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One third of the way there (-ish). I have always liked the scars, in a 'you show me yours and I'll show you mine', sort of way...
It's football time again. This picture was taken ten years ago on a foggy morning. Thought it would be fun to do some post processing. The bright spots came out of the fog on their own! Original: flic.kr/p/5jF6oE
Sliders Sunday image!
Portland Oregon. From the east bank of the Willamette River.
18 October 2021
Kodak Portra 400, Minolta SRT102 combo. Processed and printed by Blue Moon Camera.
These are preview images for the talk I am giving at UCLA tomorrow.
Made with Processing and runs in near realtime (anywhere from 5 to 30 fps). The sphere surface is not traditionally texture mapped and is made up of a couple hundred freely moving overlapping textures. The entire system is dynamic, and with a zippy computer, could probably be audio responsive with little extra overhead.
Loggers, Sawmiller and Shieldsmiths
A trio of scenes showcasing the process of transforming trees into shields in medieval times. These workers are from the town of Batuhan, in northern Kaliphlin. This MOC is my entry into the Ye Olde Woodes category of the 2020 Colossal Castle Contest (CCC XVIII).
See the full series in this post.
Yesterday I showed you a standard handcrafted cyanotype print. I described the process of applying the sensitising chemicals to the paper and exposing it to sunlight. I then showed what happens to the print when it is toned using a simple dark tea (tannic acid).
That's what I have done here with this cyanotype print of "The Soldier" (on the left hand side). You can see clearly how it has been stained in a bath of strong black tea. The tannic acid in the tea reacts with the ferric oxide and turns the blue to grey. The stained paper then takes on a kind of sepia tone.
The cyanotype process is very rewarding, but it requires a carefully thought-out hands on crafting experience. Planning and workflow is everything. So the four-part image above shows the main stages of preparing the print you will see next, "The Soldier".
1. Start with a raw image of the statue.
2. Convert this to black and white.
3. Produce a digital negative.
4. Make the cyanotype print (which will appear blue). Then stain it in a tea bath. This was soaked in tea for 10 minutes.
Once you have your stained print fully dried, you can cut it to size as seen in the next picture.
* A NOTE ON THE PAPER:
Since this is a wet process involving washing and soaking the paper it is vital to use high quality art paper. No less than 360 gsm. It is also important that it be acid free paper (since acids react with the cyanotype chemicals). In my case I used Reeves acrylic paper. For the soldier I produced an A4 size negative and initial print, but tomorrow I will show you two prints made on A5 size paper.
Public sculpture on the edge of Paternoster Square by Thomas Heatherwick. I've just discovered that it is actually called 'Paternoster Vents' and functionally provides a vent for an electricity substation below it.
It has subsequently become known as 'Angel's Wings'.
(APL_160227_3812)
Prompt:
The image portrays a male artist in the act of painting a portrait of a woman. It appears he's painting directly onto a canvas attached to an easel, suggested by the visible wooden edge on the left. The setting is dimly lit, highlighting the intimacy of the scene and drawing the viewer's attention to the interaction between the artist and his subject.
The artist is a young man with tousled dark blonde or light brown hair and a beard. He's seen from a side angle, focused intently on his work. He holds a paintbrush in his hand, applying paint to the canvas depicting the woman's hair. There are smudges of paint on his hand, suggesting active involvement in the painting process. He wears a dark, almost black shirt or top.
The woman, seemingly his muse, has long blonde hair and fair skin. She’s positioned very close to him, her head slightly tilted back. Her eyes are closed, giving an impression of serenity or perhaps deep connection with the artist. Her expression is soft and her lips are slightly parted. Her proximity to the artist and their intense focus create an atmosphere of intimacy and passion. It's almost as though they are about to kiss, adding a layer of romance and intrigue to the scene. The composition places them in the center of the image against a dark background, further emphasizing their connection and the act of artistic creation.