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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
I have stumbled upon something of incredible rarity. Images from across the gap between various Ages have, unexpected, become available to me. They have withstood the incredible stresses of Multiverse time sharing to be revealed here for perhaps the first time in this Post Modern Age.
Those who follow my work must at time feel I can't be "trusted" to work in just one style or one mode. All I can say is Guilty As Charged.
I enjoy working in so many different styles and on so many different subjects. People. Vehicles. Trains. Monuments. Abstracts. Wherever my eye turns it seems there's something to be explored.
Recently I saw three photogravure by one of the photo secession pictorialists. "Click" went the mind and suddenly I was creating yet another body of work in a different mode.
In my defense the best I can say is that I'm having one hell of a good time.
There's something wonderful about taking photographs in a cemetery. Of course it's quiet. But that's not all. There's all this great architecture all over the place to work with. These two markers thrill me to no end!
As with the steamlocomotives, these may evolve in directions not yet anticipated. So... well... this is a start...
I chose what happened to be one of the wettest days in November to head out to a local cemetery to snag a few photos. It was so wet that I sloshed and slipped, slid and mucked throughout the graveyard.
I was hoping to continue the image theme that I started with the steamlocomotives. Alas, the graveyard images became their own theme. Dreamy. Erie. Beautifully strange.
Canon 40D, 10-22 EF-S, Gimp, Sepia, etc...
Those who follow my work must at time feel I can't be "trusted" to work in just one style or one mode. All I can say is Guilty As Charged.
I enjoy working in so many different styles and on so many different subjects. People. Vehicles. Trains. Monuments. Abstracts. Wherever my eye turns it seems there's something to be explored.
Recently I saw three photogravure by one of the photo secession pictorialists. "Click" went the mind and suddenly I was creating yet another body of work in a different mode.
In my defense the best I can say is that I'm having one hell of a good time.
I chose what happened to be one of the wettest days in November to head out to a local cemetery to snag a few photos. It was so wet that I sloshed and slipped, slid and mucked throughout the graveyard.
I was hoping to continue the image theme that I started with the steamlocomotives. Alas, the graveyard images became their own theme. Dreamy. Erie. Beautifully strange.
Canon 40D, 10-22 EF-S, Gimp, Sepia, etc...
Riding the bike from east to west in the morning is always a joy. There is never a day when the downtown skyline fails to impress me.
Going home at night its fun to be part of a twenty or forty bike "peleton". This has got to be one of the city's great icons.
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.
I was in a workshop all last weekend. The place the workshop was held was just across the street from the Hand Built Bicycle Show at the Convention Center.
Finally, during lunch break on Sunday, I couldn't stand it any longer and headed over to the show. I went up to the window to buy a ticket and started counting out my change. D*mn! It costs $18 (yes, EIGHTEEN BUX!!) to get in and all I had was $12 and twenty minutes. No joy.
So, instead of oogling all the great stuff inside, I wandered around outside and snapped a few images. There was some fun stuff out there.
Qtpfsgui 1.8.12 tonemapping parameters:
Operator: Fattal
Parameters:
Alpha: 1.3
Beta: 0.8
Color Saturation: 0.7
Noise Reduction: 0.03
------
PreGamma: 1
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.
Walking around Vancouver, BC was a real joy. I have come to like that city. Even with its intensely dense high rise living population, these folks are fun to be around. Strolls down the street after dark in the West End areas are a real blast! The lights. The throngs of night beings. The conspicuous consumption (Ferrari F1 parked on the street???). The atmosphere. Wow...
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
After shooting a short video for LensWork Magazine I stayed in the Brooklyn Roundhouse to work a few more images.
It is a VERY thrilling thing to be published by what I feel to be the very finest photographic arts magazine. My portfolio of over 30 images "In the Railyard" will be shared with LensWork Extended subscribers in their #78 Sept-Oct 2008 issue
In the shallows of the Verde River under the Sheep Bridge north of Horseshoe Lake.
They come in and land on the water, drinking while the breeze takes them for a short sail before they lift off and fly away.
As with the steamlocomotives, these may evolve in directions not yet anticipated. So... well... this is a start... and this image points me in a direction that gives me hope.
I chose what happened to be one of the wettest days in November to head out to a local cemetery to snag a few photos. It was so wet that I sloshed and slipped, slid and mucked throughout the graveyard.
I was hoping to continue the image theme that I started with the steamlocomotives. Alas, the graveyard images became their own theme. Dreamy. Erie. Beautifully strange.
Canon 40D, 10-22 EF-S, Gimp, Sepia, etc...
I have always admired artists who've been able to capture the "essence" of a bird. National Geographic and the Audubon magazines pointed the way and set the standard, back in the day.
Fast forward thirty years and I find I really enjoy watching the birds in our backyard. Such fun, these. I call the American Goldfinches we have my little piggies. They eat through a feeder of thistle a week. Happy we don't have children to feed too. :-)
I checked the resolution of these images against the files straight out of the camera. I was concerned that my processing was somehow softening the edges and delivering less resolution. Good new! My processes retain all the resolution I could ever want. This is fun stuff.
