Asher,I have not thought about this photo much,not the best one. I don't have a neg scanner so they are all print scans, have not done any thing to them but contact prints. Takes me about a year to get around to them, just in time for the next Tonopah Work shop.
Mike
Asher, this is a negative scan. I have no plans to print it because I consider it a mediocre composition, even when cropping out some of the foreground. It was a matter of trying different things to see how they work out.
My intent when I made this exposure (the only color that I made during the workshop) was to see how Ektar handled the early morning light. In fact it does not seem as rich with the orange/yellow cast as I remember that sunrise. Of course I could change that in the darkroom, but I prefer the results from other monochrome compositions over this color.
al
Hi Al,
I'm interested in this color negative because it might allow different ways of eliciting a B&W image from the scene. One would need to scan for the highlights perhaps, to get everything. It's intriguing to consider that converting to b&W by assigning colors to different ranges of grey scale might, in the end, provide novel B&W pictures optimized for this scene. So, even if you don't get excited by the composition right now, it could come alive with a custom B&W conversion.
It's worth trying before the next Tonopah expedition!
Asher
Al,that aviator looks like it worked out pretty good.
Mike
This first one is on Tri-X
This one is on HP5+
This first one is on Tri-X
Here is another on HP5+ (Just to present a different angle on a popular subject.)
Al,
I keep returning to this set of images. You did very well here. I really enjoyed the place and was amazed that folk hadn't carted off all those sinks, for example! Have you processed any more pictures?
Asher
Jim,
Am glad to revisit the Tonopah images, going page by page. Eddie's wet plate picture of Per made me stop to think a while, the demo and Per were impressive experiences I'll never forget.
I didn't see you make this picture. This was a great group effort and most impressive how you put it together! I really like the result here and those two flash pops really did open up the interior, just enough. Well done. Do you think more detail could be burnt in on the roof? I'm not saying it would be better, just wondering as you did, after all face a daunting range of lighting.
Thanks again Jim for all the effort you made and especially the personal attention you gave to everyone and sharing a glimpse of your wild collection of soft focus lenses!
Asher
Asher, thanks for you kind comments. I posted early on most of the photos that I bothered to scan. I was not happy with most of the results, but I felt obligated to post them on this thread as part of the sharing experience. The remainder were either not what I wanted or were too similar to images posted by others. For example, I had to perform some serious cropping of the sinks photo and I still could not make the photo that I envisioned.
The photo of the rail car seems quite contrasty except for the tonality around the top. I tried to underexpose to eliminate the detail of the straps in the interior. The real problem, however, is that the photo was crooked so that when I straightened it, I had to crop off the eaves of the car. Then the trick was to hide the bald, white sky. Perhaps it would be better with IR.
The one of the seat back through the window is difficult to tell what you are looking at. A bit abstract. I think that the HP5+ was the right film for getting the texture of the wood. I also had to crop off the top of the window because its trashy appearance did not complement the rest of the image. The only one I was really happy with is the one of the Dodge.
[I also had several a number of ruined photos from holders that had light leaks. After the trip I tested the holders by loading them up with enlarging paper. Then I placed each one in the camera, pulled the slide, and used a flash to light each side of the holder including twice at the slide opening. I did this for each side of all of the slides. Then I developed the papers, keeping track of which side of which holder they were from. I culled eight holders this way.]
To get back on topic, I did quite a bit of photography with a 6x6 Bronica, which I haven't posted here. My favorite 120 film is Ilford SFX that I sometimes shoot at the ISO 200 box speed and sometimes at an EI of 6 with an infrared filter. I was much happier with these effects.
To answer your question, the photos I posted on this thread were all that I cared to post. I have a number sites that I would like to return to and redo. I also have some additional ideas for shots I would like to try.
SO... my question is when are we going to do this again? If we pick a date, we could all meet in Tonopah without putting the burden on Jim. Jim did a fine job of leading the workshop, but I think we all know our way around by now. It does not have to be a workshop. What do you think?
al
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Activating Thread Auto Search = "Tonopah Temptation Workshop *** 2012 + 2013"
"Sex is like maths, add the bed, subtract the clothes, divide the whoo hoo and hope you don't multiply." - Leather jacket guy
Well, I've been on two of these and would go on another.
I had originally planned on going back with my digital shooting brother the week of 10/15. Now he can't make it. I may still go ... I would love to stay and have dinner in the restored Mizpah Hotel (opened last fall after a full renovation) and I'd like to have another late-night Dead Laden (the drink of the week when we were there last time after Bin Laden was killed) while playing video poker at the Clubhouse Saloon on Main Street (the bar where Jack Dempsey tended bar before he became heavyweight champ.) Plus, I lost 12 8x10 shots in six holders last time when I set them down by my car and drove off ... so I have some re-shooting to do.
The mid-October date is perfect because the early and late golden hours are at decent times, the temps around Tonopah are good, the eastern Sierra will be turning colors, and Tioga Pass is likely to still be open ... and all those things open up a ton of possibilities in Tonopah, Goldfield, and the Nevada Desert for the main shoots and on the way there or back, the Eastern Sierra, Mono Lake, the Bristlecone Pines, Bodie ghost town, and even Death Valley, Vegas, and Yosemite (I love the reflections available on the Merced during October.)
I like the idea of an independent ... non-workshop type get-together ... Per's workshops were pretty close to that anyway ... and that is what I really liked about them. And, I like the idea of limiting the group's pressure on Jim ... so he doesn't end up having to host. With a little coordination we might be able to rent the firehouse hangout for a night or two and swap stories, pour drinks, share photos, and plan a shoot ... and add some new shots to our joint group effort on PhotoNet.
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