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******Cheaper Camera but Super Effect****
Franka Solida III
6x6 Film using 35mm kits
Shot at ISO50, 1/2s,F2.9
Lens:
Schneider Kreuznach Radionar 80mm F2.9
Remjet Remove: Baking Soda + 1000ml 50C hot water
60 secs shaking +60 secs soak water
Develop：C41，41C 3:55Mins
Blix: 8mins 39C
Wash： 3:00 mins
Stabilizer: 1min
Flo： 1 min
Scan：Epson V800
© All Rights Reserved
Everything we do, even the slightest thing we do, can have a ripple effect and repercussions that emanate. If you throw a pebble into the water on one side of the ocean, it can create a tidal wave on the other side.
Victor Webster
Enjoying a beautiful Spring day at the ocean!!
Having gone back in the archive for some of my early digital images, this morning I decided to pull out a few film shots from even earlier years. Back in the 1980s, Michael Orton of Nanaimo, British Columbia, developed a technique for creating surreal, glowing images using slide film. It became widely known as Orton Imagery.
A quick explanation: you would make two shots of the same scene, (1) out of focus, wide aperture, one stop overexposed; and (2) in focus, your choice of aperture, 2 stops overexposed. Then sandwich the developed slide frames into the same mount and shoot a dupe (or have a lab do that); in later years you could create a scan. This is a scan of a dupe.
These days a similar effect can be obtained in Photoshop. Michael continues to push creative boundaries - from what I can see, he never was interested in making conventional photos.
I didn't come close to achieving the quality of his work, which you can find online via Google search. But I had fun with it. This shot ran as a 2-page spread in a feature article I wrote for Explore magazine in 2000.
Photographed at French Beach Provincial Park, Vancouver Island, BC (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©1998 James R. Page - all rights reserved.
Almost 2 years ago now a Saturday was spent with Charles, Cory, Puda, Zane and I chasing an XBFSI during a lake effect snow storm!
I am investing a great part of my domestic quarantine in rummaging through my archives to unearth some forgotten, hopefully worthwhile shot to process. When this bracketing resurfaced from a stray nook of my hard disk, it struck some chords deep in my soul (most assuredly my brain was somehow performing an on-the-fly processing of those rather flattish, unassuming untouched RAW files). For a fleeting, precious moment I felt strongly the heartwarming sensation to be free to hug and cuddle again my wife, Laura, albeit at some indefinite time when Covid-19 will allow us to relish such an invaluable moment. Please do not ask me why on Earth this specific scene stirred this specific emotion inside me, so I will not be forced to admit that I have not the faintest idea. Rather, allow yourself the freedom to feel whatever emotion this scene will stir in your soul. I have got my own gift. I hope that this picture will gift you with the emotion you need most.
This picture comes from a sunrise session at the beautiful meanders of the river Adda, just a handful kilometers downstream the Eastern arm of Lake Como, dating from April 2016. That morning I arrived at the location a lot earlier than the earliest hints of dawn, so I took shooting the river by night - admittedly a whole bunch of utterly worthless bracketings, at least until proven otherwise (never say never). And I did a thing I do only in exceedingly rare occasions: I raised my sensor gain to a maddening 640 ISO. Of course, being used to shoot at a constant 100 ISO, I foolishly forgot to restore the usual setting as the light was growing and took my precious exposure bracketings at such high ISO till 8:00 AM. As a result of this sloppy attitude I had to fight a monster amount of chroma noise (I viscerally hate it)*. I found no way to get decently rid of that noise by using the rich armoury of denoising tools offered by Darktable - quite possibly because of my qualified failure to set them properly in such a demanding situation. Luckily, by mere trial and error, I got an almost decent denoising using DFine 2 and blending the denoised images with the original ones by the LCh Lightness mode (hope that my memory is not deceiving me); this, rather suprisingly, allowed me to retain most of the details while taking the greatest possible advantage of the denoising itself.
Incidentally, this picture has a closely related fellow image in my photostream, Awakenings: the same location, the same morning, just taken some 10 minutes after this one, some 20 meters downstream - ah, and one of the handful of bracketings of that session taken at 100 ISO, after I realized my mistake ;-)
* I am afraid I am being a bit unfair here, because the worthy sensor of my Nikon D5100 is quite less noisy than those of many other APS-x sensor cameras (and the in-camera management of thermal noise on long exposures is really good). The problem is, the less light you get from your subject, the more noise you get in the sensor data, the ISO gain magnifying an unfavourable signal-to-noise ratio. Of course an early, partly cloudy morning shooting session neatly falls into that sort of context.
I have obtained this picture by blending an exposure bracketing [-1.7/0/+1.7 EV] by luminosity masks in the Gimp (EXIF data, as usual, refer to the "normal exposure" shot), then I added some final touches with Nik Color Efex Pro 4 and a selective bit of Orton effect as a final garnish to get the desired ambiance. RAW files has been processed with Darktable. Denoising has been a vexing issue; I got the best results by courtesy of good old DFine 2 and the Gimp.
Plage de Trois-Bassins. Reunion Island
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Edited by: Ivan E.
Flickr member Photographer and original author: shallowend
Original image:
www.flickr.com/photos/shallowend24401/6989566861/
www.flickr.com/groups/603170@N21/discuss/72157629602942985/
Image edited with permission.
Pimp my Portrait Group.
Merging in- and out-of-focus shots to create a soft-focus effect.; this time with more exposure in the source photos before blending.
I took this for a bit of fun and to try something I'd seen others do. I set my lens to 70mm and as I took the photo I zoomed out. I took a few shots trying to get the timing right. In the end I was happy with the result. I like that it perceives lots of
movement within the frame, when in fact I and everything else was almost completely stationary.
So this field was supposed to be covered in bluebells right now, however, my town seems to be behind with the rest of the UK and is still currently green. I've been wanting to incorporate more movement to my work lately, and this was inspired by a couple of sources:
-the advert for Calvin Klein's "Euphoria"
- Miss Aniela (Nat's) work involving movement in particular
- Season 13 of ANTM when they all did a shoot with scarves
Anyway, hope you like the outcome!
Outtakes, behind the scenes & before/afters can be found on twitter and the blog!
twitter / blog / website! / formspring / facebook
Silk effect To achieve the silk effect you need a very slow speed. Sometimes a large amount of ambient light does not allow to lower the speed too much despite putting the diaphragm more closed. In these cases, neutral density filters are used in order to reach adequate speeds. In this example the first image has 1/10 sec exposure and the water is moving but not enough. In the second, the use of ND filters that remove light will improve the desired effect. The test is done with a standard Nikon 18-55 lens at 31mm. in a practice of the intensive course in July. In order to see the desired silk effect, a 10X Variable ND filter was placed on the camera, which is equivalent to being able to lower more than 4 stops. 2X 1 stop 4X 2 stops 8X 3 stops. In this way, the 1/10 speed is lowered up to 1 second and the splashes are more diffuse.
The image reflected in the water is often enveloping. The setting is ideal to imagine how that image would be broken by the effect of a stone thrown in the center of it.