Stone -- some folks use a polarizer to eliminate some of the blue light from the sky being reflected off of foliage. In the image above, it probably helped to maintain the yellow-green on the ferns.
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Stone -- some folks use a polarizer to eliminate some of the blue light from the sky being reflected off of foliage. In the image above, it probably helped to maintain the yellow-green on the ferns.
I used it for two reasons in this scene. First, I wanted to knock out any reflections on the ferns. Even though it was overcast, there were still some shiny areas, and the polarizer helped maximize the green saturation by cutting out all reflections. Second, my polarizer is the warming kind so I used it to make sure I compensated for the cloudy conditions. My polarizer is pretty much on my lens all the time if there are leaves or water in the scene.Quote:
Originally Posted by StoneNYC
So glad you got the result you were after this sort of shot just reminds me why i like Velvia so much , It just has that something ,No other film or digital sensor for that matter has .Enjoyed the view . Cheers GaryQuote:
Originally Posted by skiers4life
Really great stuff like that you havn't blown the detail in the water . keep it up my first LF was Tachi 4x5 as Well ,Great camera . Cheers GaryQuote:
Originally Posted by abhishek@1985
For stand development to work, you need to use a compensating developer. That means that the developer molecules adjacent to the lightly exposed areas of the negative will continue to work at development, while the molecules adjacent to the highly exposed areas of the negative will be exhausted. The result will be a decrease in contrast between the highlights and the dark areas of the print. Still development does not work with highly active developers. It works best with compensating developers that are highly diluted such as Rodinal 1:100 - 1:300. But there is a cost for compensation and still development. The micro-contrast of the print is dulled. So while overall a highly contrasty scene may have been made printable without excessive highlight or shadows, many low-contrast areas can become muddy and uninteresting. This is not dissimilar to what happens in Zone development.Quote:
Originally Posted by Jmarmck
Quote:
Originally Posted by Vaughn
OH!!! I had never thought of that! Luckily I always use my polarizer for most work as most color work is landscape with water or sky so cutting down on haze or reflection, but I hadn't thought about the blue cast, or known about it being part of what polarizers eliminate, but that makes sense.Quote:
Originally Posted by skiers4life
The only scene I think I did NOT use a polarizer was this image, of corse it took horrible notes at the time (I'm better now) and so I can't be sure...but with the amount of reflection, I believe I did not, the sad part is I was shooting side by side comparisons using my 6x7 as well so I used the polarizer on one of them I think... I haven't scanned those yet as they just came back from the lab, but appear to be stronger in saturation with less reflection (yet the same film) but I would like to look full screen side by side before making a statement, but this is the only image I think I did NOT use a polarizer with E-6 sheet film.
Attachment 116869
Hi Gary,Quote:
Originally Posted by Gary Tarbert
Least to say I am highly honoured and privileged.
It was my second shoot with the 4x5 and first ever development. Am super excited to see the pictuire come through. I was sure I must have screwed it up in so many ways possible in 4x5 shootout.
Glad to have an experienced guy like Joel Truckenbrod by side to help with the details ..
Large format is very addictive!!!! I might end up selling all my hasselblad medium format gear for a large format gear set :)
Regards,
Abhishek
As I understand it:Quote:
Originally Posted by StoneNYC
If the sun is not shining down on the scene, giving everything it's warmer light, the primary cast of the light coming down from the sky on a scene is blue, perhaps a little less so on overcast days. So light reflecting off of leaves will have a lot of blue in it. Polarizing and eliminating a lot of the reflected light off the leaves thus reduces the blue light bouncing off the leaves towards the lens. Funny how our brains tends to ignore this blue light when we are out there and tend not to notice it -- but notice it in the print.
Very true, and I always forget, the fun trick is to cover one eye for a minute or two, then uncover it, and you'll see the blue (or wherever tone is dominant in the scene) seems to for me, but I've never actually tried this for any kind of color film work, just an observation.Quote:
Originally Posted by Vaughn
"of course, this is just my opinion. I could be wrong", but I don't think so. The reflection on the water makes the picture, as far as I'm concerned.Quote:
Originally Posted by StoneNYC