The press was to separate the last bit of liquid after removing from the churn.
The press was to separate the last bit of liquid after removing from the churn.
A reminiscence of the late sixties.
Everything was shot on 8x10 but pretended to be wide-angle 6x6. White limbo with overhead window-light. Sinar with Super-Angulon 8/121mm tilted way forward. Urgh!
The empty space is for a headline.
Ektachrome shipped to Italy in those days should have been binned in the factory. It was way over tolerance and sometimes required 30CC to 50CC correction.
OK, I give up. What's a "white limbo"?
Taken using circa.1910 Demaria-Lapierre & Mollier 13x18cm camera with Hermagis Apl. No.5 f=310mm Serie II lens. Ilford Delta 100, Hc110 dil. B: Contact Printed.
regards, Tony
A plane with a horizon (For horizon, read far-edge-of-table, skirting-board). Whatever brings you down to earth and provides a visual clue for orientation.
Once apon a time the photolith people had a hard time 'knocking out' the subject an putting it on the white page. Even drop shadows, a step in the right direction for orientation, were frowned on.
Nowadays, for products on a white page, we shoot on a white table against a white background with the horizon almost blending but not quite. The plane is shiny or glass-covered so that there is a hint of a reflection at the base of the subject to give it weight. Like this.
Don't they still use cycloramas?
Playing with a Petzval today:
Artichoke-y... by Scott --, on Flickr
Un-named 5-1/2" f/3.4-ish Petzval, 4x5 Efke PL25M
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