A winter landscape, artificial lake under snow...
Dolní Padrťský rybník by Andrej, on Flickr
4x5 neg, lith print on good old Fotokemika Varycon... Wish there were still papers like this on the market...
A winter landscape, artificial lake under snow...
Dolní Padrťský rybník by Andrej, on Flickr
4x5 neg, lith print on good old Fotokemika Varycon... Wish there were still papers like this on the market...
Nice composition, Andeios.
Philip Ulanowsky
Sine scientia ars nihil est. (Without science/knowledge, art is nothing.)
www.imagesinsilver.art
https://www.flickr.com/photos/156933346@N07/
Linhof Technikardan S45, Schneider-Kreuznach Apo-Symmar L 5.6/150, Provia 100F.
--- by atomstitcher, on Flickr
Thanks. Yes the patches of overcast sky were definitely blown out, but the fog made it so the effect doesn't seem out of place. The light was fading fast at this point, so I'm just grateful I managed to almost completely avoid motion blur in the trees during the 30 second exposure!
Linhof Technikardan S45, Schneider-Kreuznach Apo-Symmar L 5.6/210, CPL, Ektar 100.
--- by atomstitcher, on Flickr
Last edited by Gabe; 13-Jan-2022 at 00:45.
Very beautiful work, Gabe.
I see on the Flickr link that you're doing multi-shot digital stitching of the film image with a DSLR. Could you provide a brief description of how you do that?
Many thanks.
My digitisation method in brief is I use my D810 + 100mm macro on a copy stand, a Kaiser Slimlite Plano as light source, and a custom 4x5 holder I made myself out of laser cut stainless steel and magnetised rubber sheet (using this the film is suspended perfectly flat by its extreme edges, so no need for glass sandwiches). After some experimentation I settled on a DSLR height such that I capture the 4x5 sheet with 9 overlapping digital frames, which I then stitch together to a pano RAW file in Lightroom. In this way I end up with a final digitised image of about 90 megapixels. It's possible to get more resolution using a higher magnification and more frames of course, but then film/sensor plane parallelism and/or field curvature of the lens can start to become an issue. 9 frames is a decent compromise. I use the ColorPerfect plugin for Photoshop to invert colour negative RAWs, although they will typically still need tweaking afterwards using RGB curves to get the colours really bang on.
The dynamic range of the D810 can handle negative films no problem, but I've found that with slides it is better to bracket the digital segments +/- 2 stops (so 27 frames in total), then stitch those to an HDR-pano file which can then be further processed to match the original (I have the slide on a lightbox next to my monitor whilst I'm doing this). The difference is subtle, but I've found doing an HDR stitch allows better reproduction of highlight details in particular from the original slide.
Last edited by Gabe; 30-Oct-2021 at 13:22.
That's a really great description, Gabe. Have you also done flatbed scanning? If so, how does it compare? How easy/difficult is the stitching in Lightroom? Your shot on Provia with the trees in fog was impressive both visually and technically. That would have been very difficult to obtain via a pure analogue route.
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