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I really like this one as well. The light is beautiful, and the subtle colors are very pleasing. The composition too, is spot on; the sunlit trees seem to be pulling left and the top of the mountains pulling right and in the middle there's that great dark swath of shadow. It's well balanced. Excellent!Quote:
Originally Posted by Matus Kalisky
Thank you, I am glad you like it. I will soon have it printed in at least 20x24"
that is a beautiful photograph Matus
Spot on! I really like the tone in this one.Quote:
Originally Posted by vinny
Beatiful i love itQuote:
Originally Posted by Matus Kalisky
+1Quote:
Originally Posted by ImSoNegative
regards
andrew
Wow Matus, that's great!
You guys are giving me all those (much appreciated) compliments just to get me back to large format :) I will, just give me a few ... years. Right now our little daughter and first child gets all the attention :)
Somewhere here in the recent archives Jim Cole had a wonderful image of this beach scene in B & W. It prompted me to seek out the area when I was in the vicinity in Nov 2013. This is Skaket beach in Orleans on the bay side of Cape Cod at maximum low tide. I liked the repeating sandbars and somber sky and the repeating horizontal lines. Image from about noontime 11/26/13, between cold heavy rain showers. The white foreground is wind blown sea foam frozen by the 25 F temperature and piled up on the beach.
http://farm4.staticflickr.com/3787/1...e408a39a_c.jpg
45112613-H)11,13,14[t1 by hypolimnas, on Flickr
TK45S with a 210 Nikon W. Fuji Astia Quickload, home developed. 3 chromes V 750 scanned, tone mapped using photomatix, then PS tweaked.
Nate Potter, Austin TX.
http://2.bp.blogspot.com/-ImCaHE2Utf...0/Hamilton.jpg
5x7 Delta 100 in D23 1:1, 300mm Fuji C
It's B+W with a hint of color. Very nice and subtle Nate.
Attachment 108167Attachment 108168
A few more from NJ where I used to live. Maple trees in Snow (Ek100S) and Rebuds (Velvia 50)
Nikkor 150
Attachment 108169
Adirondacks. From Snow Mountain Looking East towards Keene.
Velvia 50 and Nikkor 150w
Both are really nice, but that's no one is incredible, perfect subtle blue light, what made you choose the saturated version for a very white scene?Quote:
Originally Posted by pdmoylan
Yup, definitely Velvia :)Quote:
Originally Posted by pdmoylan
Thank you for your kind comments. Choice of film was usually what was available to me from my local supplier and E100s and the sw version were, for a while, easier to find that Velvia. Also, I found I was losing too many images to light wind and the extra speed of ASA 100 did make a slight difference. The Maples are subtle and I recall working hard and fast to find the best composition. Frequently I walk away from a great situation because I can't get a composition that works for me.
In low light Velvia 50 is king. Velvia 100 shifts too far to magenta but in some instances it is desirable as it adds color saturation which is, let us say, evocative. The saturation and color shift can be modifed somewhat in PS. As my professor once said to me, "know they film".
PDM
Nate, it looks great in that soft color palette. The striations in the sky work perfectly. Glad you got to visit.Quote:
Originally Posted by Nathan Potter
The soft colors and repeating layers have so much harmony.Quote:
Originally Posted by Nathan Potter
This is excellent! The use of line is what I enjoy most about it.Quote:
Originally Posted by Nathan Potter
Nate, I like this a lot!!! Wonderful colors and lines. It works beautifully.Quote:
Originally Posted by Nathan Potter
Attachment 108249
Finally got my first ever shot LF chromes back from the lab today!
Velvia 50 - 90mm f/22@1s and Polarizer
Nicely done. The Polarizer increases saturation on bright sunny days.
Keep them coming.
PDM
good work 'Mr Stone'
I've been looking at your work over in your apug gallery
this is really peanuts stuff, it's your property that's surely the main event and very disappointing for you too
and good luck with everything that it entails
regards
andrew
Thanks Andrew, I'm still really disappointed in that one image where the side rafters aren't parallel to the edge of the frame (it was just so dark I didn't even see them in the frame).Quote:
Originally Posted by Andrew Plume
I'm obviously trying to make the best of it, I haven't been back yet, I don't know if I'll shoot any more honestly, it was very hard. But maybe.
