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The tear in the fabric of the Multiverse that have allowed these photonic creations to pass between Ages appears to be weaving itself closed. As time passes, the photonic creations have become evermore tattered and torn. Significant amounts of information is being lost.
These must be amongst some of the last photonic creation to pass through. However, if anything further passes my way, I will be happy to share them.
Obligatory Strobist Info - AB800 softboxed to the left with AB1600 umbrella'd 30 degrees to the right, with photonic image creation liberally salted and processed to taste
... onward... into the middle stages of the process of creation... I uncover for myself a creative expression that... gives itself over... nearly totally... to what my mind's eye saw... and what my heart's heart experienced...
This reminds of a collodion narrow plate tin-type.
Green economy, green energy, growing your own vegetables ....
In this 'community garden' people rent for about $45 a piece of land to grow their own vegetables and fruit ... as you can see it is a healthy business .... cough, cough ...
Panasonic DMC-FZ50
Exposure (1/80)
Aperture f/3.6
iso 200
As I tore the last vestiges of photonic creations from across the Gap of Ages, I could see where the mending in the Fabric of the Multiverse was making itself known. The Multiverse was healing quickly. Too quickly, in fact, for me to gather much more information about our parallel Ages.
Alas, I can only hope that, with time and luck, yet another sharing between ages will be possible. Until then, perhaps we can glimpse the possibilities from these, the very few, photonic creations I was able to collect.
Obligatory Strobist Info - AB800 softboxed to the far right with a white foam core fill card just outside the scene hard to the left, with photonic image creation liberally salted and processed to taste
... still... in... the middle stages... of the process of creation... I uncover a creative expression that... gives itself over... nearly totally... to what my mind... and eye saw... and what my heart's heart experienced...
This reminds of a distressed early carbon print.
Having liked what I saw earlier, I processed the rest of the images from my trip to the Brooklyn Roundhouse.
These were taken +/-2EV, three layers, through HDR, into Tone Maps, then sepia tones (sample colorized).
Canon 40D, either 10-22 EF-S or 17-40 L, Qtfsgui, Gimp, OSP, etc...
As I tore the last vestiges of photonic creations from across the Gap of Ages, I could see where the mending in the Fabric of the Multiverse was making itself known. The Multiverse was healing quickly. Too quickly, in fact, for me to gather much more information about our parallel Ages.
Alas, I can only hope that, with time and luck, yet another sharing between ages will be possible. Until then, perhaps we can glimpse the possibilities from these, the very few, photonic creations I was able to collect.
Obligatory Strobist Info - AB800 softboxed to the right with AB1600 umbrella'd 30 degrees to the left, with photonic image creation liberally salted and processed to taste
This was a recent addition to the Antique PowerLand collection of Man's Toys. Greg was telling me that they had one just like this when he ran a small short line railroad back in Minnesota. The front shields are articulated. Very fun stuff, this.
This was a recent addition to the Antique PowerLand collection of Man's Toys. Greg was telling me that they had one just like this when he ran a small short line railroad back in Minnesota. The front shields are articulated. Very fun stuff, this.
Sunset behind the ruins. Sky is as it was in the original image but i had to bring out the rest as it was all black.
Thinking about painting the road out.
I am not a landscape artist. Nor have I been able to render plant life very well. When the muse struck over Labor Day weekend, I was my usual un-motivated artist self as I approach the subject.
Yet I knew if I stuck with it, my mind would slip aside and the very thing itself might be revealed. After a few minutes of working in the garden a rather interesting manifestation of being opened up.
This is the final act for the series of bellydance images from the Oregon Country Fair 2008. It was a great time. We got to sit and watch some of the finest dancers in the world, and they weren't more than 10 feet away.
I hope everyone likes the treatment. Texture layers has opened up yet another avenue for creative expression. I love the effect.
My wife and I went to Vancouver, BC to visit Desmo_Dave. He was over for a conference and being a friend of going on 20 years, I thought it important to pay him a visit while he was in my hemisphere.
Borrowing from several themes, I thought it was time for me to delve deeper into a favorite subject; still life images from the late 1800's.
The themes that appeal to me include dark hand coated glass plate, Gothic, window light, distressed time worn materials, and a hint of Italian romanticism.
Strobist info -
Alien Bees B800 with 3x4foot soft box set to it's lowest power setting, 5 or more feet from the subject at a rather oblique angle, and a single large white reflector opposite the flash to fill the shadows.
Camera info -
Lens set to wide open for selective focus. I wanted to emulate early optical needs for gathering as much light as possible at the widest aperture available at the time. With these wee-DSLR's, depth of field tends to be too great. So this was something of an experiment to see what might be possible.
Processing info -
Heavy use of vignetting and texture layers in most cases. Also heavy use of different BW tints. Some from gum over palladium, others from platinum, and yet other tints taken from old early 1900's portraiture photos. All these were balanced and blended to taste.
