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... and so it begins.
I have several renditions of this, so if this one doesn't "work", let me know and I'll post other version.
Please see the Bogville Creature Show.
[Strobist Info: AB800 with shoot-thru umbrella close high camera left, AB1600 with reflected large umbrella level with camera far right, white cloth backdrop, wee-bit-o-processing to taste.]
On the road to Hovenweep from Mesa Verde, this mare doesn't take kindly to strangers.
This is cropped, in the original she is in the center of the image. Not sure if this works better, seems to me it does.
As more photonic creations are revealed it becomes clear just how stressful the journey between Ages in the Multiverse can be. The original images must be of incredible beauty. Alas, by the time they reach our present Age, the images have certainly lost something. Its as if the Myst of the Ages lay upon them.
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
'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
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: 0.6
Color Saturation: 1
Noise Reduction: 0.05
------
PreGamma: 2
This was more fun than a barrel full of monkeys! Look at the size of that blade!! The millers were getting ready to fire up the belt driven saw and planer. The size of the logs they were able to cut was heart pounding. Steam power. Nearly infinite torque. Incredible goodness.
They were cutting posts of a new building. Everything was to be milled and built on-site. The demo was great to watch
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
... 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...
The second in a series of an Angel Rising Above.
Archival prints available for $20USD upon request.
I just love the way this has taken on a "sketch" drawing texture. When I shot this, this is the image I was seriously hoping for. It looks like I nailed the "vision".
I needed to leave a tint of color in this. It just "worked" better this way.
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.
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
After seeing the results of my first work with the Japanese Anemones, I felt there might be a little more to say.
During the processing of this image I found nearly twenty different renditions of this scene that expressed some aspect of how I feel. These are two that I responded well to this morning. I probably would make a different choice of my "favorites" another time.
This work really excites me with the sense of art, drawing, light, and composition. I love it!
Trying my hand at images a little less distorted. I believe this role lends itself to a more formal approach.
Please see the Bogville Creature Show.
[Strobist Info: AB800 with shoot-thru umbrella close high camera left, AB1600 with reflected large umbrella level with camera far right, white cloth backdrop, wee-bit-o-processing to taste.]
Imagine my surprise when I found this amongst some images I thought I'd already uploaded. Well, better late than never...
Somewhere in Utah in the Cedar Mesa area, lots of mosquitos down in the canyon so bring your tolerance levels up a notch or they will drive you insane.
I realize that the concept of Alternative History might be a bit difficult to grasp if you're not familiar with the works of Susanne Clark, Ian Banks, Terry Pratchett, and others.
The concept is this - consider what might have happened had something like oil not come into wide use. Then consider what the world might look like, instead, if Victorian era steam continued to provide power we used.
Adding the ideas of Victorian age with steam, I had in my minds eye a clear idea of what the modern age might look like. I also added the idea of what the world might be like if we lived in a multi-verse, instead of a universe.
The final result is one that combines modern images with Victorian age graphics to create a sense of what might happen if information were to transfer between worlds in a living multiverse.
OK. Its a little weird. But I'm an engineering manager and love to build ideas upon other ideas...
I had never seen one of these before. This is a steam powered railroad crane. The boiler also drove the platform down the tracks. On this unit the drive gear was stripped off and used elsewhere. But the crane works! and they were giving demonstrations.
I realize that the concept of Alternative History might be a bit difficult to grasp if you're not familiar with the works of Susanne Clark, Ian Banks, Terry Pratchett, and others.
The concept is this - consider what might have happened had something like oil not come into wide use. Then consider what the world might look like, instead, if Victorian era steam continued to provide power we used.
Adding the ideas of Victorian age with steam, I had in my minds eye a clear idea of what the modern age might look like. I also added the idea of what the world might be like if we lived in a multi-verse, instead of a universe.
The final result is one that combines modern images with Victorian age graphics to create a sense of what might happen if information were to transfer between worlds in a living multiverse.
OK. Its a little weird. But I'm an engineering manager and love to build ideas upon other ideas...