I'm basically going to let the bank deal with it, the home values in that area dropped after the real estate crisis and never rebounded. My house (before) burning was worth 33% of the mortgage I had, so I couldn't sell it, and I had no insurance on it at all, so there is no financial return from the fire in it for me, so I've written a letter to the bank and applied for a special motion to the court to force the bank to foreclose on me, since they refused to do so for the past year(strange but true, even they didn't want it.... It's a blessing in disguise, a new chapter soon I hope, just have to focus on the good.
So in that spirit, the good...
Same trip, (posted one at waters edge thread but it's also land...)
Attachment 108310
Was a little over exposed and was able to pull it back in EpsonScan software. I still like the B&W better.
Attachment 108311
The B&W version I developed earlier this year right after the trip.
Attachment 108313
sorry to hear (of all) this Stone, bad very bad for you
anyhow back to the business of this Forum, thx also for posting these three
best
andrew
great work Nate, the symmetry etc and all of that
regards
andrew
Here are a couple of images taken this past fall in Zion. On two consecutive afternoons, I was treated to a couple of rainbows. Only thing I did not get was the pot of gold. The first image was from my first time up into this area. I took the 5x7 because the day had been downright windy. As I was setting up, a storm blew in that soaked me and my equipment. I had an umbrella along but trying to control the umbrella in this kind of weather was near impossible. When the rainbow came out I had on my 300, so I focused on this one section. I think I managed 3 shots before the rainbow dissipated. Trying to photograph in weather like this was quite the chore - from trying to keep water off of the lens, keep the dark-slide dry, metering, etc. The film was Velvia 100F. I went back up to the same area the next afternoon and took the 8x10. It had been another blustery, cloudy day with off and on showers. I figured I'd take the 8x10 and see what happens. I set up with a 150 Nikkor F8 to frame what is known as the West Temple. I got my focusing down and then waited. Sure enough in rolled more stormy weather. I was able to capture the entire rainbow with a quick adjustment. Again I was able to get 3 shots taken before the rainbow disappeared. This image that I scanned was on E100VS.
Hi,
another one from autumn 2013 in the NP Plitvice Lakes.
http://farm6.staticflickr.com/5482/1...a4cae21c_b.jpg
Flickr Page: http://www.flickr.com/photos/martinj...n/photostream/
Arca Swiss F-Metric 4x5"
Schneider Super Symmar XL 110mm f/5,6
Fuji Astia 100F
Best regards,
Martin
Jim, holy bejesus!!! Incredible!Quote:
Originally Posted by Jim Becia
So are the rainbows typical in this spot?
FYI there's over 10 boxes of 8x10 E100G (exp 2/2014) on eBay right now, the guy even says he's open to taking less money on bulk buys. If you're interested...
Great shots for sure and worth the wait! I've been considering 8x10 but I'm a scan type person for chromes and it just doesn't seem to make sense to go to 8x10 since "THE" scanner Eps750V uses the lesser lens.
And if I do start printing B&W ... Getting an 8x10 enlarger... (For free) Should be fun...
Since I'm babbling I should share an image...
Precipice Peak, Mt Desert, ME, USA
Looking again, I should have used the 150mm but 1 had just gotten the 90mm and 2 the 150mm sticks at 1s and 1/2 so I didn't want to chance it. Not the best shot, but any 4x5 chrome that's exposed properly to me at this stage in my career is a success hah!
Toyo45a, 90mm Schneider f/8 Super-Angulon, Velvia50 f/22 @ 1 second, polarizer. Spot metered for the perfect grey rock (duh)
Attachment 108372
I'm not sure I would say typical, but due to the formation facing west and with most weather coming from that general direction, I would say that when the conditions are right, there would be a decent chance in the afternoon.Quote:
Originally Posted by StoneNYC
Stone, I think you are thinking about 8x10.
Of course I am, have been... A lot... But honestly I can't really afford it. I would totally buy a box or two of that E100G as well as some Velvia50 in 8x10 while it's still available and freeze it if I could afford it just on the off chance I would someday shoot 8x10...Quote:
Originally Posted by Randy Moe
I'm thinking about 14x17 pinhole cardboard box. I have fully abandoned 14x17 'real' cameras as just too, too hard to handle and expensive. I do have a C1, and I just got a little bicycle trailer today to carry it. My neighbors are already laughing...
Quote:
Originally Posted by StoneNYC
Haha, well, I can take the "real" camera off your hands :)Quote:
Originally Posted by Randy Moe
I don't have one, I was going to make one, and nobody is getting my Studio Deardorff until 6 months after I am dead...
