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The more I tweak this project, the more I love it. Through controlled accidents, I got it to look rather Nebular. I will continue tinkering and if all goes well, soon I will have an audio-responsive universe!
Read about it here. There is a short video too!
This is a drawing I did a few years ago, based a photo of a weightlifter - was never too happy with the way it turned out originally. I've been experimenting with the way I render color and light a bit recently., so I thought I might dig it out and play around with it. It's a bit more detailed and fussy than my drawings usually are -- not sure if that's a direction I want to go in, or if I should be pushing towards simplicity. But that's what sketching and drawing is great for. Always good to experiment with processes. Who knows, I might even start working with ink and paper again one of these days.
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)
Here is a sample of what, after a decent bit of work, I am able to get out of the Microtek i700 with a 4x5 slide.
Please view at original size for the intended sample!
The process involves a few steps - some of them because I am using Silverfast SE, which only scans to 24-bit RGB.
First I scan after modding the levels using the Silverfast Histogram to truncate the flat ends of the histogram. I use 'medium' USM when scanning.
Then after imported into photoshop, I convert to 48 bit, then export each channel as a 16 bit greyscale image.
I run each greyscale through Neat Image to minimise noise - this has the added effect of 'rebuilding' some tonal detail by averaging pixels interpreted as noise and resampling that average back into the image.
After noise reduction I open each of the processed greyscales in photoshop and run another tone adjustment using the levels tool, slicing off the low end until the blacks are black, and the whites are bright.
I then run a Smart Sharpen on each of the greyscales, using Lens Blur.
After that, I recombine the image, copying each greyscale image into its appropriate channel in the RGB image.
I then run more curves / levels adjustment, colour enhancements, and a manual clone touchup to remove any dust marks I find.
Finally, I run an appropriate USM on the final image, and resize for output. I may run an additional minor USM on the resulting resize as well, depending on whether it needs it.
Saw this at a local garden on a visit with my son. It is an HDR image, and then crossed processed on Picnik.
Patterns generated with modified code from the Creative Coding course from Monash University on futurelearn.com
After taking a little break from the whole graff thing, I came back with this. It is a sneak peak of a wall I am doing with Less and Smug. Finished shots to come soon enough.
I never posted this, but it's on my list to post, but instead of adding yet another old photograph I thought I would share what I did to it with my Soft Pink Afternoon Glow preset before I uploaded it...
This was when it was quite a bit warmer... ah, I wish winter clothes were more colourful, all this black, grey and brown is boring!! Can someone invent colourful winter clothes? Pleeeeease!
Here was my process for the Ty Nant water shot:
1. One strobe above and in front of the bottle, bounced off my umbrella. This looks terrible! The blue is hardly noticeable, the reflection totally knocks out the label, and the label on the back of the bottle (marked with the *) makes a horrible white mark.
2. One light on the right of the bottle, bounced off the umbrella. I also cut out a piece of paper the shape of the bottle to put behind it. This bounces light through the glass, showing the blue. Unfortunately, you can see all the details of the umbrella in the reflection, and that label on the back is still there. also, the flash from my camera that I use to trigger the strobe makes an annoying reflection (marked with the *). I soak off the label, and cover my flash with a piece of cloth. That way it is still bright enough to trigger the strobe, but doesn't show up on the bottle.
3. Light below and behind the bottle, bounced off the black (!) backdrop. I removed the white paper behind the bottle for this, since it was unnecessary. I used a long exposure so that the lights from the windows on the sides and in front of the bottle would light up the label. Unfortunately, this makes for ugly reflections on the sides of the bottle.
4. One light behind and below bottle, bounced off backdrop. This is beautiful -- I love black-line glass photography, and the blue is gorgeous. Unfortunately for a product shot, the label is way too dark. And I don't have another light to snoot on it from the front. Have to go a different direction.
5. Light on the right side again, this time shone directly through a large plastic tub. That disperses the light enough that it makes a nice clean long white highlight. The paper is behind the bottle again, and I dropped the coins behind the bottle. But the paper behind the bottle is wrinkled, and that shows (marked with the *) and it tapers at the top of the neck where the water stops, which you can see. I cut a new piece of paper.
ry fish processing is an ancient, cost-effective preservation method that removes moisture through sun-drying, salting, or smoking to inhibit microorganism growth and extend shelf life. The process typically involves cleaning, degutting, washing, and sometimes salting fish before laying them on racks, taking several days depending on weather and fish size.
The most common method, where fish are laid on raised bamboo racks (vertical or horizontal) in the sun.
Often combined with drying, this improves preservation and flavor, commonly used for larger fish.
Imparts flavor while drying the fish through heat.
Dehydration/Driers: Controlled environments like cabinet, tunnel, or solar tent dryers are used to ensure higher quality and better hygiene than open-sun drying
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
"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)
Miranda Parker as Ellipsis, a superheroine and member of the famed Punctuation League. :-)
This is from a studio shoot with the entire cast of "The Baffling Adventures of Question-Mark Man" by Bottled Spider. A really fun show about superheroes...and punctuation. What's not to like? :-)