I'm working through the images we made in the big old Portland home everyone first met at.
Please see the Bogville Creature Show.
I'm coming down to the last of my reprocessed Brooklyn Yard images. I love the rich details and the modulated contrast ranges. I also love the level of control I now have over the micro-contrast - which was something I spent 40 years in traditional film photography to try and achieve.
This is great fun!
OK. I can't help myself. Something just look better in B&W than they do in color. So... there isn't much color on the engine... still... with my own sepia sample colors I was able to get an image that I really like. The range of light that is captured here is really quite astounding. It's very dark in the Roundhouse way up deep into the rafters...
I'm working through the images we made in the big old Portland home everyone first met at.
Please see the Bogville Creature Show.
[Strobist Info: AB800 with shoot-thru umbrella close high camera left, AB1600 with reflected large umbrella level with camera far right, white cloth backdrop, wee-bit-o-processing to taste.]
I needed to clean up my light/darkroom. Boxes and storage junk was piling high. To motivate myself to the task of cleanup I decided to work a bit more on on skulls and still life.
Strobist Info -
Light Setup - Alien Bees B800 with 3x4foot softbox, a large sheet of glass, and 6 sheets of variously sized white rag board (for light control). Resting one edge of the softbox on the floor and using a very short AB light stand to point the light toward a 4x5foot 1/2 white foam core reflector. I used this to knock the light intensity down, even after setting the AB800 at it's lowest power setting.
Over the foam core reflector I built a three sided white reflector box (rag board laying against two tables). Then I suspended a glass sheet between the tables so the light would come up from below.
Lastly, I rested three sheets of variously sized rag board against each other to form a three sided reflector cavity above the glass to spill just a bit of light around the edges of the subject.
Camera setup - Canon 40D set to manual. Chimped the light curves in camera to find that 1/200th sec at f/11 was just about right. Used a very sweet Canon 28mm f/2.8 optic to minimize the number of glass elements bouncing the softboxes intense light.
I just love the smoothness of this image. And I like the way the sign captures the tonality, or should I say shares the tonality, of the brick building it's attached to.
Qtpfsgui 1.8.12 tonemapping parameters:
Operator: Fattal
Parameters:
Alpha: 1
Beta: 0.7
Color Saturation: 1
Noise Reduction: 0.066
------
PreGamma: 1
`It isn't,' said the Caterpillar.
`Well, perhaps you haven't found it so yet,' said Alice; `but when you have to turn into a chrysalis--you will some day, you know--and then after that into a butterfly, I should think you'll feel it a little queer, won't you?'
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.
As more photonic creations are revealed it becomes clear just how stressful the journey between Ages in the Multiverse can be. The original images must be of incredible beauty. Alas, by the time they reach our present Age, the images have certainly lost something. Its as if the Myst of the Ages lay upon them.
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
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...
I have studied hand coating collodion, the making of tin-types, albumin, ferrotype and platinum prints. As they age they tend to deteriorate much more gracefully than the images I have re-created here. My work and "take" on the subject is unlike any of the originals you will ever see from the time period. Rather, I am attempting to touch at something a little different.
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.
The original file is huge! Something like 6,000+ pixels on a side. Large prints from this look just stunning!!
The Mt Tabor Adult Soapbox Derby competition pits men and women again science and cheap risk it all low ball designs.
There is a timeless feel about how little value is placed on human life after a few beers. Mad-folk rushing downhill at a great rate of knots slamming pell-mell into the final turn as they whisk their conveyances toward the hay bales that mark the finish line and the lack of brakes.
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!!
Trying my hand at images a little less distorted. I believe this role lends itself to a more formal approach.
Please see the Bogville Creature Show.
[Strobist Info: AB800 with shoot-thru umbrella close high camera left, AB1600 with reflected large umbrella level with camera far right, white cloth backdrop, wee-bit-o-processing to taste.]
There are so many things to learn and experience. Each step I take seems to go deeper into the kinds of images I was only in my wildest dreams ever hoping to create.
Has anyone mentioned that image making can be fun? LOL!
