always humbling to throw one up in this crowd but
I've been laying fallow for awhile but need to get back
on the horse :) This was out in Nevada during
Shooting the West '10
http://www.timsandstrom.com/images/new/room.jpg
Printable View
always humbling to throw one up in this crowd but
I've been laying fallow for awhile but need to get back
on the horse :) This was out in Nevada during
Shooting the West '10
http://www.timsandstrom.com/images/new/room.jpg
I guess this is a landscape!
Shen-Hao 4x5
135mm F22, 1/8 second
D-76 1:1 7 min. @ 70 Deg F.
http://www.jonomanphotos.com/Photogr...45_Ui6HN-L.jpg
Jon
Dear Heroique,Quote:
Originally Posted by Heroique
Masks are your friend... :)
I find that a proper mask, combined with any well thought out darkroom technique, can mimic the traditional darkroom effectively, to a "point." The inevitable "point" happens to be strongly related to the author's hands and mindset, how well the author executes that mask with their talented brushes, and how well the author applies the darkroom technique within that overlaid mask.
For example, I would never use the "dodge and burn" tool within Photoshop, because that tool is a destructive tool, whereas a mask that contains a shaped curve or a carefully crafted level could darken or lighten an area within the image more effectively, especially when the masked area is a small area, such as a toned down specular highlight. The incremental tools that create the mask and control the mask's total blended surface area require patience, and practice, and if I produce a mask within an image that looks as though I failed miserably at my quest, then I quickly remove that masking layer with its inherent garbage execution, and I start over. This repetitive dodging and burning exercise would not be any different whether I happen to be in the darkroom or not, but I could state that I did not just throw a five-dollar sheet of silver halide paper into the trash and, or create a get-by-product.
Lastly, and to qualify a previous statement by me, my reduced files migrate from 650mb+ files to a mere 200 to 300kb web based image without any thought about final image quality, so the reducing algorithm within Photoshop is bound to choke on tonal density along any border that may have a few hundred pixels to display a smooth gradation from dark to light along the horizon line, especially when that information is stuffed to two or three interpolated pixels.
As a side note, I occasionally notice that a reduced and sharpened ready-for-print file may contain these aberrations on a larger scale, so I must take a few steps back into the original file before it was reduced to see what caused the aberration. Generally, I find that I might have sharpened an area within the final image improperly or too aggressively, and correcting the affected area by applying a smoother transition zone can reduce that effect, or eliminate that effect completely.
Again, I am certain that many individuals within this forum are fabulous darkroom experts, and learned to carefully transfer that knowledge with great effect into Photoshop. There is an abundant and talented knowledge bank within this group that could teach me several new darkroom points, too.
Again, masks are your friend...
jim k
that's lovely, i really like this.Quote:
Originally Posted by dasBlute
Flooded Corn Fields
TMY developed in Pyrocat HD
Printed on Ilford MGIV FB toned in selenium and thiocarbamide.
thanks a lot Craig, this was a marvelously quiet location,Quote:
Originally Posted by craig nye
a small herd of pronghorn patiently watched from a distance
while I lumbered about,...
Dear Sam,Quote:
Originally Posted by SamReeves
Merci...
Bad days exist when I don't shoot the lights out on a golf course... :)
jim k
yea, if there's no such line visible in the larger versions of the photograph, then it's probably the reduction/sharpening process that you're using. I bet some experimenting with the settings could reduce that. I hardly ever see it in my own images, but every now and then I do, I think it's amplified by sharpening the image.Quote:
Originally Posted by jim kitchen
Nice, Daniel, very abstract. Good eye to see the potential there! Did you happen to shoot any of just the first "zone" or the second "zone" alone? I'd be curious to see something like that as well, particularly the "zone" with the thick cornstalks. I've seen images like just the foreground, but never anything like the part with the stalks.Quote:
Originally Posted by dlin
Daniel...isn't that corn the type they plant in Illinois between Ottawa and DeKalb?