April Stlll-Life

[cjbroadbent]

Making use of tilts. Gandolfi with 135mm Sironar. An umbrella for back-light, a grey card for fill, a kitchen shelf for table-top, glycerine for drops, a fishing line for beard.
https://lh6.googleusercontent.com/_OR3U2BmIDuk/TVLQiBgzfiI/AAAAAAAAIDY/wZHZAy_lPuA/s800/razor2.jpg

[altair]

This is excellent, if I may say so myself. I'd compose it a bit more to the center and to the left, though. Of course, that's just personal preference.

What was the film/developer used?

[Daniel Stone]

ahh... double edged neck slicer! I *used* one once, close shave, but just a bit too risky for a 16yr old to use when starting to shave :).

Well done!

just curious, what led to this subject by chance?

cheers,

-Dan

[cjbroadbent]

Dan, a page for Gilette on Ektachrome. My Gandolfi has no swings, so to meet the diagonal plane it had to be mounted sideways.

[Mark MacKenzie]

Wow! Talk about sharp! Heh heh....... Had to make that joke.

Your work is always inspiring. I have really enjoyed your website and your photography. Thank you.

-Mark

[Brian K]

Cj was this an actual assignment for Gilette?

[mdm]

An invention that changed the world, not necessarily for the better. I once got a shave in a barbershop in Gilgit with a (disposable) cutthroat razor. It was quite an experience, a busy barbers shop.

[dsim]

Very sharp Christopher. Did you use any swing movements?

[cjbroadbent]

Brian, In fact it was not for Gillette, I just checked. The transparency was in the wrong box. It was for a Williams aftershave ad. Plenty of empty space for copy and pack-shot.
The plane of the handle, lens board and back meet somewhere off to the right. As I said using a false swing with the 'challenged' Gandolfi mounted sideways - and f45.

[Brian K]

An umbrella is not a particularly good light source for a still life. It's hard to control, spills light everywhere and does not serve reflective surfaces very well. You'd be better served by using diffusion material, which can be hung, curved, sloped over, stretched on a frame and be made to reflect a gradated highlight.

[cjbroadbent]

An umbrella is not a particularly good light source for a still life. It's hard to control, spills light everywhere and does not serve reflective surfaces very well. You'd be better served by using diffusion material, which can be hung, curved, sloped over, stretched on a frame and be made to reflect a gradated highlight.
Brian, I beg to differ. Soft-boxes spill everywhere. Diffusion stuff on a frame spill worse unless you use a fresnel source.
An umbrella, with the source pushed well inside, has no spill, feathers naturally, has a nice controllable hot spot for making a delicate penumbra (like hazy sunlight) and is round (rectangular sources cut shadows short under edges that are parallel to to the source).
I agree for reflective glass surfaces, but nowadays there are remedies for the shape of reflections.

[Brian K]

Brian, I beg to differ. Soft-boxes spill everywhere. Diffusion stuff on a frame spill worse unless you use a fresnel source.
An umbrella, with the source pushed well inside, has no spill, feathers naturally, has a nice controllable hot spot for making a delicate penumbra (like hazy sunlight) and is round (rectangular sources cut shadows short under edges that are parallel to to the source).
I agree for reflective glass surfaces, but nowadays there are remedies for the shape of reflections.

Chris, the lighting on most of your other images is lovely, but in the case of this one it simply does not work. Lighting a single object on the plainest of backgrounds, without any propping or colors or textures to add to the "atmosphere" requires a degree of control that is almost surgical, especially if that object is metallic and reflective.

Shooting through an umbrella you are not able to control the gradation of the light with much variability ON the umbrella's diffusion surface itself, which is absolutely critical when shooting highly reflective objects. Bouncing off an umbrella spills everywhere. And the size of the light is critical to a still life, too large a light yields a flat dull light. And there aren't many umbrellas small enough for your razor shot, in fact there are none. And given that they are reflective surfaces they would have greatly benefitted from gradating highlights, the kind only possible by aiming a reflectored light at a diffuser and inserting a gobo between light source and diffuser to create a gradated light on the diffuser itself. It is that gradated diffusion surface that is reflected in the surface of the subject.

