View allAll Photos Tagged Negative
Shot with fatif view camera, 8X10
Rodenstock Sironar 1:6,8/360mm (6 836 747). Ott: Compur 3.
EV9 grey card with common light meter in artificial light 5600°Kelvin (plus three flash lamps).
f8; 30 minutes.
Paper: Canson Marker
Iodizing and Sensitization: Pelegry (No whey, just water and lactose), dextrin and tannin as preservatives
Developed Gallic acid for 20 minutes, followed by adding Silver nitrate in the bath and further developing by inspection (18 minutes for this negative)
Washed in H2O, than tap running water.
Fixed in Thyosulfate 15% 5 minutes and washed again.
It is my first calotype.
The scan of the negative has been made trying to reproduce how it looks like at visual inspection in reflected light.
I've tried to reverse the image and figure a result.
The scene digital shot is provided too.
Better than nothing, for a first try. In the following days I'll try to wax the paper and print it in some way (salted paper? Albumin?)
Negative space (or white space as it is sometimes called) has been used in art, architecture, design, sculpture, and photography. Negative space (and it does not have to be black as the word 'negative' connotes) is the area that surrounds the main subject (which is often called the 'positive space'). The subject does not have to appear in the center of the composition; rather it can be offset to draw the eye toward it. The space created around it is the 'negative' space, and it has nothing attracting the eye away from the main subject.
A single color, or gradual shades of that color (monochromes), or bokeh that is muted can all serve as the background to the main subject.
Negative space can provide a natural background and give 'breathing room' to the main subject. It may take some practice to achieve this as this is subjective in nature.
14/26 February Alphabet Fun: "Theme in Art"
Photo A Day
45/365
14 ♥ February 2015
An idea basely stolen from inspired by Sipho Mabona.
When I was in Cambridge for the OrigaMIT thing, I got to speak with Sipho about his cut-out CPs and how he made them and also with Brian Chan and Ray Schamp about machines and tools, in general. The question naturally presents itself: how much of a CP can be cut away and still be foldable?
Quite a bit, it would seem. This is a model of mine, the Petunia Bowl, bossed and then cut with a Zing.
Continuing with my old photo finds, here are two negative film strips that only had two connected, instead of a long line of shots. I was lucky enough to find one of the prints made from one set too. I like that one negative shows a man in uniform. I’m most fascinated with the way woman are dressed in vintage images.
8x10 Paper Negative
expired Ilford Matt paper
Caltar 305mm f/8
B&W negative scanned as colour negative.
ODC2 Negative space
I purchased a frame today to frame anything that I like during my photo shoots. I don't like to frame my pictures but I love pictures of frame.
Anyways. Here is the first of a series of many ( 3 more in my stream!!). This is not my favorite but it reflects very well the spirit of negative space.
I reflected a lot on negative space today. We all need it. Negative space is the chosen space for creativity. I have been feeling tired and sick lately and I think it's because I don't have enough negative space in my life. Space to create, space to dream. Every corner of the house, every corner of my head are full of junk. So i started by cleaning up the office space that looks more like a crowded closet. And empty my crowded brain in the process. That's when I had this idea for the challenge. A frame of grass. Grass that goes beyond the frame.....The freedom that negative space can give you is widely underrated. I stop there....I think you get it. See in black, it's full of green grass.
Shot with the crappiest lens I ever bought, a Phoenix branded 650-1300mm. All that overkill vignetting was not the lens's fault, it's mine. Get over it.
This was taken at 650mm F/8, I believe.
DSC07717.jpg
Such an interesting challenge and I have only experimented with one aspect of the word negative. I had a bit of time playing in Lightroom watching my images transform while using the point curve, you literally invert it and go from there to get the result you are after. I have not had an opportunity to see what results could come out of this so it was quite enlightening as I am always up for a new concept.
Bain News Service,, publisher.
Le Gallienne
[between ca. 1920 and ca. 1925]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Bain News Service photograph collection (DLC) 2005682517
General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.32564
Call Number: LC-B2- 5484-1
I am driving in and out of the city today. I have a feeling that I will be wiped out when I get in tonight. I figured I had better use my morning to get a shot for my daily. This cat sitting in the window seemed to lend itself to a b&w treatment that I though might also work for totw negative space.
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Culver City, CA. 2024
Let's wrap up the X100V shots from 2024. A couple more to go...
Another straight out of camera Classic Negative recipe; no tweaking in Lightroom!
1856 - Wells Family from Glass Plate Negative Found in Uncle Oscar Lyle Dorsey's Attic in Carlinville, Illinois in 1951.
Wells Family – Clockwise: Plutarch H. Dorsey (1833-1915), Hannah Olivia (Williams) Dorsey (1834-1902), Cora (Wells) Dorsey (1827-1861), Geraldine (Wells) Curtis (1833->1880), Eugenia Wells (1820-1903), Hannah (Mayo) Wells (1791-1867)
______________________________________________
Aunt Eugenia Wells Memories
My Grandfather Wells came from Wales and settled in Annapolis; I think before the Revolution, and I believe he was in the Army. He died before I was born and when my father was a young man. There were three sons and a daughter. My father, the oldest, was married and went to Hagerstown where he lived until the war of 1812, when he moved to Washington and was in the Army. I know he was at the Battle of Bladensburg, but that is all I know about his Army life. Soon after the war he was appointed bookkeeper and pay clerk in the War Department, which place he held at the time of his death. His brother Daniel, a young man nineteen years old was one of the young men who fired at Ross and saved Baltimore. The young man who fired at the same time was a friend of his. They were both killed - filled with bullets.