I realize that the concept of Alternative History might be a bit difficult to grasp if you're not familiar with the works of Susanne Clark, Ian Banks, Terry Pratchett, and others.
The concept is this - consider what might have happened had something like oil not come into wide use. Then consider what the world might look like, instead, if Victorian era steam continued to provide power we used.
Adding the ideas of Victorian age with steam, I had in my minds eye a clear idea of what the modern age might look like. I also added the idea of what the world might be like if we lived in a multi-verse, instead of a universe.
The final result is one that combines modern images with Victorian age graphics to create a sense of what might happen if information were to transfer between worlds in a living multiverse.
OK. Its a little weird. But I'm an engineering manager and love to build ideas upon other ideas...
Not far from Painted Hand Ruins, one of the outliers of Hovenweep/Canyon of the Ancients in Colorado just the other side of the Utah border.
Its been very interesting to work through the sequence of images for the Bogvillians. They have the "look" that I have been dying to photograph and work with artistically. Alas, it takes more than just good subject matter to express the kinds of things I am after. Watching from a third person position, I see that I need to take the technology, learn it, understand it, and apply it. However, its so easy to get stuck there thinking that technology will "save" an image. It doesn't work that way for me. I find that I also need to let the mind's worrying and fretting over technology find another place to "be" while I'm actually working an image. I see that I must also work to allow my whole being to participate. I can't really explain it, except that I feel more "open" and connected on more levels when I work to stay in the body and to share "space" with my mind. Oh, and I find I get the best results when I let the mind "do its thing", but not to let it take over the process.
I realize that the concept of Alternative History might be a bit difficult to grasp if you're not familiar with the works of Susanne Clark, Ian Banks, Terry Pratchett, and others.
The concept is this - consider what might have happened had something like oil not come into wide use. Then consider what the world might look like, instead, if Victorian era steam continued to provide power we used.
Adding the ideas of Victorian age with steam, I had in my minds eye a clear idea of what the modern age might look like. I also added the idea of what the world might be like if we lived in a multi-verse, instead of a universe.
The final result is one that combines modern images with Victorian age graphics to create a sense of what might happen if information were to transfer between worlds in a living multiverse.
OK. Its a little weird. But I'm an engineering manager and love to build ideas upon other ideas...
I realize that the concept of Alternative History might be a bit difficult to grasp if you're not familiar with the works of Susanne Clark, Ian Banks, Terry Pratchett, and others.
The concept is this - consider what might have happened had something like oil not come into wide use. Then consider what the world might look like, instead, if Victorian era steam continued to provide power we used.
Adding the ideas of Victorian age with steam, I had in my minds eye a clear idea of what the modern age might look like. I also added the idea of what the world might be like if we lived in a multi-verse, instead of a universe.
The final result is one that combines modern images with Victorian age graphics to create a sense of what might happen if information were to transfer between worlds in a living multiverse.
OK. Its a little weird. But I'm an engineering manager and love to build ideas upon other ideas...
I needed to clean up my light/darkroom. Boxes and storage junk was piling high. To motivate myself to the task of cleanup I decided to work a bit more on on skulls and still life.
Strobist Info -
Light Setup - Alien Bees B800 with 3x4foot softbox, a large sheet of glass, and 6 sheets of variously sized white rag board (for light control). Resting one edge of the softbox on the floor and using a very short AB light stand to point the light toward a 4x5foot 1/2 white foam core reflector. I used this to knock the light intensity down, even after setting the AB800 at it's lowest power setting.
Over the foam core reflector I built a three sided white reflector box (rag board laying against two tables). Then I suspended a glass sheet between the tables so the light would come up from below.
Lastly, I rested three sheets of variously sized rag board against each other to form a three sided reflector cavity above the glass to spill just a bit of light around the edges of the subject.
Camera setup - Canon 40D set to manual. Chimped the light curves in camera to find that 1/200th sec at f/11 was just about right. Used a very sweet Canon 28mm f/2.8 optic to minimize the number of glass elements bouncing the softboxes intense light.