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©2010 Laura Palazzolo
When Suz and Marge visited Giza, they paid to have their photo taken with King Tut (Aunt Marge was a bit afraid of the camels) Still today, they laugh when they pull out this photo remembering the good times they had...
Textures Only ~ Competition #107
Original image by Pareeerica
Woman #1&Pyramid Lyng883
Woman #2 Lyng883
Camels S J Pinkney
Texture with thanks to Skeletal Mess and PlayingWithBrushes
sometimes it's better when a child black and white in colorful makeup
Feel free to visit and like my Facebook profile: www.facebook.com/imranhossainhemel
Event Photography & Cinematography by Blooming Light.
www.facebook.com/bloominglight.wp
photographer Bangladesh.
Imran Hossain Hemel, Arman Khan, Naziur Rahman.
This is NOT my photo. This is Norfolk Odyssey's image.
I did a lot of tweaks to this image and when I was done I compared it with the original and found the certain portions of the image were better in the original. I then created the original as the top-most-layer and slowly begain erasing to reveal the adjusted photo until I had a perfect blend of the two. It amost felt like doing HDR on an image.
I still think mine is too bright and I'd play more games with it, but I wanted to see what kind of detail I could reveal. My shot is more like "turning on the lights" and loses some of the mystique the original photo has. I'm sure there is some middleground between them.
SX 70 manipulation. My chum Jamie (who takes amazing photos, especially polaroids) gave me one of his last packs of time zero film. I haven't broke out the sx 70 in awhile. I love doing these, i'm going to be bummed when the only way to get this film is to pay $100 a pack to some bastard on ebay.
check out jamie's flickr - flickr.com/photos/11061711@N08/
Anywho i was walking to the hardware store, when out of the corner of my eye I spotted Fantastic 4 dude, the ballerina and Furbie eyeing me down. Rough crowd.
Photo manipulation for this weeks Weekly Photoshop Competition www.flickr.com/groups/pscomp/
The original was posted by: www.flickr.com/photos/scottastrophik/419416259/
...and hopefully I will figure out what to do with all that empty space later.
Hasselblad 500C/M
I remember that around the second half of the years 90’s, I considered to buy a Hasselblad camera. I gave up because I had no more access to a darkroom and I found too complicated to recreate one or to delegate the processing to a service lab. Afterward, some years later, I started digital photography that distracted me to operate again with films. It is only when I could manage in 2022 a reliable and quality way to exploit my negatives in a reasonable time, that I really could enjoy again of analog photography.
On July 17, 2024, I decided to buy "my" Hasselblad in a very traditional way, almost as I could in the 90’s, in a local real photographic store, Lyon, France. The store « Carré Couleur » of Jacques Larger, rue Servient, Lyon, France, is a long-time specialist of professional medium-format camera’s including Hasselblad ones. They had on display several revised and 6-month guaranteed camera’s and a large choice of lenses and accessories.`
I choose a 500 C/M year 1978 and a Carl Zeiss lens Planar T* 1:2.8 f=80mm of the CF series year 1986, plus a small set of little Hasselblad goodies. The 500 C/M is totally mechanical without any electrical nor electronic circuitry. The 500 C/M's were produced in Göteborg, Sweden, from year 1970 to 1994. They followed the production of the 500C camera’s (1957-1970). The latest V-series camera (503 CX, CW, CWI etc) ceased in 2006 and Hasselblad then produced only digital camera’s but also digital camera backs that could fit to the V-series includingbthis 500 C/M (www.hasselbladhistorical.eu/HS/HSTable.aspx)
This CF lens series has central shutter Prontor (Synchro-Compur for the earlier Zeiss series). They are more cylindrical than earlier series and equipped of the proprietary bayonet filter mount B60. The delayed shutter realease was also abandoned. The focusing screen is the « Bright » series with the Dodin stigmometer in the screen centrer and the squared cross-ruling lines. Later 501 and 503 were basically equipped with an even more brighter screen called « Acute-mat ». The camera back could dated from year 1977 is an « A-12 » back « A » standing for « Automatic ». The film advance automatically stops at view 1 with view counter on the right camera side.
