View allAll Photos Tagged experiments
Little one evening experiment at Screenprint-a-holics back in 2011
2 colour screen print on 200 grams 50 x 70 cm fabriano paper, numbered and signed in an edition of 10.
25 euro (rickb@hedof.nl)
FOV: 5" wide.
Synthetic Schröckingerite / andersonite (in plaster) on a piece of scoria.
See:
Contains:
Schröckingerite (FL Blue-green >BL/UVabc)
Shown under blue LED light and photographed through magenta laser protection goggles.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosphorescent
Blue = 450nm,
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
Synthetic Andersonite on Scoria
7Nov2015
Much appreciation to Gordon Czop for the uranyl nitrate.
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Lightbox mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
The Challenge "Romance".
Tried throwing a red silk dress up in the air and snapping a pic.
This pic works as a desktop wallpaper, but nothing more....
Ich hab das Bild nochmals überarbeitet, den Hintergrund ein wenig Unschärfer gemacht. Dem Schwan ein wenig mehr Struktur und Schärfe. Ein wenig das Blau aus dem Weiß des Schwanes gedämpft und ganz leichte Strahlen hinzu gefügt.
I dont normally leave stuff in the description comment box because it seems to stop people from leaving comment or faves.....which kinda deflates the purpose of uploading but here goes...if you have anything to add good or bad please feel free....after all ...isnt this what flickr is all about?
Have been planning to return to film photography for quite awhile now.The reason …If I shoot with 120 film with 6 X 17 back and scan on an Epson V750 my results should in theory...exceed anything I can produce via Digital methods anything that really shines could then be sent for drum scanning.
This is the beast I shall be using …
A Tachihara 5 X 4 with a super angulon 90mm f8 in a Linhof 17mm recessed lens board combined with Shen Hao 6 X 17 back.
The 5x4 camera would never be used for shooting sheet film {its too cumbersome and expensive} so I will use the cheaper option which will offer the choices of 6x9..6x12..6x17 on roll film.For that reason I didn’t mind drilling into the 400 year old cherrywood.
Some of you may feel different about that…
I have modified the rear mount in order to accept a
Shen Hao 6 X17 back….which I bought off Ebay.Unfortunately it didn’t come with a viewing hood so I made my own.I am no carpenter but found a somewhat acceptable route to house the Ground glass screen….I bought the premachined box from the box company based in Cornwall… and was surprised to find one that could house the 6x17 ground glass I bought from a Chinese company.I attached this to a piece of bamboo which used to be my unused cheeseboard...A visit to homebase for the white plastic channel surrounds and after much experimenting with focus and checking with a ground glass and Loupe on the actual film back to register the film plane.. I secured the postion with strong wood glue.I left the top hinged lid in place as it serves to protect the ground glass and provide a tray for the Bellows and lens cap.
Again further searches for some sort of collapsing bellows procured a linhof bellows off Ebay for 30 pounds
which helps a little with composition in bright sunlight.I did make the position for focus from 6 feet to infinity on the marker rail so don’t really need to use the viewing hood for most landscape scenes as the 100 degree angle of view pretty much takes in whats in front of the lens.....
Now for some Velvia....
Hopefully I will upload some shots later this year…..I really hope this is an inspiration to some of you who have thought about going back to film..... Happy shooting!
"For me, it's an experiment to see what people are gonna think of it."
Utada Hikaru
submitted to 100 words
37/100 words: experimenting
Credit goes to
jakeliefer for his astronomical clock generously shared under creative commons
Experimental photography. Shooting through the bottom of a lumpy, smudged glass container for a blurry effect.
Macro Monday's: scientific
111 photos in 2011 - #68 motion 33/111
When my son was little he used to get into my pantry and grab what ever he could reach to mix together {without me knowing of course} and when I would find him he would tell me he was "spermenting". For today's MM theme I decided to do one of his favorite "sperments" vinegar and baking soda. I just added a little color to it.
My sister and I were going through Joshua Tree National Park experimenting with different colored flashes and this is what we came up with. The park is truly amazing, seeming almost prehistoric.
I thought I would try my flash to illuminate the foreground plants, but forgot that I could only go to 1/250 second, so the shutter speed is a bit slow for the front of the engine. This is at the Salt Creek Trestle east of Oakridge, OR, and the train is a northbound manifest of mostly empties.
The memory of you emerges from the night around me.
The river mingles its stubborn lament with the sea.
Deserted like the dwarves at dawn.
It is the hour of departure, oh deserted one!
Cold flower heads are raining over my heart.
Oh pit of debris, fierce cave of the shipwrecked.
In you the wars and the flights accumulated.
From you the wings of the song birds rose.
You swallowed everything, like distance.
Like the sea, like time. In you everything sank!
It was the happy hour of assault and the kiss.
The hour of the spell that blazed like a lighthouse.
Pilot's dread, fury of blind driver,
turbulent drunkenness of love, in you everything sank!
In the childhood of mist my soul, winged and wounded.
Lost discoverer, in you everything sank!
You girdled sorrow, you clung to desire,
sadness stunned you, in you everything sank!
I made the wall of shadow draw back,
beyond desire and act, I walked on.
Oh flesh, my own flesh, woman whom I loved and lost,
I summon you in the moist hour, I raise my song to you.
Like a jar you housed infinite tenderness.
and the infinite oblivion shattered you like a jar.
There was the black solitude of the islands,
and there, woman of love, your arms took me in.
There was thirst and hunger, and you were the fruit.
There were grief and ruins, and you were the miracle.
Ah woman, I do not know how you could contain me
in the earth of your soul, in the cross of your arms!
How terrible and brief my desire was to you!
How difficult and drunken, how tensed and avid.
Cemetery of kisses, there is still fire in your tombs,
still the fruited boughs burn, pecked at by birds.
Oh the bitten mouth, oh the kissed limbs,
oh the hungering teeth, oh the entwined bodies.
Oh the mad coupling of hope and force
in which we merged and despaired.
And the tenderness, light as water and as flour.
And the word scarcely begun on the lips.
This was my destiny and in it was my voyage of my longing,
and in it my longing fell, in you everything sank!
Oh pit of debris, everything fell into you,
what sorrow did you not express, in what sorrow are you not drowned!
From billow to billow you still called and sang.
Standing like a sailor in the prow of a vessel.
You still flowered in songs, you still brike the currents.
Oh pit of debris, open and bitter well.
Pale blind diver, luckless slinger,
lost discoverer, in you everything sank!
It is the hour of departure, the hard cold hour
which the night fastens to all the timetables.
The rustling belt of the sea girdles the shore.
Cold stars heave up, black birds migrate.
Deserted like the wharves at dawn.
Only tremulous shadow twists in my hands.
Oh farther than everything. Oh farther than everything.
It is the hour of departure. Oh abandoned one!
Pablo Neruda
Art experiment by Eve.