Having liked what I saw earlier, I processed the rest of the images from my trip to the Brooklyn Roundhouse.
These were taken +/-2EV, three layers, through HDR, into Tone Maps, then sepia tones (sample colorized).
Canon 40D, either 10-22 EF-S or 17-40 L, Qtfsgui, Gimp, OSP, etc...
... still... in... the middle stages... of the process of creation... I uncover a creative expression that... gives itself over... nearly totally... to what my mind... and eye saw... and what my heart's heart experienced...
This reminds of a badly coated collodion glass plate with black painted back that reflects through the original negative.
Our trip through Cascadia found us traveling home along the West Coast of the USofA. The early evening skies seem to lend themselves nicely to the kinds of post-capture manipulation that I've come to love.
As with my other tone-mapped work, several applications are used to create the final image. I've left the Qtpfsgui parameter information in this description to show where I started from. It's certainly not where I ended up. So keep this in mind.
Qtpfsgui 1.8.12 tonemapping parameters:
Operator: Fattal
Parameters:
Alpha: 2
Beta: 0.8
Color Saturation: 1
Noise Reduction: 0.04
------
PreGamma: 0.5
[voice of John Cleese]... and now for something completely different...
Last night while heading home, I set the Canon A640 up on a small table-top tripod and pointed it at a local storefront. I took three images. +/-2EV and normal. Then I used a different filter/calculation on the HDR tonemapping.
This is OK. I'm fairly pleased with it. There's certainly plenty of room for adjustment, but this is a start.
If I were to do this again, I would take a taller tripod and haul out the Canon 40D. The A640's shutter speed appears to be limited to 1second and this image was shot wide open at f/2.8. I think the amount of light required exposures around 4 to 8 seconds to get a proper HDR EV spread. I guess I'll have to read-up in the A640 manual to see if it'll give me exposure times longer than 1 second...
When I wandered into the basement to try my hand at a few more still life images, I had in mind old hand coated glass plate, slightly deteriorated, Gothic, Victorian, mid-1880's style work.
These continue to express nearly completely what I was looking for. I really enjoyed making the sequence of images. Photography is just too much fun!
Strobist info -
Alien Bees B800 with 3x4foot soft box set to it's lowest power setting, 5 or more feet from the subject at a rather oblique angle, and a single large white reflector opposite the flash to fill the shadows.
Camera info -
Lens set to wide open for selective focus. I wanted to emulate early optical needs for gathering as much light as possible at the widest aperture available at the time. With these wee-DSLR's, depth of field tends to be too great. So this was something of an experiment to see what might be possible. The 50 f/1.8 II comes very close to meeting the need. If I had more room to move, I think the 100 f/2 would be outstanding wide open. I'm also exploring the use of Sigma's 20 and 28mm f/1.8 lenses wide open. Their design MTF data leads me to believe the center contrast should be quite good at f/1.8.
Processing info -
Heavy use of vignetting and texture layers in most cases. Also heavy use of different BW tints. Some from gum over palladium, others from platinum, and yet other tints taken from old early 1900's portraiture photos. All these were balanced and blended to taste.
Borrowing from several themes, I thought it was time for me to delve deeper into a favorite subject; still life images from the late 1800's.
The themes that appeal to me include dark hand coated glass plate, Gothic, window light, distressed time worn materials, and a hint of Italian romanticism.
Strobist info -
Alien Bees B800 with 3x4foot soft box set to it's lowest power setting, 5 or more feet from the subject at a rather oblique angle, and a single large white reflector opposite the flash to fill the shadows.
Camera info -
Lens set to wide open for selective focus. I wanted to emulate early optical needs for gathering as much light as possible at the widest aperture available at the time. With these wee-DSLR's, depth of field tends to be too great. So this was something of an experiment to see what might be possible.
Processing info -
Heavy use of vignetting and texture layers in most cases. Also heavy use of different BW tints. Some from gum over palladium, others from platinum, and yet other tints taken from old early 1900's portraiture photos. All these were balanced and blended to taste.
But in this case, this is a nearly "straight" image. I added the vignette and tinted the image. That's all.
Borrowing from several themes, I thought it was time for me to delve deeper into a favorite subject; still life images from the late 1800's.
The themes that appeal to me include dark hand coated glass plate, Gothic, window light, distressed time worn materials, and a hint of Italian romanticism.
Strobist info -
Alien Bees B800 with 3x4foot soft box set to it's lowest power setting, 5 or more feet from the subject at a rather oblique angle, and a single large white reflector opposite the flash to fill the shadows.
Camera info -
Lens set to wide open for selective focus. I wanted to emulate early optical needs for gathering as much light as possible at the widest aperture available at the time. With these wee-DSLR's, depth of field tends to be too great. So this was something of an experiment to see what might be possible.
