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Lotus Elise.
Saw this one on the 401 middle of the summer this year, got some pics. Mild HDR on this, and the selective color on top of that. I like the effect, but it's not quite what I'd envisioned. I shot at ISO640 and I was just running into too much noise at higher exposures.
this is an experiment of a multi exposure which was inspired by an art photographer Frank Machalowski. He is located in Berlin - Germany...
... 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 late 1800's platinum print.
Traveling at whatever my wife thinks is the speed limit thru Wupatki National Monument after rescuing an abandoned puppy, with the pup at my feet in the passenger seat I snap as many shots as possible on the move.
This one came out with a minimum of motion blur but was seriously tilted.
I fixed the tilt and rather then crop the missing corners out I decided to paint the corners in using the clone tool.
On the way out I remember hoping to get these dramatic skies the next day while camping up at Sunset Crater, this wish did not come true but rescuing an abandoned pup always trumps getting some potentially dramatic shots.
This is the first shot taken of the ruins on my way up the trail, Still quite a ways off trailwise.
Not knowing much about what I was doing at the time I went thru and "fixed" this day's worth of photos and messed up the colors.
I had made the greens too green and the reds to red.
Now two years later I think I can fix the fix with gimp.
Still not the best shot I ever snapped but its one of the few I have of this place.
My favorite cemetery called to me earlier this past Spring. I wanted to see the massive and very beautiful Copper Beech in full leaf. I wanted to study the headstones for their bas-relief and details. I wanted to enjoy the peace and quiet of this old place.
I'm really enjoying the tone mapping technique. Add a dash of sepia tone. Et Voila! Images that come closer what what I've _wanted_ to create than I've ever come in 40 years of clicking a shutter.
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.
I feel funny saying this, but it seems as if I'm on the edge of finally having something to show for my 40+ years of effort. These more closely express what and how I feel about old heavy machinery than any photographic approach I've ever taken up to this point.
After thinking about this for awhile, the analog traditional photographic approach to creating the images in this series would be some thing like... light controlled solarization... micro contrast masks... unsharp masks... cold tone paper... sepia toning... followed by a dash of selenium toning. All this would have taken me a month working on a single image.
Now? Well... you see the results here...
This shot is as it was out of the camera, dirty sensor and all.
I fail to see how processing can improve what is here other then cloning out the specs.
If you ever find yourself standing in this spot then you deserve to get at least one great shot out of so many possible, without having to fix exposure or color problems.
As I was taking this shot I was approached by a large Tarantula Hawk, something I had always wanted a shot of and this was a huge specimen, unfortunately it wanted to land on my lens and with my back to a rather long drop I was blowing on the large wasp to keep it off my camera so that I could focus all without falling to my death.
I could hear this things approach long before it even reached me it was so large. I was larger then the face of my 24mm.
I must have looked ridiculous.
Standing there on a steep slope blowing on a big bug trying unsuccessfully to work the camera controls.
None of the shots of the wasp came out.
Interesting film clip on this creature www.desertusa.com/video_pages/thawk1.html
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 watched Rachel Brice and her Indigo Bellydance Company I was struck by the primal timeless tribal - ness of their performance. To express that feeling in image I knew what I wanted.
I am seeking to explore the outer edges of the visual experience. To convey something we know culturally.
As I worked through the images from the Indigo dances I sought to dig deeper and deeper into the image, and to end up with work that shows these great dancers rising up from the earth and into being.
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...
The storm was boiling, winds coming straight down out of the sky.
Lightning struck and when I turned there it was.
A monolith of unknown origin.
It seemed to give off an energy, it felt evolutionary.
I had for the first time felt as if I could grab then nearest femur and start cracking some heads until I was the king of the puddle.
Roaring and pounding my chest with the realization that I could be the number one monkey.
Thats when my wife told me I could pee in it, if I wanted to.
... 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.