The secret to using softboxes is to use the right size one for the job and at the right distance to the subject. I had over 14 different sizes of soft box and even then used sheets of diffusion most often on still lifes similar to your razor photograph. I think if you play more with simple sheets of diffusion you'll find that it works in many more circumstances and to a better degree with this type of image.

[Tom J McDonald]

I think the lighting works well here considering that it's probably meant to (presumably) resemble a bright window in a white bathroom.

[argos33]

Here are some recent images from a macro series I have been working on. I think of them as tiny still life scenes just because everything is so carefully planned and placed in each scene. I am really starting to play around with the objects a lot more and create a sense of landscape with them.

http://farm6.static.flickr.com/5266/5587204791_44065282b8_z.jpg


http://farm6.static.flickr.com/5150/5587798492_40ba4a3dcb_z.jpg


http://farm6.static.flickr.com/5263/5587204855_a03a63d298_z.jpg


Evan

[argos33]

and for scale:

http://farm6.static.flickr.com/5254/5587354387_df0732734d_z.jpg

http://farm6.static.flickr.com/5092/5587354185_844a844634_z.jpg

[cjbroadbent]

.... And given that they are reflective surfaces they would have greatly benefitted from gradating highlights, the kind only possible by aiming a reflectored light at a diffuser and inserting a gobo between light source and diffuser to create a gradated light on the diffuser itself. It is that gradated diffusion surface that is reflected in the surface of the subject.
....
Brian, Lots of good advice, and in particular this part about grading the diffuser.

[taulen]

Argos33:
That is just incredible !
Holy s***, that "person" is small...
Really impressed.

[Brian K]

Brian, Lots of good advice, and in particular this part about grading the diffuser.

Thanks Chris, And thanks for taking it constructively. You do some really well lit work so this one kind of stood out compared to the quality of the rest of it. These types of shots were my bread and butter for a very long time, cosmetics, jewelry and other small scale objects so i know what's possible with them. I think that once you start playing around with a small diffuser you'll start applying gradations to reflective surfaces and even have checker board gradation on adjoining reflective surfaces which can lend a great sense of depth, you'll get all excited about what you see.

The fact that you keep your mind open to trying new techniques can only mean that over time your work will continuously improve, and you're already at a good place, so just imagine where you'll end up!.

[Scratched Glass]

argos33

That's fantastic. Unfortunately I think I've been down that path before.

[argos33]

Thanks - those little figures are hard to work with, but at that scale the possibilities are endless!

Evan

[cjbroadbent]

FP4, 4x5 Gandolfi, 120mm Sironar, a movie lamp bounced off a reflector.
https://lh3.googleusercontent.com/_OR3U2BmIDuk/TZtBQzN0N2I/AAAAAAAAIo8/1BlRa-F8QJc/s800/jewelersTools5.jpg

[tgtaylor]

Absolutely terrific images Christopher and Evan!

[kev curry]

Christopher your works always awesome but that's... AWESOME;-)

[Jim Cole]

FP4, 4x5 Gandolfi, 120mm Sironar, a movie lamp bounced off a reflector.


Christopher,

This one is really outstanding.

[cjbroadbent]

Thanks TG, Kev and Jim!

[Mark MacKenzie]

Wow. Such lovely tones.

(I don't know what kind of tool that is but I want one.)

How often do you print these images instead of just scan?

Sorry, one more question. How big is that tool? Was there bellows factor?

Thanks,
-Mark

[cjbroadbent]

Mark,
The steel block is about 6" square. Bellows factor about 2/3. I did 2 16x20" silver prints, 1 for the show and 1 for the client. I work in the jewelers district and borrow stuff.
Here's another block. (FP4 and a hard bounce).
https://lh4.googleusercontent.com/_OR3U2BmIDuk/TZx0QSQGUgI/AAAAAAAAIqM/tbpoBjQlv6Q/s800/jeweler2003.jpg

[Mark MacKenzie]

I wish I could see the prints. Thank you for sharing.

Your work is inspiring. I should get off my rear end and use my cameras!

Is hard bounce without any kind of diffusion aimed at a white board? The shadows seem deeper in this one.

