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You've got somebody who is being photographed
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by this mechanical process,
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which shows them in different positions
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of their head, their face, their body,
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or whatever it is, and therefore in a sense,
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shape-shifting to some degree.
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But they're not always the same person.
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They don't always have the same ideas, values, attitudes,
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or whatever, feelings, or whatever it is.
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Let me move these round,
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little spools.
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Little piece of paper around it, glued around it.
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We take that off,
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put that back in,
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run the film under that first roller there.
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That's the thing that senses whether it's filming or not.
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Turn it around just a sec,
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so we can run that through to the middle of the reel.
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Shut the back, makes a click,
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and then wind on
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until you feel a little click again.
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And there we are. That's the first frame.
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Put it back on the tripod.
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And there we are, ready to go.
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We might try a multiple exposure portrait, Paul,
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much as we assume Deakin would've done it,
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my assumption would be that Deakin
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was actually using a tripod for this.
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You are then gonna get some idea of what's gonna happen
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by the movement of the head or the body
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or whatever it is the subject.
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There are very few with blurs in the portrait.
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The only one I felt that perhaps that wasn't the case,
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it looks like the camera is probably being held steady
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and he's taken two images handheld.
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What I'm gonna do is take a first exposure,
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and then a second, and then a third.
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So what we need to do is to take our metre reading again.
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If we were Deakin, we'd take our metre reading.
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And we see, yeah, it hasn't changed.
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Again, it's about an eighth of a second at 5.6.
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Now, then you have to think about what the film is doing.
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Okay?
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So when you are taking the exposure,
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the first of the three exposures,
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if we're going to do a three part multiple exposure,
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you need to break down the exposures into their parts.
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They'll make one full exposure.
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You've then got to take basically a creative decision.
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Do I want to have the multiple exposure
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with one dominant image
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and then a couple of lighter ones,
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which almost give it like a semi ghost-like effect?
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Or do I want all three to be more or less at the same level?
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We've metered at an eighth of a second,
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but that will be for a single image.
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So if we did three exposures at a 30th of a second,
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broadly speaking,
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we're going to end up with one exposure at
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effectively an eighth of a second.
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I'm gonna set that to 5.6 to give myself a little bit
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of depth of field, and to an eighth of a second.
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Now it's possible we're gonna get a little bit of movement,
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but actually that's not too much of a worry.
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Deakin working in the daylight studio,
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which I think he probably was judging
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by a lot of the photographs that have made of this sort,
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he's got quite a lot of light coming down on the subject.
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And he's got reflectors as well to reflect in
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the sorts of effects he was doing.
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He probably would also have probably
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slightly overdeveloped the film.
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In other words, the film has a speed,
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a certain sensitivity to light,
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and he's assuming it has about half the sensitivity
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that is stated on the box.
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The reason for that is that you get more detail then
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into the negative, and then when you print it,
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you can get what people call a punchier negative.
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Which is more contrasty,
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more sort of sharper look to it.
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And he's gonna probably ask the subject
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to look into the lower of the two lenses on the Rolleiflex.
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That's the taking lens.
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The other one is the focusing lens.
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So the first one.
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(camera clicking)
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Right, now what we need to do is
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to push the little serrated wheel
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at the bottom of the crank handle here
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just round like that.
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And it smooths very easily,
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goes right the way around, the film doesn't wind on,
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it stays exactly where it is in the camera,
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and it corks the shutter for another exposure.
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So if you can move back to where you were before,
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but now look over here.
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All right, now we're going to do
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exactly the same thing again.
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And then go on three, there we are.
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There we are, it goes around there like that, there.
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Okay, now which way did you look last time? That way.
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So you need to look the other way.
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That's it. Perfect.
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Okay, so that's our three part multiple exposure.
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Up close.
Up close, up close.
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So the process is actually quite long-winded.
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That implies certain things actually,
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I think about what Deakin is doing,
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that he's working with people essentially
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that he either knows quite well
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and are patient, are willing to put up with this.
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People also that are interested in the idea
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of messing around with the image of playing games
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and seeing what chance brings in
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and this sort of thing as well.
