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I use Photomatix alot but in some situations it just doesn't work. In this comparison you can see how photomatix has introduced a ton of noise (view at max size). To get what I wanted I brought all 5 exposures into Photoshop and painted in all the correct exposures with layer masks. It was a long process but it got me the results I wanted. I just discovered that the same people that make Photomatix have a Lightroom plugin called Merge to 32-bit HDR Plug-in for Lightroom. You export your exposures into one super tiff file with all the info from all 5 exposures. Then it reimports the tiff back into Lightroom where you make all your adjustments in raw. You can see that there is almost no difference between the layered Photoshop file and the Merge to 32 bit HDR. The areas you will see a difference are in the lanterns and Pinocchio which were burned down in Photoshop. All adjustments to the 32 bit HDR where only made with sliders in Lightroom. You can download a free trial at hdrsoft.com/download.html and to purchase is only $29.
I had some people request before/after images, so here you go.
Left Image: 022/365 Track Star Tommy
Camera Info: Canon 7D, Sigma 17-70@23mm, ƒ11.0, 1/60s, ISO 100
Strobist Info: See Setup Shot Here
Canon 430EXII camera left and directly in front of subject about 3 feet high fired into shoot through umbrella about 3 feet away from subject, Canon 430EXII camera left and on back side of subject about 8 feet high fired bare/no diffuser, Canon 430EXII camera right and directly to the side of subject about 4 feet high fired into reflective black back umbrella about 6 feet away from subject . Flashes were triggered with Interfit Strobies.
Right Image: 117/365 Billy Baller
Camera Info:
Canon 7D, Sigma DC 17-70mm 1:2.8-4 Macro HSM @17mm, f/5.6, 1/50s, ISO 100
Strobist Info: See setup shot here.
-Canon 430EXII's Camera Left and in front of subject, 1/2 Power, @24mm zoom, about 5 feet high, 4 feet away from subject inside 40 inch Wescott softbox.
-Canon 430EXII Camera right and behind subject, 1/4 at 105mm Zoom fired bare, 7 feet high and 10 feet away from subject, fired bare.
-Canon 430EXII Camera left and behind subject, 1/4 at 105mm Zoom fired bare, 7 feet high and 10 feet away from subject, fired bare.
-Flashes triggered with Interfit Strobies.
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buy from bluetapes.co.uk/product/blue-twenty-quasiviri
C25 + download
It sounds like Morton Feldman playing doom metal. A ten-minute rumble of bass piano cadences interrupted by spirals of right-hand arpeggios. This playful-solemn solo piano-storm thunders along gracefully and we could happily release whole boxsets of this stuff, but this isn’t even the main gist of blue twenty: Quasiviri, which sees the tape series return to its beloved “one epic track per side” safe space.
Rather, the funereal baroque-gone-serialism of the piano piece is what the ‘proper’ music industry calls a B-side, as it is an instrumental run-through of Choro Tempore, the release’s ‘A-side’ pop song, arranged for piano.
And what does the real Choro Tempore sound like? Well, obviously not very pop, except by our warped standard. It’s a blizzard of time changes enacted by belly-slapping, octo-stringed fuzz bass, drums, vocal harmonies and psychedelic synthesiser. Yes, OK, it’s a Blue Tapes prog record.
A big monster of a song that builds and builds and double backs on itself in myriad internal musical conversations and could be at least ten separate songs - or a symphony - but is obviously best as this weird hymnal, minimal rock piece.
I find the best way to listen to Choro Tempore is endlessly, on a loop, as the piece flips mischievously between its ‘rock’ and ‘classical’ forms - the janus faces of Quasiviri, a preternaturally talented Italian trio, alternately grinning and howling at us, as they scramble the mind cells of the listener that little bit further with each iteration.
Choro Tempore also sounds like a pop record because it was mastered by the guy who does Muse’s stuff, but sounds like it eats Muses for breakfast.
Praise for Quasiviri:
“Superheroes should be psychedelic motherfuckers. Quasiviri sometimes sound to me like a pop Oneida – and if anyone are superheroes, then its fucking Oneida. It’s that muscular, fuck-you bass – which sometimes just settles into an up-middle-fingered stomp and then stomps all over your face. It’s those mind-scrambles of organ. It’s the fact you can fill up a fuck of a lot of space with just three instruments and a sound to die for. But it’s not just wig-out mayhem. Quasiviri is tight, clear-eyed, ultra-focused and purposeful rock that just happens to share a sound with your dream psychedelic record. It isn’t prone to noodling, or playing jazz chords with 20 notes when one note repeated 20 times will do just as well. Also it’s playful, and funny, and why isn’t it this stuff that people are obsessing over now? Be not apologetic. Play like a superhero. Walk like a motherfucker.” - 20 Jazz Funk Greats
“Think Ian Curtis and Primus. Then forget and forgive me about that, and press play. Quasiviri.” - Komakino
So...I had solutions left from tea toning more cyanotype fabric and decided to play around with some old cyanotype prints. I have had a stash of less than optimal pieces for just such an occasion. I was attempting split toning, working to keeps some of the blue in the print and not bleach it all out. On a few of these it worked. Often times, as per what seems to be my usual, I get more such results when I'm not actively trying! But that's okay. Just trying to get myself back in the swing of things.