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by Natalia Monroy, Subyeal Pasha and Garth Elvy. Table mats / coasters based on forest area data from Mexico, Pakistan and Australia. Made with Processing, lasercut by Ponoko.
This morning we were out-and-about then headed to MexiGo for breaky at around 10:00.
Wrong! MexiGo does not open now until 11a.m as does Romeo's next door
Thus -- through the process of elimination -- only Artisan Bistro was left. They open at 7a.m.
Pricey but good.
Heavily processed picture of our Christmas Tree with Tigger and Yuba underneath, pretending to enjoy the view of the tree rather than being honest and planning an attack on it.
Top left: Out of camera
Top right: Black and white
Bottom left: Basic color edits
Bottom right: Faux film (cross process)
Recently I've had quite a few people ask about my editing process. It's impossible to lay out exactly what I do because it often changes from shot to shot.
I always start in lightroom, experimenting with about 30 home-made presets. I shift over to photoshop once I'm happy to edit tonality and hues a bit more directly than lightroom allows.
This isn't showing a step-by-step process, but rather the starting image and 3 of my common processing styles. By creating this layout, it's easier to see the starting and finishing point of each style.
A double exposed roll of expired Fuji Velvia 50 slide film. Exposed first at ISO 80, then the second time around at ISO 32. Cross processed in C-41 chemicals. Both exposures taken on a Canon EOS A2E camera.
Clearly over-processed but there is something in the exaggerated glow on the trees that intrigues me.
1) Dumped on the counter after rising for 18 hours. I wore my 18-hour-bra just to make sure I had the timing right.
2) Floured and formed into an amazingly soft ball. [I said "amazingly soft ball."]
3) Shh! Dough is rising for another 2 hours. Goodnight, you doughball of Maine, you bread of New England.
Created with fd's Flickr Toys.
The final shot for the series, finally reveals the couple who celebrating the anniversary. The image is very clear and the light cast little shadow. Seems very warm and inviting.
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A double exposed roll of expired Fuji Velvia 50 slide film. Exposed first at ISO 80, then the second time around at ISO 32. Cross processed in C-41 chemicals. Both exposures taken on a Canon EOS A2E camera.
1. using a cobbled-up plumb bob, I tape on two strings on either side of where the waterfall will be, and beginning the water with a blurry blue-white glaze 2. A separate drawing of the gothic spire is photo-copied, and this is rubbed on the back with a #2 lead pencil, taped to the painting, and traced to transfer the sketch onto the canvas. I then base paint the spire in raw umber, leaving space where there are edges and transitions. These will be filled in as the spire takes on more form. 3. now I begin doing the spire roof in dark greens. 4. continuing to build up the layers of patina in greens and blue-greens