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Moscow. Gorky Park.
Camera: Canon EOS 5
Lens: Canon Zoom Lens EF 70-210 mm
Film: Kodak Vision3 200t + dev.D-76
Photo taken: 29/07/2017
Scanner: Noritsu LS-1100
A nice Sunday afternoon studio shooting session with FB.
Story and other shot on my blog as soon as possible.
D200 + Tamron 28/75 f 2.8
SB 900+ shoot through umbrella high camera left M 1/16 ISO 100
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved.
*** For all those do-it-yourself-at-home kids......Never never never!!! wad ALL the hair up into one knot or bun on top of your head if you're using 30vol/high lift, or bleach. The process of lifting creates A LOT of heat, and that will build up inside the 'bun' causing excessive damage, and possibly even burning the scalp. If you're wondering why the hair on your crown is melting??? That's why. Split it into smaller sections so that air can circulate.
I find drawing posed pictures straight onto the computer pretty horrible. There are too many choices, and the slick feel of the tablet leads to hasty, speculative strokes that go nowhere. I prefer to render a sketch in ballpoint pen then work it up.
Over troubled waters memories soar
Endlessly, searching night and day
The moonlight caresses a lonely hill
With the calmness of a whisper
I wear a naked soul
A blank face in the streaming water
It is cold in here
Frost scar my coat with dust...
- Opeth (Black Rose Immortal)
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.
The original picture was taken by Hand made 6x9 camera with Schneider
Super-Angulon 47mm f56 MC, KODAK T-Max400 (400TMY-2)
A contact print with A4 size digital negative and hand coated Kallitype paper.
2.5 minutes exposed under the winter Sun.
Thanks to lepiaf.geo for his texture Texture, Letters to the family I
and to Ervin Bartis for his texture Wall texture
Not my photo but jessiehsu's for processing for the group Post Process Me Challenge Group""
Not really sure where I am going with this one, but this is an early frame in a video for snake simuation. Video will be up on Vimeo shortly.
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
starting to work on a series of stools based on our xylem system
first step, turn our 2d line based applet into 3d mesh. status: in process, threshold/smoothing issues
"everything is knot a torus"
(tho, not all of these qualify as knots, unknots included as well. so, clearly: not everything is knot a torus)
The Ben Day process involved screens with raised dots or patterns that could be painted with ink or other media and then burnished onto prepared areas of an exposed zinc plate before etching, a photographic negative before exposing onto a prepared metal plate, or even onto artwork or ad material before it was photographed for the printing process. A complex and unique process, it appears in use from the late 1800s through the 1980s—maybe beyond in specialized industries or printing plants that didn't update.
On this page, a standard form of the device is shown with details about what tints and patterns are available. It appears to be from
The page shows at the bottom the printed results of applying 40 patterns to photographic negatives before etching and then printing. Compare No. 532 on this page with the identical No. 532 in the next image in this sequence. A 20% tint applied as a layer of pigment to a negative means that 20% of the exposed area is opaqued out, leaving 80% clear. When exposed onto a photosensitized plate, the clear areas harden. During etching, only the unexposed portions wash away. As a result, the relief plate used directly for printing (or through duplication in the stereotype mold/plate method) have 80% of the area covered in tint.
From Graphic Arts Production Yearbook, Volume 6 (1950)
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.