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Yeah, it struck me,
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it's not something the subject would be unaware of.
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They would be aware that you're doing something different
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to the other shots, the regular shots,
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because you would move in a different way
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and would be paying attention to the mechanics
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of the camera in a different way.
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I think it's a very good point,
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and one I hadn't really thought about quite so much before,
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but what it involves as well is that sort of complicity
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between the subject and the photographer,
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which in a strange sort of way
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isn't that you get from Deakin's portraits.
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Deakin's portraits tend to be sort of hard, controlled,
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almost forensic sort of photographs of people.
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And you can see at the time
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that they were not pretty pictures.
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They're not portraits designed to-
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Flatter.
Flatter, exactly.
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Or impress the subject.
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But what he's doing here with this is
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he's obviously playing with people
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that he knows he can play with
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and who want to play with him.
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It may be that there's something relevant there
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in the choice of subjects.
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I mean none of the vogue portraits
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as far as I know are double, triple exposures,
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multiple exposures of any sort.
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In a sense, what inverted comments,
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you might say the private portraits.
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There's only certain people that he felt
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that he could do this with.
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Or possibly if we take the Bacon angle into account here
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that Bacon would've encouraged him to do this
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or wanted him to do this
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because he knew that Deakin could get this effect
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that Bacon was also looking at.
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Deakin actually is very good at these sorts of things
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and knows how to make the image look rather
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sort of mysterious.
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What I also want to do is one
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with possibly a dominant exposure.
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So you get a slight ghosting effect,
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which is clear that Deakin is doing that.
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It's not obvious to me
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that he's always intending that effect.
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I mean there is an element
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of the surrealist idea of chance I think entering in here,
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but it's also not impossible that there's a mistake.
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Oh, I forgot to change the shutter speed setting
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or something like that.
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So we're gonna do two, we're gonna do two profiles now.
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Number one.
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(camera clicking)
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Gonna have to go again because
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I've made the classic mistake.
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You wound up.
I wound on,
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which is a very easy thing to do
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because if you're using a Rolleiflex all the time,
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it becomes to second nature.
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Click, roll, click.
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So it's not just what you make yourself do,
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it's you have to make yourself not do.
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Exactly, it's a very carefully calibrated process.
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Okay, number one, right,
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now, go back to the double exposure.
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Sit.
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So we want a sort of slight ghosting effect.
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(camera clicking)
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Okay, and we're building up exposure here at the same time.
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Each time we open the lens,
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laying a little bit more light in here.
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So the negative itself at each exposure is gonna get denser.
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The other aspect of it, which I think is quite interesting,
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is that these sessions are actually quite long.
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So if he's got five or six of these,
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but there's potentially one per roll though.
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So the photo session will move at normal speed,
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but then it would be slowed up I suppose
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at whatever point he decided to do the double.
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And what he possibly did was to play about
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with it at the end of the roll
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or possibly at the beginning of the roll.
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Deakin doesn't strike me as a person
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who's interested in putting his sitter at ease.
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So playing games isn't sort of what he's doing
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to get them into the mood, I don't think.
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He's interested in expression basically.
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Very, very few of his subjects
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you meet anything close to a smile, ever.
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He's very much one of these people I think
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that wants to see the face as some sort of signifier
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of the character of the person.
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And therefore, expression in a sense to Deakin
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is probably anathema.
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There are very few portraits where the subject looks happy
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or amused or anything like that,
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or even sad for that matter.
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They sometimes look that they're sort of fed up
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with what's going on,
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but I think that's gonna be what he wanted.
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(camera clanking)
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Okay, so we're back to an eighth of a second here.
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So.
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That's it. That's great.
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That's perfect. That's great.
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That's absolutely great. Okay.
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(camera clicking)
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See it's actually quite easy to do this as well.
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It's not difficult.
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It takes a bit of-
You have to think to do it.
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See, one of the things I also have to do,
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which is quite complicated, is I have to remember
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what's in the top of that picture.
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Do you have a grid on the viewfinder there?
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You have a grid on the viewfinder.
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You could mark this out.
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Now I think he would not want to do that in terms
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of what he knew about the ideas that are coming through
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through the 1930s about photography
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and about chance and all of these sorts of things.