Processing info -
Heavy use of vignetting and texture layers in most cases. Also heavy use of different BW tints. Some from gum over palladium, others from platinum, and yet other tints taken from old early 1900's portraiture photos. All these were balanced and blended to taste.
As I round the final bend and enter the home stretch I found an interested technique. What I like about this approach is the layered black and white tones with textures that remind me of aging etchings.
The work was done in support of Bogville's Sub Lunar Servitude show that's coming up soon.
... onward... into the middle stages of the process of creation... I uncover for myself a creative expression that... gives itself over... nearly totally... to what my mind's eye saw... and what my heart's heart experienced...
This reminds me of platinum print from the early 1900's.
My wife very kindly took me to see the Spruce Goose for my birthday. It was one of those experiences that I find difficult to translate into words.
I toted along the new 12-24 Sigma super-wowy-zowy-ultra-wide on a 5D MkII. Boy! was I glad I had it!! The museum photographer and I talked awhile. The next thing I knew, we were chatting it up in the massive aircraft's cockpit.
Yikes! What a great birthday!!
I would like to thank my wife for taking me to this wonderful aircraft museum. I would like to thank Lee Gochenour for his time, willingness to talk about all things photography, and for allowing us time to make a few images away from the crowds.
this moving bargraph (histogram) prints one line at the bottom and then up-shifts the graph region by 1 line every 10 seconds. the bottom line is always 'current' and continues to update ('move') during that 10-second hold-down interval.
the current value is displayed at the bottom right in C or F degrees. if the temperature was climing, a plus sign is drawn; if decreasing then a minus sign, else if its staying the same, an equals sign.
the top/right field is a settable stopwatch/clock.
the graph is scaled so that its min mark (left edge) is about 75 degrees C and the top of the scale (right edge) is 105C; that's an 'expanded scale' and lets the user watch for rising/falling temperature trends.
user input is via any old sony dvd/cd IR remote. there is a built-in IR sensor (left of lcd display) and that's where the user points the remote to control the Espresso-Master device. (IR remotes are an easy way to get access to LOTS of buttons and only need a single photo-transistor device for the receiving end).
all code (c) 2009 LinuxWorks labs.
sample code (non-commercial DIY use only) at:
www.netstuff.org/espresso-master/firmware/arduino/
one more snapshot:
www.flickr.com/photos/linux-works/3680926620/
internal view:
www.flickr.com/photos/linux-works/3673807440
solid-state relay (SSR):
www.flickr.com/photos/linux-works/3681507241/
first shot of PID algorithm running!
The sword dance was amazing. This gal (sorry, I don't know her name) put on a very nice performance.
After working through the Bogville series, I wanted to return, briefly, to an earlier set of images and re-process them using my newly developed techniques.
When I return, these will be bundled and shipped off for publication. It may take a few months to hear something, but I'm hopeful that I get to share these with a wider audience.
[Strobist Info: AB1600 with lightbox camera right, large white fill card camera left, liberal processing to taste.]
This series of images has several inspirations. I like the wood cut or engraved feel of these. We see these kinds of images around so many of the Paris flea markets. Alas, I can't afford them and all too often they're not of a subject I'm interested in.
My many thanks to the G'Mic developer, David Tschumperle and to David Patrick for providing a kewl new tool and for sharing what's possible.
The sword dance was amazing. This gal (sorry, I don't know her name) put on a very nice performance.
As I round the final bend and enter the home stretch I found an interested technique. What I like about this approach is the layered black and white tones with textures that remind me of aging etchings.
The work was done in support of Bogville's Sub Lunar Servitude show that's coming up soon.
This was a recent addition to the Antique PowerLand collection of Man's Toys. Greg was telling me that they had one just like this when he ran a small short line railroad back in Minnesota. The front shields are articulated. Very fun stuff, this.
I enjoyed working in the freezing cold. The snow was fun to watch as it fell. The temperatures helped make the steam from SP4449 really stand out against the sky.
For this series I wanted to continue with the hyper-reality enhanced micro-contrast work. These represent 3 images of a +/-2EV spread, tone mapped, sample colorized, and then selective colorized on top of all that.
For me, this is what photography and image making should be: Absolute unabashed fun!
Here's another "take" on the Canadian Speeder. Call me wonky. Call me strange. Call me an "artist". Or call me "Without a Clue". But I LOVE this version of the speeder. It reveals an image that enhances the micro-contrast in the most delightful ways. It also makes the sky and shadow areas do the kinds of things that it used to take me a month of hard work using traditional film, pin registration, and heavy copy/manipulation work.
Qtpfsgui 1.8.12 tonemapping parameters:
Operator: Fattal
Parameters:
Alpha: 1.3
Beta: 0.8
Color Saturation: 1
Noise Reduction: 0
------
PreGamma: 1