View allAll Photos Tagged warmtones
Camera: Honeywell Pentax Spotmatic
Lens: Asahi Super-Takumar 1.4/50
Filter: Red
Film: Kodak Direct Positive Pan, ISO 80 (daylight) Shot at ISO 32 DP 402, 5246, Exp. Feb. 1965
Developer: Beutler 1+1+10
9:30 67°
Scanned from lith print on
Fomatone 332 Warm Tone RC
Arista Liquid Lith
SEE THE CAMERA AT THE LINK BELOW:
www.flickr.com/photos/vikingphotos/5344852240/in/photolis...
Do you ever get this warm feeling in your heart when looking at something, because it just makes you so happy? For me one of those things is the play of light and shadow, all the time.
My work is all over the place in this internet world, but my blog is where everything comes together in one place. I have recently made a list of tags I often use on there, in order to be able to go back to collections of certain feelings and moments. On there, you’ll find the term happy heart, which is what I described before: All the things that make me truly happy. I have had this blog for seven years now and there are so many memories hidden there. Stop by sometime if you’d like. :)
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**Prompt :**
Portrait cinématographique d’un roi mystique druidique, homme d’âge mûr au regard perçant vert émeraude, peau texturée ultra réaliste avec pores visibles et micro-imperfections naturelles. Il porte une couronne finement ciselée en métal ancien ornée de gemmes bleues luminescentes diffusant une légère énergie magique. Sa chevelure longue, ondulée, brun cuivré, est subtilement animée par un vent invisible, tressée avec précision en une natte épaisse descendant sur sa poitrine.
Barbe dense et soigneusement travaillée mêlant gris argenté et brun profond, chaque poil rendu avec une netteté extrême. Armure druidique en métal organique et cuir sombre, incrustée de pierres précieuses brillantes et de motifs celtiques complexes, reflétant une lumière douce et diffuse.
Autour de lui gravitent des créatures féeriques : papillons iridescents aux ailes translucides, scarabées métalliques aux reflets émeraude et or, libellules lumineuses. Elles flottent en suspension dans un environnement cosmique, mélange de forêt enchantée et de nébuleuse stellaire.
Arrière-plan riche en particules lumineuses flottantes, poussières d’or et d’ambre, bokeh magique, profondeur de champ cinématographique. Éclairage volumétrique dramatique venant de face et légèrement latéral, créant des reflets subtils sur les gemmes et une lueur mystique sur le visage.
Ambiance : fantasy épique, royale, mystique, intemporelle.
Style : hyperréalisme, rendu 8K, ultra haute définition, textures détaillées, éclairage global illumination, ray tracing, color grading cinématographique (teintes chaudes or/cuivre contrastées avec bleus profonds).
Qualité : masterpiece, photoréaliste, détails extrêmes, sharp focus, cinematic lighting, HDR.
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**Prompt:**
Cinematic portrait of a mystical druid king, a mature man with piercing emerald-green eyes, ultra-realistic skin texture with visible pores and natural micro-imperfections. He wears an intricately crafted ancient metal crown adorned with glowing blue gemstones emitting a subtle magical aura. His long, wavy copper-brown hair flows gently as if moved by an unseen wind, partially braided into a thick, detailed braid resting on his chest.
His beard is full and meticulously groomed, blending silver-gray and deep brown tones, with each strand rendered in extreme detail. He wears a druidic armor made of organic metal and dark leather, embedded with luminous jewels and intricate Celtic patterns, softly reflecting ambient light.
Surrounding him are ethereal creatures: iridescent butterflies with translucent wings, metallic beetles with emerald and gold reflections, and glowing dragonflies. They hover in a magical suspension within a surreal environment blending enchanted forest elements with a cosmic nebula.
The background is rich with floating particles, golden and amber dust, magical bokeh, and cinematic depth of field. Dramatic volumetric lighting from the front and slightly from the side enhances the gemstones and casts a mystical glow across his face.
Mood: epic fantasy, regal, mystical, timeless.
Style: hyper-realism, 8K resolution, ultra high definition, extreme detail, global illumination, ray tracing, cinematic color grading (warm gold/copper tones contrasted with deep blues).
Quality tags: masterpiece, photorealistic, ultra-detailed, sharp focus, cinematic lighting, HDR.
