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Time for the poor man's press. On some floor you can clean easy or don't care about, lay down your post and put your board on top.
Using a screen when draining will help you reclaim any leftover pulp, which can be squeezed out and left to dry. When you make paper later, this pulp can be broken up and re-blended.
Paper pulp will do a number on your pipes, so use your screen or a colander in the sink when you drain your vat.
When you're done making sheets, top off your pile with another 'felt' and some more newspaper. The result is called a "post".
After three to five sheets, you'll find that your paper is getting thin and maybe being a brat about releasing from the screen. Time to add more pulp. This batch is white with some brown paper bag thrown in.
Soak up more water with your sponge through the back of the screen. Move around, paying attention to the edges.
. . . flip it over. The water in the screen should hold the paper to your screen enough for you to do this.
With your sheet formed, tilt your screen to drain the excess water out. When its only dripping intermittently, you can couch it.
This is what you're going for. The paper's cellulose will bind itself, you just need to gather it evenly on your screen.
Mix up your pulp and water by stirring your hand around in it. This is called "charging" your vat. You'll want to do this before you make each sheet, or thereabouts, any time the paper and water start to separate.
Prepare your space. Next to the vat, depending on your handed-ness, lay down some newspaper and then a 'felt'. Have the rest of your newspaper and 'felts' nearby. Once you get going, you're not going to want to search around.
Add your pulp to the vat. I use three blenders of pulp to one blender of water. This will make a nice soup, not too thick, not too watery, and about the right height (near the middle) in the vat.
The lid is very important in this process. If your pulp goes flying all over it will be awful to clean up. You want to blend until your motor sounds a little tired (best explanation), then up your speed and blend for another 10-30 seconds.
If you are using a pulse blender, throw your paper in and then blend. Otherwise, turn it on some medium speed and pop your paper through the hole in the lid.
Starting from a corner, pull your screen off the paper. If it won't let go, plop it back down and soak up more water with the sponge.
Squeeze excess water out of your sponge as you go, you want to get as much water out of your paper as possible so it will release from the screen.
I didn't have any cleats to go under my board so I pulled apart 2 clothes pegs and glued them to the underside of the board....Easy!!!!
Pouring is a technique that can be used to do a watercolor painting. You start by choosing several colors, mixing each separately, pouring the colors on the watercolor paper (I used ochre, windsor blue and cadium red) and helping each color run across the paper with a little water and as little intervention as possible. It is best if you can leave at least 30% of your paper white. After pouring I put plastic on some areas while the paint was still wet to create texture, leaving the plastic on until the paper was dry. When the paper is completely dry you choose a subject to paint over top. It was a very interesting exercise and quite challenging. The image I used was from one of my sketch books.
Title: Cheetah
Image size: 21 x 29 inches (53 x 73.5 cm)
Paper size: 22 x 30 inches (55.5 x 76 cm)
Medium: Windsor and Newton Artist Quality Watercolors on Arches 140lb Coldpressed Watercolor Paper
The artist retains all rights to this image.
If you like my work go to my profile www.flickr.com/people/6catsart/ to find out how you can see more of my wildlife, floral and landscape watercolors.
Done.
The shutter is opened.
I did not build a shutter for my 45 pinhole camera. And it went well for the past few years.
Recently I found that, the failure rate was too high, because of not using a shutter.
In most of the cases, the skin color of my hand was captured by the camera.
I am not young anymore, my hand can not move as fast as before.
So, a shutter might solve the problem, right?
Let me test it.
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580ex II on boom with white shoot through umbrella triggered with RadioPopper JrX.
5D Mark II, 24-105mm. Check out the behind the scenes below.
It's not easy to make clothes for small clothes and it's not easy to design patterns, but this could be a good start!
Mark a 1-inch fold line on the longside of the printer paper. If you're using a different sized template, use half the height.
(I have a 2-inch template, so I used a 1-inch fold line).
So here's how I made my screen transparent for my last submission to the Transparent Screens group. I'll refer to the photos as being numbered clockwise:
1 2
4 3
First, I took photo 2 (ignore the windows and the grid for now). Actually, I took about four or five shots and chose the best one.
Second, I removed some of the bottles, introduced the monitor, and took photo 1 (again, ignore the grid for now, and again, I actually took multiple and chose the best).
Then, I opened these two photos in my photo editing tool and put each one in a layer, photo 1 on top of photo 2. I did a slight bit of rotating and moving to get the backgrounds to line up. If I had a tripod, of course, they would have lined up automatically.
Now look at the windows and the grid in photo 1. GIMP has this great tool called "perspective transformation" that's perfect for this job; I lined up the rectangle onto the screen surface.
Next I switched to the other layer; see photo 2. The grid is still there, and now covers the area of the image I need to pull out. I set the transformation tool to "corrective," which causes this area to get stretched flat into a rectangular image.
I took this flattened image and made it the background of the monitor in photo 1. Then I had to tweak the cropping to get it right, and I had to do some colour correction. That was probably the most painful part of the whole process. The final desktop image is shown in photo 3.
Photo 4 shows the final setup. I moved the bottles on the left out of the way, and took the final shot from the original angle. Voila!
Where do the images come from in a stereographic projection? here is the answer.
This is a ripoff of manu's image, with gadl's comment included.
Posting this since it got some attention at PetaPixel
petapixel.com/2014/09/30/built-lightbox-0/
I propped a curved piece of printer paper up against some cardboard. I positioned the setup so my flash was on one side and a mirror was on the other. That’s it! The flash is a cheapo Yongnuo triggered remotely. The stand and umbrella are also just the cheapest things on Amazon. My whole strobist kit cost less than $150 and I certainly didn’t buy it for this one photo.
The makeup vanity just happened to be a convenient place — I could have used any horizontal surface near a mirror. I saw a bunch of tutorials for lightboxes that involved multiple lights, all sorts of materials like plexiglass with white cloth. Not necessary!
Gather the supplies. The most difficult thing to find is a piece of plastic or plexiglass. You want a non-porous surface for your plate. You could use glass, but I don't like to mess with it.
UPDATE: You can use unflavoured gelatin to make a plate, instead of plexiglass or plastic [link].