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Zeiss Otus 1.4/85mm Planar APO
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The nearly 9000 acres of soybeans and rice will begin harvesting soon in rural Arkansas.
Zeiss Ikon ZM
Voigtlander 35 mm f/1.4 Nokton Classic MC II
Kodak Tri-X 400 (@ 1250)
Xtol (1+1,10:30, rotary (AGO), 20 °C)
Scanned with Fujifilm GFX100S
Processed with Adobe Lightroom
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!
Processed with Whipped Cream Lightroom Preset from The Bell Sisters
The Bell Sisters - FaceBook Page - Pinterest - Getty Images - Instagram
Plaxtongeezer's superbly restored Plaxton Supreme bodied Leyland Leopard SNC365X seen at Kirkby bus station whilst out for a leg stretch.
Thought I'd better take advantage of Picnik's editing tools before it is taken from us later this month.
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.
Saw this at a local garden on a visit with my son. It is an HDR image, and then crossed processed on Picnik.
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.
Usually I don't show my process steps.. I don't know what came up to me to do so...
FYI, it takes much of my time to find the correct theme of a picture.. This one spacifically took 3 days to finish!
The original Upload:
This image used the second of two methods of cross processing I have been experimenting with in Photoshop. It mimics the effect of cross processing film (say, processing slide film with the chemicals used for 35 rolls).
The original image and the first method.
Both of the methods I've come up with so far can be downloaded.
Which one do you like better? I have found that each one has its benefits depending on the light in the original image and the subject matter. For instance, using the first method on a well lit human subject (or pair of subjects) is turning out very striking images.