About 90 seconds after I took this photo, he was wedging himself under the power cords in the back and I had to rescue him from the dust bunny monsters…
Tagged: , Pip , cat , Mac , computer , MacPro , Tweeted
A silent office hides behind the lab.
Moss was covered on desk, and keyboards, but most of the files and folders were still in place.
It feels like human took off from here all of a sudden…
Photographed at the semi abandoned DC general
Tagged: , abandoned , hospital , dc , general , washington , office , dust , computer , chairs , asylum , Nikon , D750 , 50mm , without , human , Urbex , urban exploration
CD data dust, oil paint, graphite, mica, resin on wood panel
118cm x 122cm
Tagged: , art , painting , cd , cds , obsolete , media , computer , data , cyborg , cyber , junk , upcycle , recycle , reuse , retro , vintage , face , eyes , sparkle , glitter , android , ai , eco , ecoart
Smart dust, brain controlled computers and general artificial intelligence (AI) are among the technologies that could have an impact on IT in the not too distant future, according to Gartner’s Hype Cycle for Emerging Technologies, 2018 research.
“Business and technology leaders will continue to…
The roadrunner landscape, Baja California. Well, maybe just California, the roads were better there and there were also lots of cliffs, which I didn’t saw here.
We got a ride to get to the beach, and to leave the beach, I should try it more often, its fun and cheap. The guy on the way there told us a story about him traveling around the world hitchhiking, also something about catching rides in the sailing boats cities… which sounded quite interesting, now he has a stable job and doesn’t travel that much. He looked young, he said it’s because he had a relaxed life. Inspiring.
Again highly saturated colours, I stop using them since I saw my photostream in another computer and didnt like it, but, i rather see them the way I do in my laptop 🙂
Tagged: , Bahia Concepcion , Baja California Sur , Mexico , Playa Naranjos , camino , road , dust , cactus , montaña , mountain , sky , cielo , polvo , desierto , desert , saguaros , cerro , hill , viaje , turism , turismo , aventura , adventure
Kodak Ektar 100 | Mamiya RZ67 | negative processed at home and photographed with my Sony A7R-iii
This is a quick summary of my observations using Negative Film Lab to perform the surprisingly non-trivial conversion from color negative to finished image.
1. TLDR; I was impressed enough after playing with Negative Lab Pro this morning I purchased a license. That says it all.
2. The film was processed by me back in May 2018. I had not yet thrown those twirling stick agitators into the recycle bin yet, so the film is unevenly developed. There was more activity at the edges of the strip than the middle because the edges got exposure to fresher chemistry. TLDR? Inversion is the only way to agitate. YMMV. This is what works for me. Inversion agitation totally stopped the uneven development problem.
3. Compared to my prior workflow using Silverfast, this plugin is a breeze. I can stay in one program all the way from camera raw file to print ready image file. I’ll compare workflows in the comment area so you can decide for yourself.
4. Digitizing the image consists of carefully doing a macro photo of the negative on a light table. Any modern DSLR or mirrorless camera will work, but if you plan to print big, the 40+ megapixel cameras are ideal. A quality macro lens is also vital, as is a means of securely mounting everything. I use heavy duty woodworking clamps from Lowes to mount a Kirk ballhead to a sturdy workbench; thinking hardware store rather than camera store saves you a lot of cash! A scanning mask is strongly advised as stray light can enter the edges of the film. Reflections can also be an issue, as can lens flare. A mask helps with all of these. Stray light will wreck your results.
5. Follow the instructions that come with the Negative Lab plugin. If you do it right, the end result will be an image which requires only minor corrections and spotting in Photoshop/Lightroom to finish it off.
I’ll let the image speak for itself. Because of the ridiculous amount of compression Instagram uses, I will be posting these images to my Flickr account as well. The link is in my bio. More info in the comments area.
I want it to be known that I am not trying to sell anybody anything. One of the biggest problems for a film shooter in 2019 is how to actually do something useful with the film once you’ve shot it and developed it. Quality scanners are expensive and slow. Hiring a company to handle the job is also expensive and slow, plus it takes the photographer out of the loop as far as the overall look of the resultant images. Color negative scanning offers a massive amount of latitude for one’s artistic vision, you don’t really want to leave that in the hands of someone else.
After studying every affordable option for scanning medium format film, I concluded that scanning with a high megapixel digital camera was the best option. Once everything is set up, it’s undeniably fast, much faster than high-quality medium format scanners. As for results, if you carefully scan a 6 x 9 negative (or positive for that matter), you end up with a 42 megapixel image in the case of the Sony A7R-iii that I use. That’s more than enough information to create high-quality 24” x 36“ prints.
Honestly, the resolution isn’t the problem. The problem has always been converting a color negative into a color positive.