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He's not gonna be interested in doing that.
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He wants those accidental effects to some degree.
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He wants a little bit of control over them,
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but probably not too much.
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What I want you to do is to lift your head.
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No, don't, don't, no, it's okay, it's all right.
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Look, look.
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Possibly just, yeah, relax a little bit. Yeah.
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And there, look straight ahead, I think.
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(camera clicking)
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There are other images where Deakin took
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photographing people in front of a mirror,
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so this kind of positioning
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and playing with both the action of light
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and mechanical process of the camera
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kind of seems to be something that he did.
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You're gonna sit there or something like that,
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looking into, no, looking into the mirror.
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You're looking in the mirror, aren't you?
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I've never seen the one he's done.
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Let's see all the ones he's done.
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It's a mirror on a-
Yeah, yeah, see.
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Yeah, so parting is that side.
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So there seem to be two with that side.
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That's interesting.
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Basically two sets of double exposures.
265
00:12:28.710 --> 00:12:30.543
One is done in the mirror.
266
00:12:31.500 --> 00:12:33.510
I've gotta get you, hang on, yeah,
267
00:12:33.510 --> 00:12:37.113
you need to be just about here facing the window.
268
00:12:40.292 --> 00:12:41.492
Okay, you can come along
269
00:12:42.690 --> 00:12:44.363
because we've got plenty of height here.
270
00:12:46.530 --> 00:12:50.324
What I've got to do is work out
271
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how I'm gonna do this
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00:12:52.280 --> 00:12:55.020
because we need a lot of depth of field.
273
00:12:55.020 --> 00:12:58.947
So at that point, we need about three and a quarter feet.
274
00:13:00.116 --> 00:13:03.210
And the other way,
275
00:13:03.210 --> 00:13:06.063
we need seven feet.
276
00:13:07.560 --> 00:13:09.210
I think we need F22. Get that.
277
00:13:12.389 --> 00:13:14.472
Yep, we're going to need.
278
00:13:23.361 --> 00:13:26.664
Now what's the hyperfocal distance?
279
00:13:26.664 --> 00:13:28.680
Hyperfocal?
Yes, this is what we need.
280
00:13:28.680 --> 00:13:30.780
Is that something to do with the infinite?
281
00:13:30.780 --> 00:13:33.000
No, what it is is the position
282
00:13:33.000 --> 00:13:37.440
between three and a half feet and seven feet
283
00:13:37.440 --> 00:13:40.090
where three and a half feet
284
00:13:41.040 --> 00:13:44.313
and seven feet are equally in focus.
285
00:13:45.360 --> 00:13:46.923
I'm gonna do a double exposure.
286
00:13:47.910 --> 00:13:51.020
A slight problem is...
287
00:13:55.423 --> 00:13:57.523
I think you're actually slightly too high.
288
00:13:59.160 --> 00:14:01.024
I'll sit down and you'll see,
289
00:14:01.024 --> 00:14:02.427
it's easier if you look
290
00:14:02.427 --> 00:14:05.103
and you can see what the problem is.
291
00:14:06.270 --> 00:14:07.560
Okay.
292
00:14:07.560 --> 00:14:09.843
See, there's a lot of extraneous information.
293
00:14:10.680 --> 00:14:11.520
In that picture,
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00:14:11.520 --> 00:14:14.280
he's used the sort of, there's a much bigger mirror.
295
00:14:14.280 --> 00:14:16.980
It's filling up the whole of the wall
296
00:14:16.980 --> 00:14:18.120
in his picture, isn't it?
297
00:14:18.120 --> 00:14:21.180
You could come forward-
I could come forward.
298
00:14:21.180 --> 00:14:23.160
Yeah, I could be in that bit.
299
00:14:23.160 --> 00:14:25.380
I don't think it's gonna make a huge amount of difference.
300
00:14:25.380 --> 00:14:26.213
No it doesn't.
301
00:14:27.660 --> 00:14:28.697
It's because it's not a big-
302
00:14:28.697 --> 00:14:30.058
We can do a fringe
303
00:14:30.058 --> 00:14:32.190
so we all we need is a big (indistinct)
304
00:14:32.190 --> 00:14:33.093
Let me go lower.