-Mark

[cjbroadbent]

..Is hard bounce without any kind of diffusion aimed at a white board? The shadows seem deeper in this one.
-Mark
Hard bounce is using a semi-silver reflector to direct light at the subject. Lots of clout but nuanced reflections. Better than a brolly for metal surfaces, bad for noses. Sorry the second jewelers shot is not really up to standard.

[Scott Walker]

(I don't know what kind of tool that is but I want one.)


The first one was a couple of dapping blocks with punches
Second image is a bezel block and a ring clamp

[GSX4]

Here's my contribution... Muzzle - wet plate collodion on aluminum. 10 second exposure @ F4 with Chamonix 45-1n and home made wet plate back...

[Mark MacKenzie]

Christopher, I wonder what it is that makes you say the second is not up to standard. Focus? Background? I really like the off center background light of the first one.

GSX4 -- Nice work.

-Mark

[cjbroadbent]

Mark, It lacks balls - for want of a better description.

[Jim Cole]

Mark, It lacks balls - for want of a better description.

Christopher,

Are you speaking here of texture, grit? I agree that the first shot is much more a feast for the eyes than the second. Although, if I didn't have the first for comparison, I don't know if I ever would have had the thought.

[cjbroadbent]

Christopher,
Are you speaking here of texture, grit?...
Weak structure. Texture and grit can be remedied by changing paper. I tried to save it adding a stronger element (https://picasaweb.google.com/lh/photo/rU4lW01rALvQCJQLSIV913zh93xlHoSmHAgP_cGw12Q?feat=directlink), but it still did not stand up.
Andrew's muzzle, above, has balls.

[GSX4]

Thanks Mark, Christopher

[Brian C. Miller]

CJ, I think I know how to get that setup to show its cajones. Consider the wood as being female, while the metal is male. Since we are used to reading things from left to right, put the wood on the left and the metal on the right. Try placing the wooden thing with the wingnut horizontal or at an angle. I think that its upright position at the right detracts from the metal piece. Also, the sizing block(?) is upside down, so the eye keys in on the writing and is distracted by it.

How about arranging the pieces like a sundial clock?

[soeren]

>SNIP
Andrew's muzzle, above, has balls.

You mean bullits, rigth? :D
Great and inspiring pics btw
And I also really like the comments and advise given.
Best regards

[Mark Sawyer]

Three Mona Lisas...
http://i55.photobucket.com/albums/g139/Owen21k/three20mona20lisas.jpg
300mm B&L Tessar @f/45 on 8x10, (okay, 9.5x5.5 after trimming...)

[Scott --]

http://farm6.static.flickr.com/5103/5601036206_5fb1e29c63_z.jpg (http://www.flickr.com/photos/scott--/5601036206/)
Lemon... (http://www.flickr.com/photos/scott--/5601036206/) by Scott -- (http://www.flickr.com/people/scott--/), on Flickr

Asanuma 4x5, no-name 5-1/2" f/3.5 Petzval, Efke PL25M in HC-110 dil H.

[Professional]

http://farm6.static.flickr.com/5103/5601036206_5fb1e29c63_z.jpg (http://www.flickr.com/photos/scott--/5601036206/)
Lemon... (http://www.flickr.com/photos/scott--/5601036206/) by Scott -- (http://www.flickr.com/people/scott--/), on Flickr

Asanuma 4x5, no-name 5-1/2" f/3.5 Petzval, Efke PL25M in HC-110 dil H.

When looking at this pic i feel that i can do a lot of still like shots at home, in my room or in the kitchen, but always i tell myself that my still life shots will be nothing and crap comparing to the shots on here, so that i didn't try to shoot any still life at home to post here, but this shot of you making me to give it a try.