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--ar 3:2 --v 6 --style raw --q 2 --s 250 --chaos 5 --seed 12345
Okay.... so I didn't get to go anywhere yesterday :(... but what I did do was a session with Cassandra, she is so awesome! I had this vision for the longest time of taking a picture of a person on the train bridge that is right outside my house from the ice looking up! and with the weather warming up I knew I'd better do it now or never. Of course as soon as we were ready to go there was a train ha ha, so I took the opportunity to take some photo's with an actual train... Not showing in this photo on the right is my house and when I am sitting in the studio working my view is of this amazing train bridge. I will share some of those with you all tomorrow...
A calm autumn day at Lake Canobolas near Orange, NSW, with golden foliage reflecting softly across the still water. Warm seasonal colour, gentle light, and a peaceful regional landscape create a classic Central West autumn scene ideal for nature, travel, and outdoor themes.
Like a sunbeam curled into petals, this rose holds the warmth of summer’s laughter. Bold and soft all at once, it radiates joy without asking for attention—just basking in its own gentle glow. 🌼
The sky above my head was cloudless & clear, reflecting blue onto the water, so in LR I added a slight blue gradient over the water because the photo just wasn't capturing it the way I was hoping. This might be a little over processed, but I kind of like it. The summer sunset split of oranges & blues.
My first LF landscape. Yesterday, before sunrise. It's far from perfect, but I think it's the beginning of a beautiful adventure.
4x5, 75mm, f16 1/2, fomapan 400@200, d-76 1+1 10m 19C inersions.
contact print on 13x18 cm foma warmtone rc paper, fenal w-14
I almost forgot about this 35mm shot. Shame on me, because I use its big sister (shot on Mamiya C220) regularly.
This print was a nice experiment in the darkroom, because the negative was very flat and thin. I have increased the contrast by turning the red filter knob on my Durst colour head all the way up. Too much? And just a bit of dodging on the sheep.
Fomabrom 111 in Adox WA warmtone developer. Selenium 1+9 for ca. 2 min.
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Scanned IR lith print.
Rolleiflex T w/ Tessar 75 mm/f3.5 + Rollei IR filter.
Sept 12, 2024.
Rollei IR 400 in Adonal 1+100, semistand 1 h.
Same neg, different paper:
Lith printed on Fomabrom Variant IV 123 BO and developed in Moersch Easy Lith (25A+25B+40D+100OB+H2Oqs900).
Se 1+9 30 sec.
These are the differences between warmtone and coldtone lithable papers.
The Fomabrom Variant IV 123 BO was a "short living" attempt by Foma to make a paper which could be used for Bromoil (and maybe replace the original FB Variant IV 123, which was a very good lithable coldtone paper).
This one worked with both bromoils and lith printing :-).
When lithing coldtone papers, you want the "pepper" to appear. It's by far not as colourful as warmtone papers. But on the other hand not so "high contrasty", so you can get more b&w nuances from the process. Which, btw, is much slower than the warmtone lith process. Expect exposure times to be around 5 min and developing times up to or above 20 (!) min. That of course depends on your "soup".
This was perhaps too much boring information, but if I can pass the knowledge ahead to coming b&w analog printers, it's worth it :-). And I'm of course not taking credit of any knowledge that Wolfgang Moersch possesses. Almost everything I've learned comes from him. Kudos, Wolfgang.
Yashica-Mat with Lumaxar 80/3.5 on Ilford FP4+. Developed in R09 1:25 for 9:00 minutes. Printed on Rollei Vintage 332 RC paper in Ilford WA developer. No additional toning.
A ship crosses the glowing sea, its silhouette etched against a burning southern sunset — a quiet farewell to the day.
HASSELBLAD 500 C/M 80 MM. Fuji Neopan Acros 100. HC110 --18º. f4 at 1/8. Printed in Bergger glossy fb warmtone paper.
This is a the print... I could say a lot of things, but the differences with the neg scan are so obvious!! I'm a bad negatives scanner guy!!
Nikon FM2, Kodak TriX, in Moersch efd, printed on Ilford MG WT in Moersch ECO, toned MT1 and MT3
... ein paar Tage in den Vogesen....
