Sunday, September 28, 2014

A composite of 16 handheld shots with photomerge in Photoshop 2014

The real time of the day is reflected in the main cylindrical windows, but it looks nice under a sunny sky ;)

The raw result of photomerge (the car in the lower right corner is "composed" too, but hard to see)
There is something Hockney-esque in Photoshop's photomerge

Monday, July 14, 2014

Contact print using a laptop LCD

The winter semester 2014 at Ryerson, one of my electives was Analog Photography. The Master, Rob Allen, told us about the last assignment that

"the objectives of this assignment are to promote deep consideration of a technical issue, or subject matter or idea, then to make an intensive foray into the heart of the thing."

Here is my Proposal


For the presentation and critique, the students hanged their printed conclusion with the photo-prints. I presented my conclusion too:

Final presentation (posted with the prints)

I took some shots, and prepared them for exposure:

  1. optimized them in ACR
  2. made them greyscale
  3. made them "negatives" (in Tone Curve > Point : blacks up, whites down)
  4. opened in Photoshop
  5. flipped horizontally
  6. using the calculus above I reduced the size and resolution (in order to have pixel-image per pixel-LCD)
  7. added a new layer (black) under the image
  8. changed the canvas size to equal the LCD native resolution (the image will be displayed in full screen mode--F11--for exposure)

An example: prepared digital negative for contact exposure with photosensitive paper on the LCD

The paper (Ilford multigrade RC) was exposed face down in contact with the LCD (laptop opened at a right angle, positioned on the table having LCD horizontally face up), using 3 guides (a squared U shape) 1cm width cut from another sheet of photo paper and fixed on the glass with Scotch tape. The image was displayed with Windows Photo Viewer in full screen mode.

The steps in the dark:

  1. display image
  2. LCD off (unplugged from motherboard)
  3. get a sheet of paper from the pack and put it in contact on the LCD
  4. exposing (plug in, plug out LCD in the motherboard)
  5. get the paper for developing

The shots of the four images presented for the final critique. A lot of tonal shadows under the bridge, given the maximum LCD (glossy) potential. The "noisy" reflections that appear on the left or right edges of the photo paper are good for comparing digital and analog sharpness.

Contact print using a laptop LCD 1

Contact print using a laptop LCD 2

Contact print using a laptop LCD 3

Contact print using a laptop LCD 4

Saturday, April 5, 2014

Monday, March 31, 2014

March 8, 2014 on Yonge

~ 1 ~

~ 2 ~

~ 3 ~

~ 4 ~

~ 5 ~

~ 6 ~

Note: above images were shot on B&W film.

Saturday, March 29, 2014

Still life - lighting

Soft light

Hard light with bounce white panel

Hard light with diffuser and bounce silver panel

Both lights from above

Monday, January 27, 2014