[benrains]

A still-life of a camera project I've been working on. It's an old Soldak 16x20 enlarging camera that I've repaired and begun to modify to use as a more general purpose one to make pictures with paper negatives, lithographic film, and (hopefully) wet plate processes at some stage. The big rectangular thing in the chair is the plate holder for it, original to the camera. It's designed like a contact printing frame, making the camera ready to go for wet plate work, and I can also use the holder the contact print any resulting negatives.

http://farm6.static.flickr.com/5150/5601934150_48bbac6e37_b.jpg
Graflex Pacemaker Crown Graphic 4x5 w/Polaroid 550 back
Fujinon-W 135/5.6
Fujifilm FP-100C45

[cjbroadbent]

Mahogany. 4x5 FP4, Ebony, 135mm Sironar (always open to criticism).
https://lh6.googleusercontent.com/_OR3U2BmIDuk/TaRBsrWvvgI/AAAAAAAAIuw/TyW25KTQNpw/s800/B-19.jpg

[Rick A]

I dont know if this qualifies for still life. Test shot w/Rodenstock 105 Trinar and my Calumet cc400, it covers and no recessed lensboard needed. Ilford Delta 100/Pyrocat-HD and Photokemika Varikon 8x10 matte

[GSX4]

I played around a little today to repair my silver bath that I'd done some heavy maintenance on due to an over iodized scenario. At any rate, I struggled with it after neutralizing, sunning, filtering, re-silvering, and re-acidifaction... Long story short, my wide range PH strips were showing PH 4.5, but I was getting veiling, fogging, and other anomalies. After checking with some narrower range PH strips, they showed I was at PH 6... So adding more acetic acid helped the situation immensely. This is a scan of the first plate after adding more acid, and is also a scan of a vanished plate. It's not scanned 'In the bright'

chamonix 45-1N and Darlot lantern lens. 4.5 seconds @ F4 Collodion on Aluminum

[SergeiR]

Got some unknown Fuji (turns out to be fuji) sheets in holders i bought on ebay. So i figured - what the hell, lets shoot and see how it turns out.

Looks like it wasnt quite stored right (arf), and i think it rated like 800 or 400 vs 100 as i shot it, but hey.. :) Developed in UFG for 7 minutes, scanned with V500 (stiched two halves, i know.. i need proper scanner)

Schneider's Xenar, 135mm/4.7 on Special Graphic

http://farm6.static.flickr.com/5264/5628944486_d52f71e627_z.jpg (http://www.flickr.com/photos/sergeistudio/5628944486/)
Response.. (http://www.flickr.com/photos/sergeistudio/5628944486/) by Sergei Rodionov (http://www.flickr.com/people/sergeistudio/), on Flickr

[Gonzo]

GSX4: Really cool picture!
I'm joining Scot-- with another citrus. This time an orange!

Burke&James 5x7 with 4x5 back on FP4+ in Rodinal with 120mm.

[ImSoNegative]

Mahogany. 4x5 FP4, Ebony, 135mm Sironar (always open to criticism).
https://lh6.googleusercontent.com/_OR3U2BmIDuk/TaRBsrWvvgI/AAAAAAAAIuw/TyW25KTQNpw/s800/B-19.jpg

this is a really cool shot, the groove in the wood almost looks 3D, very nice

[Sart_S]

Stlll-Life with the 13x18, Toyo on Fomapan 100,dev. in D-76 1:1. Tessar 210mm f4.5 lens at f22,exposition of 2 min.:)

[jon.oman]

Stlll-Life with the 13x18, Toyo on Fomapan 100,dev. in D-76 1:1. Tessar 210mm f4.5 lens at f22,exposition of 2 min.:)

You have posted some nice images here.

[Sart_S]

You have posted some nice images here.



Thanks,Jon!:)

[Scott --]

Found this on yesterday's run. Asanuma, B&J Ajax Portrait #1, Efke PL25M in HC-110 dil H.

http://farm6.static.flickr.com/5065/5632342566_00821f971d_z.jpg (http://www.flickr.com/photos/scott--/5632342566/)
Seed pod... (http://www.flickr.com/photos/scott--/5632342566/) by Scott -- (http://www.flickr.com/people/scott--/), on Flickr

[dperez]

[QUOTE=cjbroadbent;712277]Mahogany. 4x5 FP4, Ebony, 135mm Sironar (always open to criticism).

Excellent composition and lighting.

[Armin Seeholzer]

The first is done with f 8 on my new to me 480mm Xenar, the second with my beloved APO Ronar 360mm!
This is a new version of flowers!

Cheers Armin

[Tri Tran]

As Hugo pointed out on my back yard wall
11x14 Xray film / Nikkor APO 480mm

http://img855.imageshack.us/img855/2259/faucet.jpg (http://img855.imageshack.us/i/faucet.jpg/)

[Jim Fitzgerald]

Tri, that one really pops! It is nice to see it again. A bit larger this time!

