a bright white wall to put someone against, use the sky, shooting back lit. The more contrast there is between the “dark” and the “white” part of your frame, the more striking the result will be.

Remember to shoot darker so your outline is darker and becomes a great frame for your second shot. Then take a shot of what you wish the pattern to be. Often, we use what’s around: trees, a cityscape, flowers, …

TIP: when you compose your shots, choose to have the same “direction” for your shots. Keep the sky/bright area on the same side, and your outline and pattern on the other side. This way, white will be exposed on white and will create a clearer outline. An “outline” shot on the Contax645 // Portra400 shot on an overcast day, one stop down. We shot the profile first; the tree last; keeping the direction the same: the highlight area on the right of the frame. 2/ STRAIGHT DOUBLE

The shooter & the model. Shot with Polaroid250 on fp3000b. Double-exposure is easier on an old mechanical polaroid camera as you can keep taking pictures until you decide to manually take the film out. A “straight double” shot on the Contax645 // hp5 rated at 1600 (+2) A “straight double” shot on the Contax645 // Portra 400 turned to B&W Overcast day - one stop down. Overcast day - one stop down.

We shot the close up shot first to have more of the “dark area” in the We shot the close up shot first to have more of the “dark area” in the first first frame (the suit) & then pulled back for the second shot. frame (the suit) & then pulled back for the second shot.

Here we are kind of shooting the “same” thing twice with a slight change of , pose to get an interesting portrait. We love choosing this style for photos where you wish to see more of the person(s) and we find them particularly adapted in a more editorial context.

We also love doing it to create a sense of storytelling through placing a moment in a context of time. We tell a story through two frames overlaying each other of a particular moment in time. I find it works particularly well when you “the model and the ”.  The technique here is much the same when it comes to “underexposing” and overlaying, taking into consideration where your darker spots will be. This is a lot more guess-work but we tend to think about how we are framing the first picture and where we position the model and try and have this stuck in my mind as we frame the second to imagine where things will overlay.

TIP: We find so far that an “easy” way to do this would be to have a similar composition but just walked forward or backwards to have a wider or tighter image of the “same” thing - or going in for more of a detail shot. 3/ SCAPE & SPACE

We think this is the hardest one to achieve because shooting to overlay a wide space/environment is a lot more difficult in terms of good result (generally with exposure). But when it works: it’s incredible.  Let’s be honest, we don’t have as much of a process here for garanteed results so we can only tell you to TRY!... The ones that have worked the most for us are using darker outlines from people then overlaying the space to appear within their outline.

Our personal experience tells us that overcast and/or darker environment work better or we should have under- exposed even more on the first shot. In truth, a beach in bright daylight will have very little “dark” areas so the result will always be a bit uncertain.

TIP: Always shoot your darker photo first because you want to keep as much information as possible to lay a picture over. It’s not just a case of underexposing, it is also a case of keeping as much “lightly exposed” areas so you have expose over it again.

Shot on a Polaroid250 with fp3000b.

Shot on an overcast day hence we have more details in the sky (which didn’t overexposed much) We shot the subject first, the scenery second. This one worked best because it was an overcast day and the first frame was nicely under- exposed and the main subject was wearing dark clothing.

Shot on Contax645 with Fuji400H at sunrise. Shot on Contax645 with Portra400 in bright day light on a beach.

We shot the couple backlit first with the palm trees creating extra “dark” We shot the couple side lit first , then we shot the water scene. spots. Then we shot the scene again, concentrating on the water mainly. The lack of “dark” spots in the first shot made for a more “washed out” result

The two shots above are not as “striking”. The first of the two worked best because of its first frame having more dark areas and this way, creating a better base; the second image has too many bright spots (white dress, the sea) and it is not as “clear”... But it served as a great teaching ground.

Shot on Polaroid250 with fp3000b. Indoors with a large light source behind the shooter. Our friend just rotated on himself to create a two-headed Yann! SUMMARY

1/ Switch the camera to double exposure if it has the option and remember to switch the button off be- fore you take your last shot 2/ Shoot darker than you normally would (1 to 2 stops depending on the light on the day) for both shots. 3/ Shoot your darker image first to keep as much information for the overlay image 4/ When shooting people, darker clothing is a good option 5/ Try to keep a mental image of your first shot when you compose your second

For the “outline” 1/ Shoot your main subject against a white/bright background. A sky is often a good option. 2/ A profile shot work well as it has a stronger shape 3/ Remember to compose your bright/dark areas on the same part of the shot for each frame you shoot 4/ Use your environment for your pattern (flowers, trees, buildings)

For the “two of the same” 1/ Shoot closer then wider works well. 2/ or shoot a detail shot at your second shoot

For the “space” 1/ Stop down more in brighter situations 2/ Works well on overcast days or at sun down, especially by the beach 3/ Use your environment (tree cover, darker mountains,...) to create a darker surroundings

But the best way to learn is to try, make mistake AND HAVE FUN. www.wearebubblerock.com facebook.com/wearebubblerock instagram @bubblerock