Last winter when I began seriously looking into this problem, I tried everything that was on the market at that time. I quickly settled on Silverfast as the best of a not so perfect lot. It wasn’t perfect because the software is expensive, the user interface is downright hostile, and the whole thing feels like a Windows 98 era program ready to crash and burn at any given moment.
Even with the issues it has, Silverfast undeniably does produce quality output. At a license cost of $250 for a basic version and $400 for one that actually doesn’t go out of its way to slow you down at every opportunity, it had damned well better at least deliver good output. So why am I so excited about this new Lightroom plugin? Take a look at the workflow for the two solutions:
Silverfast HDR 8.8
1. Copy raw files from memory card into temp directory on computer
2. Install the Adobe DNG converter
3. Install MakeTiff from color perfect
4. Convert your camera raw files into linear tiff files
5. Import linear tiff files into Silverfast
6. Perform the necessary adjustments to each photograph inside of Silverfast to get optimal output
7. Kick off Silverfast batch job to create positive tiff files
8. Import tiff files into Lightroom (jumping into Photoshop as needed for heavy lifting) for cataloging, dust spotting, cropping, and creation of final output files
Negative Lab Pro
1. Import raw files from memory card into Lightroom
2. Crop images and perform a white balance with the eyedropper on orange mask as instructed in the Negative Lab Pro video
3. Start the plug-in and again follow the directions in the instructional video
4. Perform final edits such as dust spotting, color tweaking, cropping and so on. Edit in Photoshop for heavy lifting tasks like content aware fill. Export final output files from Lightroom as needed.
It’s up to you, both methods work just fine. I am keeping Silverfast around because there are a few tasks it excels at, such as getting optimum results from seriously expired film. That said, with excellent image quality plus the speed and simplicity advantages, the Negative Lab Pro plug-in will be taking over my medium format camera scanned work.
I hope this information helps you enjoy the art of analog photography as much as I do.
Tagged: , NegativeLabPro , Kodak , Ektar100
The rent was forty five dollars a month. The upper window in this photo was one of three in the dining room. The lower window opened onto the coal bin and was used to receive coal which would be poured down a chute from a dump truck a ton or so at a time.
The house was heated by a coal fired octopus furnace. Except for the odium of taking out the ashes, other childhood chores such lighting the furnace at the onset of winter, breaking up lumps of coal, banking the fire at bedtime and taking turns at stoking the furnace were actually fun.
There were other ad hoc chores such as dishes, helping with washing laundry and ironing: all light work. I only hated dusting.
None of this was considered work but rather as lessons in self sufficiency by my parents and no more to me than interruptions in my business of living as child.
So that I could learn how to do business, I was assigned the task of ordering coal deliveries from Young’s Coal Company by phone. Is that much different that children today leaning to use computers?
During the coldest nights the furnace could not heat the bedrooms upstairs and the family slept on pallets of blankets and old quilts laid on the linoleum of the living room floor. I think that it was the night we got the temperature in living room above ninety but still couldn’t go upstairs without a coat that we gave up in favor of camping out in the living room. And this wasn’t often, and not even every winter.
Once we got a deal on old railroad ties and burnt them one winter. At first they were an inconvenience as they were not unloaded in back into the coal bin but at the front of the house where they were stacked under the clothes lines interfering with clothes drying in the basement on wash day. But then there was the chimney fire. Big chunks of black soot covering the neighborhood like snow. The firemen said we were pretty lucky that the fire was contained in the chimney, they said that after one of them noticing the hole for a stove pipe in the dining room, and poked a hole in it with his finger discovering that it had been sealed off with a paper plate which was then wall papered over.
These row houses had been pretty swell in their youth, they had been built with gas lights and when converted to electric were outfitted with push buttons instead of switches. They also had balconies, or had had balconies. Ours was long gone but the door and screen door were still there, we used it like a big window.
My parents smoked and the lace curtains needed washing often. When this was to be done I was sent to a neighbor, Jessie Able, who as a very little girl and survived the Johnstown Flood. I grew embarrassed of being a beggar after a while so saved my allowance until I could buy a six foot step ladder at Sears. We had no car and I didn’t tell anyone what I intended so I walked to the store (I was about 12) and carried the ladder back, round trip 1.6 miles – need a car for that?
In the proto-galley kitchen one of the faucets on the kitchen sink had been repaired with a threaded still cock, other wise the sink looked just like the sink in the Kramden’s. There was a single light with no light switch but we found the pull string because mother had tied a broken toy horse to it. A quadriplegic white plastic bucking bronco.
All of the ceiling lamps had lost their shades years before our time and all our bulbs were nude.
