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Paper salat, per mitjà d'una ampliació de negatiu digital. He emprat sal artesanal de Gerri, al Pallars, per aquesta copia.
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Salt print from a dry plate negatve, but using an enlarged digital negative. For the iodizing of the salt print I used hand harvested Pyrenees salt from Gerri de la Sal.
For Macro Mondays, granules.
The background is what might be called diffraction grating foil on cardboard. The color is close to accurate. Window light.
Sodium Chloride (NaCl) with various impurities to jack up the price. These small tins contain Harmon's Artisan Salt Collection. These are around six bucks. To put that in perspective you can get a 26 oz box of generic table salt for $.54 almost anywhere. But these are pretty and in their tins make an interesting display.
Copia en paper salat d'una placa seca que vaig fer del monestir de Sant Cugat, per mitjà d'una ampliació de negatiu digital. He emprat sal artesanal de Gerri, al Pallars, per aquesta copia. També vaig intentar virar amb or, però després de fixar amb "hypo", el que clarament no ha fet efecte.
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Salt print from a dry plate negatve, but using an enlarged digital negative. For the iodizing of the salt print I used hand harvested Pyrenees salt from Gerri de la Sal.
Ever put table salt in your hand? Well, its pretty small, like, really small. I spent a few hours this weekend experimenting with camera and lens set-ups.
Macro season is not too far off and this year, I want to be ready with a camera set up that works well.
For this image I used an unconventional 70-300mm lens set at 70mm with 36mm of extension tube, F:8, 1/500 shutter speed, ISO 100. I used a flash with no diffuser and on full manual power.
Editing in Lightroom and Photoshop.
I am ready.....
Photo Recipe:
Salt shaker and white plastic "table"
I handheld flash unit using TTL cord fired at ceiling for bounce and diffusion. Some softwrea work to get it looking a little better.
Not really happy with it. Maybe I'll try again later....
Along with fabulous food, fabulous views and fabulous company, the cafe we had lunch at yesterday on our 'Famous Flickr Five+' outing, also had a lot of fabulous things to photograph . . . like this sea salt container which I thought looked brilliant with the complimentary blue and yellow decor behind it!
You can see all my 'What's Brewing' images here: 100 x What's Brewing: The 2016 edition.
Macro Monday: Member’s Choice—Herbs and Spices
Ordinary table salt macro (used extension tubes)
Thanks to Patrick and Cora for this suggestion!
Happy Macro Monday everyone! :)
Amb l'objectiu d'arribar al positiu fotografic completament manual, estic barrejant processos arcaics de fotografia, negatius i positius.
Una segona prova amb el mateix ambrotip (positiu de col·lodió en vidre), però ara com a negatiu d'una impressió amb paper salat. Teoricament no hauria de funcionar gaire bè, però no va pas malament.
Paper salat amb sal de Gerri.
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In order to arrive at the goal of the photographic paper print (positive) completely made without digital elements, I am mixing archaic photography processes, negative and positive.
Another one, with the same ambrotype (wet plate glass positive), this time as the negative with a salt print. Pas mal, considering that theoretically it should not print well with this even older process.
IN ENGLISH BELOW THE LINE
Primeres proves amb la més antiga de les tecnologies de positivat fotografic, el paper salat. De fet, es pot considerar anterior al daguerrotip, ja que les primeres proves de Henry Fox Talbot daten dels anys 1830, i fins i tot cap al 1790-97, Thomas Wedgwood feu imatges similars. Però fins el 1839 no sabien com fixar la imatge i aquesta es tornava completament negra en poc temps. Aleshores, Talbot trobà que el hiposulfit de sodi fixava la imatge de manera permanent.
El paper es sensibilitza primer amb sal comuna al 2%, i un cop sec, amb nitrat de plata al 8% o 12%. Un cop sec de nou, s'exposa al sol o lampada UV amb un negatiu per contacte, i un cop la imatge s'ha enfosquit suficientment, es renta amb aigua i acid citric i es fixa amb hiposulfit de sodi.
Aquest primer intent m'ha quedat una mica massa clar i tacat, segurament per anar massa de pressa i no deixar secar suficientment el paper, ni exposar-lo prou. Per cert, la sal que vaig fer servir és de Gerri de la Sal. Es per tant una foto amb una mica del Pallars.
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My first salt print trials. This traditional photography process is maybe the oldest one, even older in a way than the daguerreotype. That's because first trials were made by Thomas Wedgwood in 1790-97, and then Henry Fox Talbot in the 1830's, but they could not fix the images until using sodium thiosulfate (hypo).
The paper is sensibilized first with a 2% table salt bath, dried and then a 8 to 12% silver nitrate bath (a brush could also be used). This creates silver chloride in the paper. Once dry is then exposed with a contact negative to the sun (or UV lamp), and the image develops itself. Once developed, it's washed with water and citric acid and fixed with hypo.