I remember my Grandmother Wells. She was over seventy and I must have been a very little girl. I know she was a distinguished looking woman, tall and straight with very dark eyes - I always heard that she came of good family. Father used to laugh and call her the duchess. They are all dead now. Olivia’s mother, sister, was the first child. A very handsome and attractive woman. How she came to have such a child as Olivia is one of the mysteries.
Then there were four sons. The oldest James Mayo, named for my mother’s father, was appointed a cadet at West Point, graduated a Lieutenant in the Army. He was in Florida during the Seminole War. Then his regiment was ordered to Texas, where he met the girl he married. She had a great deal of Texas land and he seemed to think he would go there and make a fortune. So he resigned his commission and was poor ever after. But the pride of the family was Hanson. He was so handsome, so bright, and so popular. Everyone liked him. I think he was not fifteen when he was appointed midshipman. His first voyage was to China. Then he went around the world in the Potomac. He went ashore at Bassa Cove in Africa, the boat was upset in the surf. It seems the natives swim in the surf. He held on to the boat until all were saved. No doubt he was exhausted and had to sink. It did seem so cruel. Sister grieved so much it was that it hastened her death. My father was never the same man after that. My brother James was very tall. A splendid looking man. We were so proud of both of them.
My mother’s family belonged to the nobility of England. Her grandfather came to this country and settled on South River near Annapolis. He bought a large tract of land on the river and bay and built a large fine house. The bricks were brought from England. He is said to have lived like a lord, with every comfort and elegance. He also built a church and maintained a pastor. The house was burned years before I went to South River, but I often attended the Church. Commodore Mayo kept the place inherited from his father, all the rest has gone out of the family years and years ago. He thought he was living in the same house his father lived in, but it had been so altered and improved that but little of the original remained. I stayed there in my young days. They were very kind to me. He married a daughter of Chancellor Brand. She was a very peculiar woman. Very high tempered, but always kind and liberal to me. She died long ago. Commodore Mayo often met Lord Mayo. He had opportunities as he was so much abroad.
Cousin Isaac was in Europe when he was ordered to Florida during the Seminole War and Lord Mayo came with him and arriving on the coast they went to Tallahassee where Lord Mayo bought some land and gave Commodore Mayo a deed for it. It was done mainly as a compliment and no attention was paid to it. It may have become valuable. He also gave him one dozen fine linen chambray shirts. I had many a pocket-handkerchief made of those shirts. Cousin Isaac resigned at the beginning of the war and died soon after. Mrs. Neer Liede’s husband knew his place, had been there and could tell you all about it.
My mother’s home was on the bay. Her mother was left a widow with three children, two boys. She married a Methodist preacher. He was made guardian for the children and treated them most unkindly. They had no education, no advantages. When my mother was thirteen she told him she was going away and he said he would never give her anything and he never did. Her mother had died and the man married again. My mother lived with an Aunt until she married, when the property was sold but there was nothing left but the base land. There was other property but I heard the lawyer got most of the money. Still I know she had quite a nice little sum if it only had been taken care of. In those days a woman owned nothing. Everything belonged to the husband. My father was luxuriant - fond of good living - so when he died he left nothing.
Mother was considered a beauty in her young days. When I can first remember her she was handsome. After she grew large she lost her good looks.
Eugenia Wells
June 13, 1902
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Plutarch Hines Dorsey (1833-1915) Family Photographs.
Digitised image from the Town Hall Photographer's Collection - GB127.M850.
The Town Hall Photographer’s Collection is a large photographic collection held in Manchester City Council’s Central Library archives, ranging in date from 1956 to 2007.
The collection consists of tens of thousands of images, covering the varied areas of work of Manchester Corporation and latterly, Manchester City Council.
The photographs were taken by staff photographers, who were tasked to document the work of Corporation/Council departments and, in doing so, captured many aspects of Manchester life and history, including significant changes to the Manchester landscape.
The collection includes many different formats from glass negatives, to slides, prints, CDs and even a couple of cine films.
What is especially exciting is that the majority of these images have never before been available in a digital format and therefore have only ever been seen by a handful of people.
A team of dedicated Staff and Volunteers are currently working on the systematic digitisation of the negatives held within the collection.
This album represents the result of their work to date.
CAMERA: Canon NEW F1
LENS: Canon fd lens 55 mm f/1,2 S.S.C.
FILM: Color negative cine-film Svema LN-7 ISO 32 38 exp. negative scanning
FILM DEVELOPMENT: author's manual film development
C-41 handmade kit [10 min 30 sec 30 °C]
FILM SCANNED: OpticFilm Plustek 7400 with SilverFast Software
SHOOTING DATE: 10/2016
DEVELOPER DATE: 10/2016
TECHNIQUE: Multiple Exposure unedited.
