O U T D O O R
C L O S E U P G A L L E R Y
Artwork by STUART WRIGHT, CPR Art Team
SO WHAT IS
A CONVERSION ? WHAT SHOULD I EXPECT ?
Well take a look at the main shot below. That is what you
should expect. If you find it appealing, then we're all
in the same ballpark. On a technical level, however, a
CMYK backglass is a totally different animal than a translite.
Translites were done using a photographic process - similar to
Kodak or Fujifilm enlargements you'd have made
on photographic paper from a negative from your camera.
Therefore, translites have zero dots, and they contain
zero CMYK halftones or rosettes, even under a microscope.
Their weakness is - being on paper.
Like any poster you had as a teenager, they can become damaged,
faded, color shifted, etc.
Depending on the life your machine had before you owned it, many
have different looking translites today.
The CPR conversion acts as an alternative, made of hearty
tempered glass, for those with shoddy TL's.
A conversion to a silkscreened backglass requires that the
original continuous-tone color artwork be split into
four separate layers - Cyan, Magenta, Yellow, and Black (Process
Color). Each process color is printed to the
glass in a separate session. Each layer is made up of tiny
halftone dots. The resulting image looks like
full color to the eye, but is made up of only 4 colors, via
clumps of dots (like grapes) called "rosettes"
With the addition of a mirror layer and a white backing enamel
layer, the complete glass looks like Whirlwind
if it had come from the CMYK "backglass era". Yes, your
photographic "zero dots" look will be gone,
but from a player distance, it all becomes irrelevant.
Silkscreening dots are indeed tiny, from the size of a particle
of sand, right down to one grain of flour. It's all about
how they assemble and come together.
Click to Enlarge
Tonal balance is always a challenge in a CMYK conversion from
original source. When you have no negatives and you must
have your own films made by a lab, turned into silkscreening
dots, and ink mix control very crucial, you pray the final
assembled image is going to stay faithful to the original
balance. Not too rosy, not too bluish, etc.
This time, we're right
in the pocket, and have ideas the film lab is going to try on
the next backglass conversion to tweak our results even closer!
THE MIRRORED ACCENTS
These remaining photos were done at extreme angles to the
sun, to "pop" the mirrored bits so you can see them better.
The stuff glowing "hot white" are the mirrored parts. It's
difficult to photograph, but these will give you some idea.
Shiny spots on minivan, video camera
Accents on the highlights of the twisters, Williams "W" logo
Accents on the storm chaser equipment
Accents on the storm chaser dude - CB cord, glove, watch, chest
END OF PHOTO GALLERY