After a complete demo by Jacques Larger, I studied the camera manipulation at home with the user manual in hand (an original edition of 1980) before doing the decisive « film d’essai » (test film) on a sunny morning of July 20, 2024. I choose the closest outdoor quiet place at Parc de la Tête d’Or, Lyon, France and the magics of the botany garden and the tropical green houses. It is familiar to me place ideal for testing a camera without external stress.
For the test, I loaded an Ilford PanF+ 50 ISO that I exposed for the nominal sensitivity using my trusted Minolta Autometer III either in the incident light mode or the selective rejected light using a 10° viewer. The lens has an Hasselblad B60 UV-SKY 1A multi-coated filter but no shade hood since they were out-of-stock in the store.
View Nr. 4 : 1/125s f/9
Serre Hollandaise, July 20, 2024
Jardin Botanique de Lyon
Parc de la Tête d’Or
69006 Lyon
France
After the view #12 exposed, the film was fully rolled to the taking spool and was developed in a Paterson tank with a spiral adapted to the 70mm large film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+50 and the film processed for 11min30 at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm films.
The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG together with some documentary smartphone color pictures.
The results show very high-quality, highly-contrasted negative views, perfectly exposed and spaced proving the good technical state of the camera, film magazine, and the lens/shutter.
Artwork by David Paul Mesler. Pianist, Vocalist, Composer, Songwriter. Seattle, Washington USA. 2012.
SITES: www.davidpaulmesler.com, www.ihearamericasing.com
ALBUMS: www.cdbaby.com/artist/davidpaulmesler
PHOTOS: www.flickr.com/photos/davidpaulmesler
VIDEOS: www.youtube.com/doublepianomaniac
ALL FOR THE GLORY OF GOD.
modern art contemporary postmodern moody surreal abstract expressionism impressionism colorful picture photo graphic photographer animation cell image fantasy film cinematic artwork painting photoshop manipulation illustration male portrait man masculine face “close up” close-up detailed interesting dutch scandinavian christian spiritual representational american “united states” holland netherlands norwegian swedish “modern art” “expressionist portrait” drawing watercolor “abstract painting” “abstract art” “on black” digital texture color colors “photo art” photoart landscape arte “vivid colors” photomanipulation “digital art” light dark moment lumiere couleurs day night surrealism saturation photomorphing best artistic tone colorgrading fullcolor techniques multicolor technicolor “generative art” contrast sketch artista artiste portraiture illusion effect virtual fun abstrait cg figurative self me “david paul mesler” “david paul” “david mesler” david paul mesler jazz classical music “singer songwriter” instrument musical musician composer artist singer pianist songwriter vocalist bluecentaur “blue centaur” doublepianomaniac “double piano maniac”
A background I made from the I Can Hear The Angels Singing When You Call My Name... || Taylena manip. Comment! Hope u like it!
Per giocare ho preso uno scatto già pubblicato e ho cercato di fare una caricatura, mi rimetto a voi per sapere se può funzionare.
Il soggetto è illuminato usando il classico schema clamshell. La luce principale è data da un flash SB600 in un ombrello riflettente di grandi dimensioni posto di fronte al viso della modella, il fill è dato da un SB600 attraverso un ombrellino bianco traslucido dal basso. Le potenze in gioco non me le ricordo perfettamente.
by OrMa
"You Are The One" by Shiny Toy Guns
This is the first picture I've been happy about in a while. I didn't even have a tripod for it!
Dave's roommate moved out today so more room for pictures! :)
Item Collaboration: 30/31 (clock)
210/365
Manipulation.
Inspired by s w in shift
I got the images while planning for some of my manipulation projects, spaced weeks apart.
I didn't use them then, and while going through my stocks folder i stumbled upon them and figured "Why not!?"
Thanx to all for the stocks!