Silent_Soliloquy
Guitarra_De_La_Diosa_edit_Web
Camera scan of 4x5 negative reworked sharpened and contrast enhanced lighty, dust removal and flare removal. I am hopeful to return on a more cloudy day and take a similar composition for Lith Process in the future on a 4x5 negative with a red filter...I want to bump the contrast of the shadow and light...and enhance the mood of the clouds to surreal proportions, perhaps also with a Polarized filter to render the sky darker...I see more mood in the potential of this scene, but I worry perhaps that my mind sees too much mood...but I guess you never know till you push it too far...Pushing the edge of "how far is too far" is a journey we must all come to grips with...with every image that we work thorough to a print...its a humbling conclusion to come to really...I recently reworked this one in my partially finished darkroom, using Split Grate printing techniques, building up the print from Contrasty shadows, using a Grade 4 filter at 20 seconds while dodging -8 seconds in the foreground, then swapping filters at Grade 2 1/2 for mid tones and dodging the sky and foreground -8 seconds, and then swapping for a grade 1 filter and exposing 13 seconds while dodging the foreground and burning in the sky an additional 6 seconds...the sky became more moody without sacrificing the mood of the shadow and light in the foreground...the unevenness of the sky was corrected to an overall tone that is quite pleasing...It took 4 hours to work the print to satisfaction as I am still learning to work a print...but the feeling in getting there was cathartic...I don't think I have considered my tonal gradation as much when working digitally, and making nuances to see where the mad hatter sees is all the more exciting. I still very much want to try a Lith print of this 4x5 negative..Pics of the prints from my November 5, 2015 late night session to come soon. I did learn alot in 4 hours by myself. This evenings session felt like chasing a sky that existed only in my mind, as a mood representative of the place I keep going back to. Each step yielded new insights and new problems, and as I checked and cross checked through the process I gradually came to a print that looks pleasing under direct lighting...I might have to produce a lighter print for average room lighting, but if this were to hang with a halogen bulb less than 8 feet away I would say it is about what I want it to be...now to selenium tone, and Gold split it to see how much wider the Tonal gradations can make this image look more 3D under the same guise...I really want to Moersch this on Ilford MGWT paper if possible.
Guitarra_De_La_Diosa_edit_Web
Camera scan of 4x5 negative reworked sharpened and contrast enhanced lighty, dust removal and flare removal. I am hopeful to return on a more cloudy day and take a similar composition for Lith Process in the future on a 4x5 negative with a red filter...I want to bump the contrast of the shadow and light...and enhance the mood of the clouds to surreal proportions, perhaps also with a Polarized filter to render the sky darker...I see more mood in the potential of this scene, but I worry perhaps that my mind sees too much mood...but I guess you never know till you push it too far...Pushing the edge of "how far is too far" is a journey we must all come to grips with...with every image that we work thorough to a print...its a humbling conclusion to come to really...I recently reworked this one in my partially finished darkroom, using Split Grate printing techniques, building up the print from Contrasty shadows, using a Grade 4 filter at 20 seconds while dodging -8 seconds in the foreground, then swapping filters at Grade 2 1/2 for mid tones and dodging the sky and foreground -8 seconds, and then swapping for a grade 1 filter and exposing 13 seconds while dodging the foreground and burning in the sky an additional 6 seconds...the sky became more moody without sacrificing the mood of the shadow and light in the foreground...the unevenness of the sky was corrected to an overall tone that is quite pleasing...It took 4 hours to work the print to satisfaction as I am still learning to work a print...but the feeling in getting there was cathartic...I don't think I have considered my tonal gradation as much when working digitally, and making nuances to see where the mad hatter sees is all the more exciting. I still very much want to try a Lith print of this 4x5 negative..Pics of the prints from my November 5, 2015 late night session to come soon. I did learn alot in 4 hours by myself. This evenings session felt like chasing a sky that existed only in my mind, as a mood representative of the place I keep going back to. Each step yielded new insights and new problems, and as I checked and cross checked through the process I gradually came to a print that looks pleasing under direct lighting...I might have to produce a lighter print for average room lighting, but if this were to hang with a halogen bulb less than 8 feet away I would say it is about what I want it to be...now to selenium tone, and Gold split it to see how much wider the Tonal gradations can make this image look more 3D under the same guise...I really want to Moersch this on Ilford MGWT paper if possible.