[cjbroadbent]

18x24cm Agfapan in Nucleol. Gandolfi, 240 Sironar and strobe in a silver umbrella and white board under the lens for fill.
https://lh4.googleusercontent.com/_OR3U2BmIDuk/Ta1DJlqsw6I/AAAAAAAAI1I/P2tOeeVIA9Y/s800/fruitT.jpg

[Sart_S]

18x24cm Agfapan in Nucleol. Gandolfi, 240 Sironar and strobe in a silver umbrella and white board under the lens for fill.
https://lh4.googleusercontent.com/_OR3U2BmIDuk/Ta1DJlqsw6I/AAAAAAAAI1I/P2tOeeVIA9Y/s800/fruitT.jpg

Good photo,fantastic light!

[Sart_S]

Stlll-Life with the 13x18cm, Toyo on Fomapan 100,dev. in D-76 1:2. Tessar 210mm f4.5 lens at f22.

https://lh3.googleusercontent.com/_CwrkxrLxEsA/Ta2whWE8gfI/AAAAAAAAABU/c1UdBkktXKs/s576/St_04_F1.jpg

[austin granger]

I found this old ball in my backyard and thought it deserved a last testament.

Old Ball, Brentwood Street

http://farm6.static.flickr.com/5189/5635099855_cc8bdafd61_z.jpg

[Sart_S]

Stlll-Life with the 13x18cm, FKD on Fomapan 100,dev. in D-76 1:2. Tessar 210mm f4.5 lens at f16.

https://lh4.googleusercontent.com/_CwrkxrLxEsA/TbB4ihEJrGI/AAAAAAAAAGc/I3B1BKyGZBE/Tess_1_1.jpg

[dlin]

Tomatoes

200mm Imagon
4x5 Fortepan 200 in Pyrocat HD

[Colin Graham]

Wow, that's lovely Daniel.

[Mark Sawyer]

Quite lovely indeed!

[Donald Miller]

Very nice Daniel

[Jim Fitzgerald]

Printed this last night. 14x17 carbon transfer. Green sensitive x-ray film Pyrocat-HD, 14" Darlot wide open and printed using my own lay down tissue and pigment formulation.

Did this one for my friend Tri Tran as he grows some of the most beautiful Orchids I've ever seen!

[Mark MacKenzie]

Beautiful Jim! I don't believe I have ever seen a carbon print. How much different is it from the scan? Night and day?

-Mark

[Jim Fitzgerald]

Mark, this one is close to the original print but nothing compares to holding a carbon print in one's hands. The prints are truly 3-D. I pour a pigmented gelatin tissue that the negative is exposed into and then transferred to a final support paper. Multi-day process from start to finish but I control everything even the tone of the final image. The bonus is the 3-D relief one gets. My website has more info. Glad you like this one. I should also add that the print has much richer tones.

[Tri Tran]

Hi Mark,
There is a HUGE difference if you see them in the flesh. Most of Carbon prints showed here in front of your LCD are basically 2D instead of 3D . There is no other way for us to show you the real Carbon Print look via internet .
What we have tried to show you here is the image and the tonality but not the relief.Sorry but that's a fact.
Jim,
Thanks for the picture. That's made my day. I can see the highlight glows on the dark background. What else we expect from the Carbon print right?

[Tri Tran]

Tomatoes

200mm Imagon
4x5 Fortepan 200 in Pyrocat HD

Dan,
Very Artistic point de vue and composition. I LIKE it.

Best,

[matthew blais]

Printed this last night. 14x17 carbon transfer. Green sensitive x-ray film Pyrocat-HD, 14" Darlot wide open and printed using my own lay down tissue and pigment formulation.

Did this one for my friend Tri Tran as he grows some of the most beautiful Orchids I've ever seen!

Nice one pard...

[dlin]

Tomatoes

200mm Imagon
4x5 Fortepan 200 in Pyrocat HD

Thanks guys for your comments. I really like the look of the Imagon without the "kitchen strainer" attachment. This photo was taken pretty much wide open.