305
00:14:34.890 --> 00:14:36.090
Can we kill the light?
306
00:14:37.380 --> 00:14:38.820
Okay, now what I'm doing is
307
00:14:38.820 --> 00:14:41.820
I've got it set up half a second.
308
00:14:41.820 --> 00:14:42.653
Right.
309
00:14:44.460 --> 00:14:46.563
Number one, and very steady.
310
00:14:48.565 --> 00:14:51.210
(camera clicking)
311
00:14:51.210 --> 00:14:53.790
You're gonna do number two in a second.
312
00:14:53.790 --> 00:14:55.203
Okay. Okay, that's great.
313
00:14:56.833 --> 00:14:59.160
(camera clicking)
314
00:14:59.160 --> 00:15:00.810
Right, that's that roll.
Cool.
315
00:15:02.220 --> 00:15:05.040
What I've kept noticing is the amount
316
00:15:05.040 --> 00:15:06.330
of calculating.
317
00:15:06.330 --> 00:15:07.890
Yeah, it's not an easy process
318
00:15:07.890 --> 00:15:09.330
because you've got lots of variables
319
00:15:09.330 --> 00:15:10.860
to take into account here.
320
00:15:10.860 --> 00:15:12.570
One is this thing about the fact
321
00:15:12.570 --> 00:15:15.360
that you are adding exposure to the film.
322
00:15:15.360 --> 00:15:18.780
So you need to start with what's the exposure
323
00:15:18.780 --> 00:15:20.340
you expect to get.
324
00:15:20.340 --> 00:15:22.110
And then you've got this other complication
325
00:15:22.110 --> 00:15:23.670
which is about,
326
00:15:23.670 --> 00:15:27.000
well, do I give one of those exposures less time
327
00:15:27.000 --> 00:15:29.880
so it's less dense on the negative,
328
00:15:29.880 --> 00:15:34.020
therefore darker in the finished print?
329
00:15:34.020 --> 00:15:35.850
You've got variables going in two directions.
330
00:15:35.850 --> 00:15:37.320
And then there's the other thing about
331
00:15:37.320 --> 00:15:38.880
where am I putting the subject?
332
00:15:38.880 --> 00:15:40.950
And then we've got this one where we're trying to mirror
333
00:15:40.950 --> 00:15:42.480
where we've got the other problem is
334
00:15:42.480 --> 00:15:43.830
we're talking about huge distance
335
00:15:43.830 --> 00:15:45.690
we've got to cover in terms of the lens
336
00:15:45.690 --> 00:15:46.793
and focusing on it.
337
00:15:46.793 --> 00:15:48.750
Now it would be much better on a smaller camera
338
00:15:48.750 --> 00:15:50.790
because the depth of field
339
00:15:50.790 --> 00:15:52.980
is much greater on those than on this.
340
00:15:52.980 --> 00:15:55.140
The longer the lens, the less depth of field you've got.
341
00:15:55.140 --> 00:15:57.840
So you've got all of those variables going on as well.
342
00:16:07.680 --> 00:16:11.010
What I like about them is that they are so mechanical,
343
00:16:11.010 --> 00:16:15.450
it's a bore and a nuisance at certain times
344
00:16:15.450 --> 00:16:17.973
because if you run out of film, you run out of film.
345
00:16:17.973 --> 00:16:21.600
But you know, the wonderful thing about film is
346
00:16:21.600 --> 00:16:24.660
what you take on that camera
347
00:16:24.660 --> 00:16:26.310
is a physical trace of the fact
348
00:16:26.310 --> 00:16:30.330
that you and I and John were in the same room together,
349
00:16:30.330 --> 00:16:32.250
who I know always used to say about photography
350
00:16:32.250 --> 00:16:35.100
that it was about putting your foot in the door
351
00:16:35.100 --> 00:16:38.520
so chance could get inside as it were the image.
352
00:16:38.520 --> 00:16:39.990
I think that possibly was
353
00:16:39.990 --> 00:16:42.810
what was in Deakin's mind as well.