The kitchen was also the last place where I experienced corporal punishment at home. It was permissible for preschoolers to drag all of the pots and pans into the living room for toys but my space ship was not. That probably had something to do with it’s control panel being the same thing as the burner knobs on the gas stove. We were flying pretty fast when mother found us and my hand was spanked by a big old index finger. Hardly felt it but father told mother that she could have broken every bone in my hand with ‘that big old finger’.
There were a few doors without knobs (you ran a piece of torn bed sheet though the hole to use as a pull). Eventually I bought some door knobs from the East Side Hardware down the block and found a few more in an empty house so we got rid of the cloth pulls. Torn strips from bed sheets are also wonderful to pack windows against the winter winds. These were common practices at the time. The strips were kept over in a rag bag and a case knife, turned dull grey with age, kept as a dedicated window packing tool.
The board fence at the right of the photo enclosed the property of the Illinois Central Railroad, but not completely. Where it ended adventure began. The Yards also offered danger, and not just from the yard bulls or the monster rats. There was for a while and old black pedophile who looked just like Disney’s Uncle Remus and lived in one of the boxcars. He got successful with three brothers who lived on Cascaden Street but that didn’t last long and he disappeared into the system. I encountered him just once when walking down the alley to Hawthorn school. He smiled like all the suns in the universe, you would have though he was made out of love, but I had learnt what adults could be and circled around through back yards to be on my way. It was a couple weeks later that his ‘friendship’ with the neighbor boys was discovered.
The autos were owned by neighbors, the Dodge behind me was owned by Loren Heck a really big guy who was seeing Jesse Able. He could get mean when drunk and often was but when Jesse called the police he would shake his head like a wet dog and that is all it took for him to regain the appearance of being sober – this was before breath tests and the cops probably were very interested in domestic trouble anyway. When he died, she gave us the flag that had been on his casket, I still have it. Jesse, by the way had survived the Johnstown Flood when a child.
We had no car. The car had been used mostly for going out drinking when that stopped in favor of raising me the car when.
Above the fence can be seen the tops of buildings in the 900 block of East Fourth Street.
Directly across East Fourth Street from our home was the Silver Front Tap. I slept in front bed room overlooking the Silver Front. Sometimes when I was supposed to be sleeping I would watch the street from the window, which could be amusing considering the drunks coming out of the tavern in their attempts to go home. We never locked our doors until the night while father was working and we heard the front door open. Mother when to investigate and found a man on his hands and knees crawling up the stairs. She politely inquired, "What in the hell are you doing you old son of a bitch?" Somewhat testily he replied that he wasn’t a son of a bitch that his was his home and he was going to bed. She took him up by the collar, hauled him outside, threw him off the porch and started locking the door. He wasn’t in the yard in the morning so he probably crawled off to find a bed elsewhere.
In the Spring of 1962, while I was watch out of that window, a man left the bar and turned the corner onto Almond Street. He was going to his car parked in the gravel lot behind the bar he was followed by his girl friend’s husband. The husband came up to him and shot him.
During the summer of the murder and the year afterward I was sent every day to the Iowa Public Service power plant to take father lunch. The way was over the blood stain. Both ways. The chalk outline was gone after the first winter, the blood stain persisted two years.
But this was a great place, it was eight blocks from just about anything I could want except the Jr. High Schools and the hospitals and I didn’t want either of them. We had grocery stores a pharmacy, our doctor (Addison), a jeweler, bakery, hardware, lumber company, the renowned Hickey’s Restaurant, a dry cleaners, a couple bars, one A&W and both the Salvation Army Store and Saint Vincent de Paul Store. Plus a few junk stores which were really antique mines waiting to be found. All of which were no more than three blocks north or south. And just across the railroad tracks – the Recreation Center in an old school, torn down for the Sullivan Brothers Park, about the same time that their family home was torn down. It was like living in a city. You see why we got along fine without a car.
Tagged: , Waterloo, Iowa , Gay Men , Gay Iowans , homosexual , homosexuality , faggots , fags , Silver Front , murder , iowa , childhood , safety , gun safety , sleeping on pallets , Coal fired Furnaces , IPS , Iowa Public Service
These colors were created by forming an emulsion of cooking oil and water drops on the shiny side of a CD, and then shining a bright light on to the mixture. I used my 60 mm macro lens focused as closely as possible. The colors can be changed by partially blocking the light, and also by using a mirror to change where the light goes. This is fun stuff to play with. This is straight photography (whatever that is), and not created on a computer, although I used Photoshop to adjust contrast, saturation and remove tiny bubbles and specks of dust. It’s not possible to go to the Canadian Rockies or Baja California every day.
More of these photographs of colorful emulsions are in my pretentiously titled Emulsion Art album.
Tagged: , emulsion , emulsion art , emulsion photography , primary colors , Color , Saturated color , Abstract , CD