All the best,
Daniel

[cjbroadbent]

18x24cm (Agfapan? 4 round notches?). I always used to do a black and white version when shooting things that stood still. I must have posted an Ektachrome before. When 8x10 was out of stock we could always find 18x24. So I kept a couple of film-holders for emergency.
https://lh6.googleusercontent.com/_OR3U2BmIDuk/Ta1ZrAwMv-I/AAAAAAAAI1g/3jjw_w0lLsA/s800/pearsNeg.jpg

[Sart_S]

18x24cm (Agfapan? 4 round notches?). I always used to do a black and white version when shooting things that stood still. I must have posted an Ektachrome before. When 8x10 was out of stock we could always find 18x24. So I kept a couple of film-holders for emergency.
https://lh6.googleusercontent.com/_OR3U2BmIDuk/Ta1ZrAwMv-I/AAAAAAAAI1g/3jjw_w0lLsA/s800/pearsNeg.jpg

Good photo!!!

[PaulRicciardi]

http://farm6.static.flickr.com/5270/5663061004_d5a222d093_z.jpg

Whole Plate of a dead frog...plan on reshooting this tomorrow

[mdm]

Pears and a dead frog. Unbeatable juxtaposition. Not even Salvador Dali could improve on that.

[DrTang]

Fatif 4x5, 7" heliar barrel lens @ f4.5, traditional bowler hat shutter - came out really thin because I messed up on the N.D. filter factors

http://www.mericphoto.com/stuff/robotmonster.jpg

[cjbroadbent]

Shot today on 8x10 TMax100 in a Gandolfi with a 240 Sironar.
Influenced by Ken Lee's grays.
https://lh3.googleusercontent.com/_OR3U2BmIDuk/TbmbyRVoGdI/AAAAAAAAI3s/N9QZA0-n7r4/s800/eggs108b.jpg

[Sart_S]

Shot today on 8x10 TMax100 in a Gandolfi with a 240 Sironar.
Influenced by Ken Lee's grays.
https://lh3.googleusercontent.com/_OR3U2BmIDuk/TbmbyRVoGdI/AAAAAAAAI3s/N9QZA0-n7r4/s800/eggs108b.jpg

best!!!

[Donald Miller]

Shot today on 8x10 TMax100 in a Gandolfi with a 240 Sironar.
Influenced by Ken Lee's grays.

Very nice tonality. The highlight on the handle (?) is particularly well placed.

[mdm]

Much nicer in B&W than colour. Feels medieval, like a scene in the castle kitchen. The only thing missing are the squaking chickens by the chopping block and the cook and a population of gardners scrounging sweet tea and bread (if they even drank tea then?). That would be the ultimate portrait study if it existed.

On second look maybe a little more subdued than that but still nice.

[Sart_S]

Stlll-Life with the 4x5, Toyo 45C on T-Max 100,dev. in Rodinal 1:50. Symmar 180mm f5.6 lens at f22.

https://lh5.googleusercontent.com/_CwrkxrLxEsA/TbujMOghXcI/AAAAAAAAAIM/TbVJcSV6vic/s576/02_Sn_T2.jpg

[Ken Lee]

On second look maybe a little more subdued than that but still nice.

Some photos are extroverted: they broadcast or shine. Other photos draw you in. Both can be beautiful.

[Ken Lee]

Very nice tonality. The highlight on the handle (?) is particularly well placed.

All it takes is one small spot to "set the tone" - a musical reference if I'm not mistaken.

Edward Weston used the method very effectively here (http://www.kenleegallery.com/html/like/index.html#ew1) and here (http://www.kenleegallery.com/html/like/index.html#ew2).

[cjbroadbent]

Thanks David and Ken for the comments!
Like most of my stuff it was a test to nail down tones that escape me. I was trying to get a handle on the dish-cloth - the same burned-out one as under the the earlier bowl of pears - while keeping the eggs in good shape; reading the exposure directly from the source and doing a long gentle push in weak HC110.
I have not done a contact print yet, but the negative scanned better as 48bit colour transparency.
The leicaroid (https://picasaweb.google.com/lh/photo/1bmUo_pl_Ar10Vivk3xfMoZD2oIxRNUsM2vIfDVS34c?feat=directlink) tones were much easier to handle than the 8x10 negative.