Wald in La Montagne, Franche-Comté
Nikon FM2, Fuji Acros 100, dev. in Moersch efd, printed on Ilford MG WT,, in Moersch Blue and finisher blue, MT1, MT3
vielleicht hat jemand Erfahrung damit:
Habe das Motiv in Moersch Blue mit finisher blue auf Ilford MG WT geprinted, in Selen getont, gewässert, gebleicht und in MT3 getont.
Bis zur Bleichung verlief alles planmäßig. Bleicher 1:40, 20 sec, um nur die hellsten Lichter zu tonen, gewässert, und dann getont.
Aber die Tonung verlief nicht so wie ich es mir vorgestellt hatte. In den Lichtern kam fast keine Zeichnung mehr zurück und jetzt wirkt der Print in den Lichtern etwas ausgefressen.
Habe ich was falsch gemacht oder liegt das am Ilford Papier?
Ist die Selentonung vor oder nach der Schwefeltonung überhaupt sinnvoll?
Auf Adox Variotone hat das wunderbar geklappt, aber dieses Papier ist ja auch für Tonungen besonders gut geeignet.
Sinar P 4x5 with old brass petzval lens printed on Forte Polywarmtone 30x40 on my Durst 138 Filter 3 and warmtone developer. No toning. Photo taken at Federsee swamp.
It’s been a while since I have done a set of interpretations of a single capture. This set is based on an image of one of the ornate chandeliers and ceilings in the Brighton Royal Pavilion. The Pavilion was built as a summer pleasure palace for George IV at the turn of the 18th century. It’s a marvellous, fantastical place. The image was taken last November.
There are four images in the set. I’ll link to the in-camera original in a comment as well so that you can see where we started.
V1 - This is a ‘proper’ edit using Capture One and Affinity Photo. This is the basis for the other three versions.
V2 - This version uses Nik Color Efex, which uses all sorts of compounded effects, including a bi-colour filter.
V3 - This version uses Nik Analog Efex to give a double image effect with two copies of the basic shot. The second copy is scaled and zoom blurred a little.
V4 - This version is a play with Topaz Studio 2 using the remix filter to change the colours. I’ll put this one in for Sliders Sunday this week.
I find straight up central chandelier shots interesting. I guess it’s the symmetry and abstraction. This picture reminds me of a spaceship, which is often how my little bear’s brain interprets symmetric abstracts. Perhaps I should have called it Rama 37 or somesuch. The Pavilion has lots of good painted ceilings and chandeliers so I was in a personal playground.
Anyway, part of the fun with these sets is letting you choose your favourite. It’s always interesting how people differ, though often the most popular is the plain edit (a humbling reminder of how easily I waste my time for no purpose, lol).
Thanks for taking the time to look. I hope you enjoy the set. Happy Sliders Sunday :)
I used to think I needed to linger in a moment in order for it to stay meaningful, but there can be so much beauty in short and fleeting moments.
Camera: Nikon F-801s with 50mm/1.8 AF-D
Film: Rollei RPX 100 developed in D76 1+1 for 11:00 minutes
Darkroom print on 8x10" Rollei Vintage 112 with warmtone developer, slight increase of Dmax with Amaloco T50.
Rich autumn colours sweep across the Blayney district in Central West NSW, with golden trees and warm seasonal tones highlighting the rural landscape.
We cherish the nights when there is no wind (and a cloudy sky).
It creates that mirror effect that doubles the pleasure, fun and interest, or in this case a semi-mirror. One of my contacts (Jeff H) in Louisiana so eloquently stated that we here in the south don't have mountains so we have to be creative to get the job done. I couldn't agree with him more. Thanks for looking ~ sunset ~ FL Everglades
(three more photos of this night in the comments)
"Everybody must have a fantasy."
Andy Warhol, The Philosophy of Andy Warhol
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© Copyright Natalie Panga - All rights reserved. EXPLORED Decemberr 02, 2013.
A fallen leaf lands in a clear puddle full of beige-fgray sand after a rain storm in San Diego, California, USA.
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Nikon FM2, Fuji Acros 100, Moersch EFD, printed on Ilford MG WT in Moersch Blue, Selenium toned.
two women,
two steps apart.
one moves forward.
the other
is already fading
into the surface of the street.
they won’t meet.
but for a second,
they shared the same layer of light.