For this salt print,I used Gerri de la Sal mountain salt, traditionaly harvested in the Catalan Pyrenees. The image was weak and stained because the paper was still damp when I exposed it, and then don't waited till it was dark enough.
TED: "Look wot I made today! Sum peenut butter cookies, an' they wuz ever so easy. Dad tried one jest now an' 'e sez there reely nice! P'raps I can take up bakin' durin' lockdown... "
*rummages in kitchen cupboards for inspiration*
Ted's Covid-19 diary
Shot for Macro Mondays theme "Square".
Salt crystals grow naturally in a cube shape... ain't nature wonderful!
A river of dried salt surrounds our jeep near Badwater in Death Valley National Park, the lowest place in North America and the hottest place on Earth. Taken on one of my many springtime Death Valley trips with old friends.
This is my most successful salt shot, and my most successful attempt at dark field illumination, or a variant of it.
First off, this is using my super macro setup with my 28mm lens (old Canon lens) flipped backward at the end of a bellows, on my Canon EOS50D. It's a bit cumbersome, but here I got some of my sharpest focus- enough so that I took 7 shots, and used those (even though a bit blurry still) to create a blurry, but more usable, super resolution shot in Photo Acute (2x the original resolution). From there, I reduced the picture to a bit more than 25% and sharpened it, to get 280x magnification. There is a lot of detail in these salt crystals- this is plain table salt, so you can see the scale if you go to maximum size.
Now for the darkfield part. Normally this is done with lenses to focus the source light on the subject, and partial obstruction of the light source. It is, however, named for the effect. I used two polarizers. The lower polarizer and upper polarizer were at right angles, blocking most of the light from below. The salt was in between them, resting on the glass of the lower polarizer. Let's say the light was polarized left/right by the lower polarizer. The upper polarizer, being oriented up/down, would block all that light.
However, the salt crystals scatter that left/right polarized light so that it's no longer polarized, and therefore, it leaks through the upper polarizer.
However, only the light passing through the salt is affected- the light that misses the salt is still polarized left/right, and hence blocked by the upper, up/down polarizer. That leaves just the salt visible against a see of black. Or dark grey, as the polarizers are not perfect.
The above photograph was taken with the set-up described in the previous photo.
www.flickr.com/photos/cassidyphotography/25045432101/
This is a photograph of common table salt, not rock salt, just the little white stuff that sprinkles from your salt shaker onto your steak. The size of the central salt crystal is a fraction of a millimetre. So, magnification is very high.
Focusing is particularly challenging doing this type of macro photography. If you open the Aperture up to its widest, f/2.8, then you lose depth-of-field perception. If you close the Aperture to f/32.0, then it is too dark.
The Nikon PB-4 Bellows has 3 rail adjustments, and my best advice, discounting the Instruction Manual, is to play with each, fore and aft until you get what you want. Also, it is recommended to put the lens' focus set at ∞. I would not recommend that. I back the focus off just a little, fine adjust the PB-4 and then fine tune the lens toward ∞.
If your camera has Live View, magnify the image as high as it can go. There will be a magenta halo around the edges changing focus in one direction and then a green halo, when changing focus in the other direction. Just like focusing on a start or planet. Some point between the magenta halo and green halo, achieved by a steady hand, smooth lens focusing action and fingers like a painist, you can achieve precise focus - theoretically. When you change from Live View to the View Finder, especially if you have attached a magnifying eye-piece to the View Finder, such as the Nikon DR-5, you may find that the object still does not look "in-focus", only to be confirmed when viewing the image on your computer screen at 100%. Challenging, frustrating, and time-consuming process.
Breathe on the set-up or touching the setup causes the focus and position of the subject to continuously change.
I used three different focusing methods. I used a Hoodman Loupe against the LCD, when in Live View. I used Live View by itself, zooming in the centre crystal. I used a Nikon DR-5 2X Right Angle View Finding, resembling a microscope. Each focusing method differed from the other. When using the D3X camera's Rear LCD zoomed in to 100% or closer, it disagreed with the View Finder or vice versa.
I changed lenses three times, before I got this image.
I must say, the more light you can get on the subject for focusing purposes, before taking the shot, the better.
Colour Temperature: 6,397°K
1/250sec Flash Sync Speed
f/11.0 to f/16.0
ISO 100
Carole Nicholson and Bob Aldridge. From the 1951 edition of The Doe-Wah-Jack, Burlington High School's yearbook (p. 93).
View at DigitalNC: Burlington High School 1951 Yearbook
Digital Collection: North Carolina High School Yearbooks
Contributing Institution: Alamance County Public Libraries
Standard Rights Statement: Copyright Not Evaluated
Our friend, table salt, may form white, candid crusts all over the California desert, but deep in its heart, it really loves to crystallize into beautiful cubes.
The side of these cubes is approximately 5 mm, or 1/4 inch. These cubes were found at the edge of one of the pools portrayed in my three previous images. They can grow a little more but most of them are of this size. They will dissolve with the first rain.
Trona, California