Quote:
Originally Posted by StoneNYC
Ok deal, just make sure I'm in the will HAHAHAHA :)Quote:
Originally Posted by Randy Moe
I'm actually afraid of Deardorff's now because of the whole Cochran ordeal, if I ever want it fixed I have now where to go... And if I had sent him my camera and it wasn't returned, I would have gone over there and he might have problems repairing anymore after he was done with mine (I'm all talk of course).
Anyway, I kind of want to skip 8x10 and just shoot 11x14 and 20x24 and contact print those, they are my two favorite print sizes anyway. But, I'll NEVER be able to afford THAT.
Luckily I found a good deal on a 11x14 Studio Deardorff with huge stand. They were made here in Chicago and it seems many have stayed. There is nothing on this camera I cannot fix and I doubt it will need any fixing for another 80 years. I am having new bellows made and Richard Ritter is conforming my back to his holders.
I also want to contact print 11x14 and larger, since I have 100 sheets of X-Ray 14x17 I must shoot that pinhole. This is inner city, up and coming from ghetto to a place I can no longer afford to buy into, but I got in 10 years ago when it was just right.
Right now Chicago is building a local version of the NYC High Line at my doorstep. I plan to shoot (with cameras of course) people right from my stoop. Can't miss, there will be a ramp and staircase right here, after a very messy year of destruction. http://the606.org/
I got's plans, see!
Here is one similar to mine, less than a mile away, not selling and they just lowered the price from $4500. Hard things to sell, hard to move, hard to have the right space. It is missing the 11x14 back...The seller is a well known Chicago portrait shooter. http://www.ebay.com/itm/Spectacular-...item4acdbcdcc6
Stone, things will improve for you, I got's stories, sad stories. So do you.
Quote:
Originally Posted by StoneNYC
Attachment 108725
Lens: landscape meniscus 167/6.7, made by me
I really like this image!Quote:
Originally Posted by asuilin
Would you please tell us how you made a meniscus 167/6.7 lens?Quote:
Originally Posted by asuilin
Where did you get the glass blank? What grinding grit did you use? How did you polish the glass? Etc.
I'm not a soft-focus photographer, but I appreciate the effect. That's really nice asiuilin!
Bravo !Quote:
Originally Posted by asuilin
How did you make that ring appear? I've never seen flare like this :)Quote:
Originally Posted by neprosti
Of course, I did not grinded the glass. It's too much even for crazy Russian :)Quote:
Originally Posted by AtlantaTerry
Optic for this lens (multicoated plastic) was ordered in ophthalmologist shop. It is just the blank for eyeglasses manufacturing.
There are three important parameters for meniscus:
- diopters - affects focal length
- lens curvature - affects balance between corner sharpness and astigmatism aberration (astigmatism, in turn, affects bokeh smoothness).
- distance between the meniscus and diaphragm - affects amount of coma aberration. The more coma, then more "swirly" the picture. I dont' like swirl, so trying to minimise coma in my designs
The rough design was calculated in WinLens and tuned by trial and error. If you want, I can write detailed post in "DIY" forum.
This is a photos of 167mm meniscus:
Attachment 108749Attachment 108750Attachment 108751
It looks and works like a modern lens. No PVC tubes, no waterhouse stops, no old junk. Diaphragm controlled by shutter, as usual.
Yellow-green filter is a part of lens design, it reduces chromatical aberrations (more sharp picture).
That would be interesting :)Quote:
Originally Posted by asuilin
I imagine the lens is the two close up lenses between the shutter and the skylight filter? So it is a two element lens?
simple, you need to directly in the sun and a small aperture
(in color it looks better)
No, it's classical one element meniscus, lens behind aperture. There is no optical element in front, only YG filter to reduce chromatism and protect shutter.Quote:
Originally Posted by Ramiro Elena
Yes, please do.Quote:
Originally Posted by asuilin
Really great result! That "look" is much prettier and more refined than almost any other meniscus lens that I have seen. If you had a bunch of those made up ready to go with threads for a Copal shutter, I would be first in line to buy one.Quote:
Originally Posted by asuilin
Thank you for kind words, Corran!
The hardest part of lens assembly is a threaded adapter to screw step-up rings into Copal shutter. Adapter should be custom machined and I had difficult times trying to find reliable machinist in Moscow. It was much easier to produce these damn adapters in China than here.
If I have a chance to make more adapters, I'll let you know.