NUMBER OF EXPOSURES: 2
NO POST-PROCESSING
OBJECT: Okhta mall
PLACE: Saint-Petersburg, Russia 2016
Image from a vintage asbestos abatement industry publication showing workers posing inside an apparent asbestos abatement work area while demonstrating cleaning activities. Abatement workers are depicted with disposable coveralls, supplied-air full-face respirators, and a portable air monitoring device (worker in background).
This advertising photo attempts to portray some basic aspects of asbestos abatement, but might have missed a few details for realism in this obvious staged set-up, such as the apparent absence of negative air pressurization acting on the polyethylene-sheet wall and floor barriers. Along this line, the placement of the negative air machine (NAM) itself appears to show its intake opening directly against the enclosure wall, hindering its ability to draw airflow (doubtful if it was actually activated); NAM intake should be directed toward the main portion of the work area. Additionally, there doesn't even seem to be an electrical cord leading to the NAM.
Further, there seems to be a distinct absence of a wetting-agent and associated applicator (no water, hose, or reservoir container); everything appears to be "dry". One of the main factors in proper asbestos abatement dust control technique is assuring materials are "adequately wet", which can greatly reduce the potential for dust particles to become airborne, typically achieved by wetting materials and work area surfaces before, during and after ACM removal. Even the worker wiping the enclosure wall should be using a wet towel or damp rag, but where is the bucket of cleaning solution? Plus, such wiping activity is usually reserved for the "final cleaning" stage, well after bulk ACM debris has been removed and containerized.
In addition to this, the assumed "asbestos" debris on the floor should've been "promptly" containerized as it was removed, not allowed to accumulate where it could be further disturbed by trampling it, haphazardly dragging hoses and equipment over it, etc., likely causing asbestos fibers to become airborne and further contaminate surfaces. Loose bulk debris also compounds cleaning efforts by unnecessarily spending more time and resources to decontaminate exposed equipment and supplies from excessive debris build-up. Further, the workers themselves in this image appear to have managed keeping their coveralls and gloves perfectly spotless, an amazing feat inside an "active" asbestos abatement work area during bulk removal.
Not to mention, the fact that the personal air monitoring device is attached to the worker performing the least riskiest job function -in this example - relative to airborne asbestos fiber exposure - wiping walls; whereas the other workers are pictured vacuuming and shoveling apparent bulk friable insulation material. Air monitoring results would probably not be fully representative of job tasks with the potential highest exposure risk.
A couple of other points: larger areas of accumulated bulk debris such as this are often cleaned using shovels and not necessarily utilizing vacuums, since the excessive bulk material reduces the service-life of the vucuum's costly HEPA-filter much quicker, tends to clog more frequently, and would also fill the vacuum canister or bag quite often, requiring frequent emptying or bag replacement. HEPA-vacuuming is typically employed for residual materials on surfaces, following substantial removal and cleanup of bulk debris.
Although perhaps a smidgeon of credit is due, since there doesn't appear to be evidence of a broom or brush inside the work area (at least not on camera). Dry-sweeping asbestos material is strictly prohibited. But, some asbestos abatement workers might have another opinion about that.
Also, the kneeling worker holding open the black waste bag does not appear to have an adequate fit "inside" his full-face respirator. The internal seal around his nose and mouth looks breached, consequently not providing the full level of protection these types of respirators are designed for.
Ah, but who's looking anyway?
I was just curious as to what a negative image of a peacock would look like. Was it worth it? Original photo by John Ward Kelly IV
Best viewed Original size.
Just over a month after being named, Edge Hill (8A) depot's English-Electric Type 4 (later class 40) D231 "Sylvania" is an unusal visitor to York and is running non-stop through the station - 30/07/1962.
In the early 1960s Liverpool to Newcastle trains ran via Cross Gates, Wetherby and Harrogate, and this could possibly be a diverted service which would not be scheduled to stop at York.
Please do not share or post elsewhere without the permission of the copyright owner(s).
© 2014 - 53A Models of Hull Collection. Scanned from the original 120 format monochrome negative; photographed by John Turner.
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This week: Playing with negative space, i.e. the visual space around the main subject of the image. How do the elements relate to each other? How does negative space augment the expression of the positive space? Can negative space support or destroy the story of the subject? How does structure/colour/form of negative space impact on the image?
The album can be found here: 2021 | 52 projects.
(Wien/Rochuspark)
Contributed by: Dr. Bushra Sikandar, The Dow University of Health and Sciences (Pakistan).
60 year old man with circumscribed encapsulated solid lobulated mass over soft palate. Clinically, it resembled neurofibroma.
On H&E, a well circumscribed lesion comprising of interlacing bundles of elongated cells (arranged in forms of haphazard fascicles having wavy hyperchromatic nuclei with inconspicuous nucleoli) was examined. Interspersed stroma showed dense collagen bundles.
IHC:
CD34 and BCL2: positive
S-100 and ASMA: negative
Click here to see topic.