eras are more difficult tools for multiple exposures
because of the mechanism that forwards the film
within the camera; an interlock between the shutter
release and film advance may only allow one expo-
sure per frame. This function may be manually
overridden by rewinding the film either fully or
partially, or by triggering the film release button
on the camera body to rewind the film. The bulb (B
or T setting) shutter mode may also be used and a
dark slide placed over the lens, allowing the photo-
grapher to control the shutter and exposure of each
individual light imprint on the film by using the
time-exposure function.
Multiple images on one frame of film may take
the form of two (or more) different scenes, or the
same scene shot more than once, or of a partial
image. This latter technique may be achieved by
using a black piece of cardboard or dark slide to
block out part of the image area in each multiple
exposure. Also, one scene shot and recorded in
exactly the same manner will allow for effects that
cannot be achieved in a single exposure, such as a
large amount of depth of field, to be created in the
composite shot. Using an electronic flash or a
strobe light in a darkened room can also result in
the same effect as manually exposing a frame of
film more than once in the camera under more
conventional conditions. While the shutter is kept
open, the flash or strobe light is used to create a
quick burst of illumination, and may be repeated
numerous times to fully illuminate an image or
portray motion.
Exposing the film multiple times will create over-
lapping images and have an impact on the exposure
time, and thus overall density of the film. To ensure
an intelligible exposure, each individual exposure or
shot must be metered and the combined exposure
time should approximately equal that shown by the
light meter reading in the camera for a single expo-
sure. For example, if an image is created by two
exposures, each shot must be half of the total expo-
sure that would be required for a proper exposure
of one image of the scene. Dividing the meter read-
ing given by the shutter speed and aperture setting
by the number of images taken is generally accurate
for most multiple exposures, but excessive multiple
images placed on one sheet of film may produce
what is known as reciprocity failure. Reciprocity
failure occurs because film’s sensitivity to light as
it is exposed may be altered during the process of
exposing multiple times, and unpredictable overex-
posure, underexposure, or color shifts may result.
Darkroom techniques for multiple exposures
include sandwiching negatives and multiple print-
ing. Sandwiching negatives places two or more
images on top of each other in the enlarger’s nega-
tive holder with the composite image created by
exposing the negatives during printing on photo-
graphic paper. Placing more than one negative in
the enlarger increases the overall image density and
this must be compensated with increased intensity
of the enlarger’s light source or with a longer expo-
sure, or a combination of the two. Increased density
may also alter the image contrast and necessitate
additional burning and dodging in selected areas.
Multiple printingis a darkroom technique that
exposes individual negatives onto one sheet of
photographic paper to form a composite image.
This technique can be achieved in one of two
ways: by using multiple enlargers to print indivi-
dual negatives, or using the same enlarger to print
multiple negatives that are changed with each
image exposure. The unexposed areas of photo-
graphic paper for composite printing must be cov-
ered as each individual image element is printed,
and multiple test strips for exposure, contrast, and
color balance (if printing color) must be utilized to
master this technique. Areas where individual
negative areas overlap may also be problematic,
and advanced burning and dodging of these areas
will provide a more finessed transition from one
negative element to another. During multiple print-
ing, registration of the print in the easel or registra-
tion of the negative carrier in the enlarger is
necessary to form matching edges in the print and
exact overlapping of the individual negative expo-
sures. Advanced darkroom manipulation techni-
ques such as flashing, masking, and split filtration
printing may also be integrated into the multiple
printing processes.
Digital darkroom programs such as Adobe
Photoshop have widened the range of tools and
processes available for photographers. Scanning
of traditional film images and importing of digital
documents creates a compositing tool in the com-
puter, and each image element can be added to a
complex composition. The tools used in this pro-
cess are different from the traditional darkroom
and film exposure methods, but achieve similar
creative results. Cutting and pasting of individual
image elements allow a composite to be created on
layers in the imaging program, and blending of
these elements is achieved through digital effects
such as feathering the edges, changing opacity,
and masking of image elements. The digital tools
can also be integrated back into the traditional
darkroom process, and an inter-negative or trans-
parency can be printed from the composite created
in Adobe Photoshop on most conventional inkjet
printers. This document can in turn be utilized inMULTIPLE EXPOSURES AND PRINTING