More images have crossed the vast divide between the Ages in our incredible Multiverse. These just arrived.
I have stumbled upon something of incredible rarity. Images from across the gap between various Ages have, unexpected, become available to me. They have withstood the incredible stresses of Multiverse time sharing to be revealed here for perhaps the first time in this Post Modern Age. The scroll work looks to be mid-1800's French, perhaps from Paris.
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
Not far off a main road that cuts thru Butler Wash and then Comb Ridge.
This place is a short stroll from the parking lot unless you happen to be carrying lots of gear in record breaking late summer heat.
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.
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"
He took his vorpal sword in hand:
Long time the manxome foe he sought—
So rested he by the Tumtum tree,
And stood awhile in thought.
And as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One, two! One, two! and through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
"And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!"
He chortled in his joy.
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
- Lewis Carroll
I checked the resolution of these images against the files straight out of the camera. I was concerned that my processing was somehow softening the edges and delivering less resolution. Good new! My processes retain all the resolution I could ever want. This is fun stuff.
During the winter, and a very very cold and windy day, we met my wife's son and girlfriend for a wee hike up a hill. At the top was an amazing stone structure.
I did my best with the tools at hand to quickly capture the solid, rugged feel of the place.
So... I thought I'd try my hand at several different renditions of the same original images.
These were mostly single exposure images, processed two ways through Qtpfsgui (Fattal, Drago), split toned and curve corrected in the Gimp, and cropped as required for display here.
Comb Ridge stretches as far as the eye can see in both directions.
Scarred with canyons that cut into it here and there its a steep wall on this side but a gentler slope of slick rock from the other side.
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...
My wife spied a rather interesting set of leaves while we were out shopping. I picked up a half dozen or so and hauled them home. Hooked up the Canon 5D MkII to a Nikon 55mm Micro f/3.5 optic and made a few images. Heavily textured. Of course.
Story behind this shot told here
involves precarious heights and a nervous photographer blowing the chance to shoot one of the best and largest specimens of Tarantula Hawks I have ever seen.
Interesting film clip on this creature www.desertusa.com/video_pages/thawk1.html
As I worked through the images from the Bogville photoshoots I developed three additional techniques for image manipulation.
So while it seems like there was a lot of work, I actually expanded my prior horizons to include some new and interesting approaches.
[Strobist Info: AB800 and shoot-thru umbrella tall camera left, AB1600 and large reflective umbrella far camera right, liberal process seasoning 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.
Spring is out. Summer is in. Saks Fifth has changed their window displays. I couldn't resist taking a few moments on my way into work early in the morning to capture a few images of the Stepford Wives.
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: 1
Beta: 0.9
Color Saturation: 1
Noise Reduction: 0.9
------
PreGamma: 0.5
The Brooklyn Roundhouse is a very magic place. It holds three wonderful steam locomotives and numerous early diesel electric engines.
I revisited the roundhouse recently to make a video. The video will hopefully be included in the LensWork Extended #78 DVD magazine. 35+ images in my "In the Railyard" portfolio will be published. Check out www.lenswork.com/ for further information. This is perhaps the finest photographic arts magazine currently in circulation.
Archival prints available for $25
The Brooklyn Roundhouse is a very magic place. It holds three wonderful steam locomotives and numerous early diesel electric engines.
I revisited the roundhouse recently to make a video. The video will hopefully be included in the LensWork Extended #78 DVD magazine. 35+ images in my "In the Railyard" portfolio will be published. Check out www.lenswork.com/ for further information. This is perhaps the finest photographic arts magazine currently in circulation.
This image was taken using a cheap point and shoot. I did this to specifically illustrate and underscore a point - you do not need ultra-expensive image capture equipment to make fun images.
Archival prints available for $25
Riding the bike from east to west in the morning is always a joy. There is never a day when the downtown skyline fails to impress me.
Going home at night its fun to be part of a twenty or forty bike "peleton". This has got to be one of the city's great icons.
... 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... there's a not so subtle power... a granularity... a lightness of being... a sensual motion...
I am so taken with the various ways this image can be expressed that I will post other renderings, interspersed with soon to be shared OCF 2008 Gypsy Caravan Indigo Bellydance photos. Archival prints available for $20USD upon request
When I discovered a technique that expressed what I felt about steam locomotives, I was excited. The original work is published in what I feel is the finest photographic arts publication in the world, LensWork Magazine.
Over time I have worked to refine the technique and process further. Each step takes me deeper and deeper into the kinds of art I have been hoping to create for over 40 years. This is so THRILLING to me! This kind of subject matter just shouts at my and tickles my silly-bone to absolutely no end!!
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.
After reviewing the results, I'm convinced I need to make 16x20 inch prints of these and hang them in a local gallery. My jaw still hits the floor when I see what I see here.
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...