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An opportunity to shamelessly mention "Flora & the Prince", the brand new oratorio I've been writing for Dundee University, and which will be premiered in Dundee on 12th March! The first performance of the complete new piece will be recorded.
Saw this at a local garden on a visit with my son. It is an HDR image, and then crossed processed on Picnik.
Patterns generated with modified code from the Creative Coding course from Monash University on futurelearn.com
After taking a little break from the whole graff thing, I came back with this. It is a sneak peak of a wall I am doing with Less and Smug. Finished shots to come soon enough.
I never posted this, but it's on my list to post, but instead of adding yet another old photograph I thought I would share what I did to it with my Soft Pink Afternoon Glow preset before I uploaded it...
This was when it was quite a bit warmer... ah, I wish winter clothes were more colourful, all this black, grey and brown is boring!! Can someone invent colourful winter clothes? Pleeeeease!
Here was my process for the Ty Nant water shot:
1. One strobe above and in front of the bottle, bounced off my umbrella. This looks terrible! The blue is hardly noticeable, the reflection totally knocks out the label, and the label on the back of the bottle (marked with the *) makes a horrible white mark.
2. One light on the right of the bottle, bounced off the umbrella. I also cut out a piece of paper the shape of the bottle to put behind it. This bounces light through the glass, showing the blue. Unfortunately, you can see all the details of the umbrella in the reflection, and that label on the back is still there. also, the flash from my camera that I use to trigger the strobe makes an annoying reflection (marked with the *). I soak off the label, and cover my flash with a piece of cloth. That way it is still bright enough to trigger the strobe, but doesn't show up on the bottle.
3. Light below and behind the bottle, bounced off the black (!) backdrop. I removed the white paper behind the bottle for this, since it was unnecessary. I used a long exposure so that the lights from the windows on the sides and in front of the bottle would light up the label. Unfortunately, this makes for ugly reflections on the sides of the bottle.
4. One light behind and below bottle, bounced off backdrop. This is beautiful -- I love black-line glass photography, and the blue is gorgeous. Unfortunately for a product shot, the label is way too dark. And I don't have another light to snoot on it from the front. Have to go a different direction.
5. Light on the right side again, this time shone directly through a large plastic tub. That disperses the light enough that it makes a nice clean long white highlight. The paper is behind the bottle again, and I dropped the coins behind the bottle. But the paper behind the bottle is wrinkled, and that shows (marked with the *) and it tapers at the top of the neck where the water stops, which you can see. I cut a new piece of paper.
ry fish processing is an ancient, cost-effective preservation method that removes moisture through sun-drying, salting, or smoking to inhibit microorganism growth and extend shelf life. The process typically involves cleaning, degutting, washing, and sometimes salting fish before laying them on racks, taking several days depending on weather and fish size.
The most common method, where fish are laid on raised bamboo racks (vertical or horizontal) in the sun.
Often combined with drying, this improves preservation and flavor, commonly used for larger fish.
Imparts flavor while drying the fish through heat.
Dehydration/Driers: Controlled environments like cabinet, tunnel, or solar tent dryers are used to ensure higher quality and better hygiene than open-sun drying
Alimatu Zakaria of Suglo women’s rice processing group in Tamale sieving parboiled paddy.
Louis Stippel / USAID
This performance was made after the opening of my current exhibition at the Lars Bolin gallery in Östersund, after hours with only the gallerist and photographer as participants / spectators.
photos: www.jimmydahlberg.se
1. Image out of camera, 1/4 sec at f/1.8, WB 2700K.
2. White balance adjusted in UFRaw (Linux).
3. Red and Blue channels inverted in CS5 (channel mixer).
Image taken with unmodified Nikon D300s using Nikkor 35mm f/1.8G lens and Hoya R72 IR filter. In camera WB was 2700K, exp. 1/4 sec at f/1.8... ISO 800 Exp. Bias +5.
Image was moved to Linux for White balance and tint adjustment in UFRaw with GIMP. This is roughly the equivalent of Halogen correction.
Then moved to W7 for CS5 channel mixer, where red and blue channels were swapped for a more natural look. In Channel mixer, red channel, change red +100 to -100, green from 0 to +100 and blue from 0 to +100. Blue channel, change red from 0 to +100, green from 0 to +100, and blue from +100 to -100.
I've made these charts because I couldn't find any reliable information on how to expose a film for this "reverse xpro". From these results, I like something between -1 and 0 best - it may however be different with other films.