Scientists Discover Previously Unknown Month
Click for larger view
The spelling was correct on the other side.
Analog and Digital Photography. Several anamorphic prints are available at: Chicago Art Source. Ask for the prints by Mark Messerly. Electronic projects: Anachronous Technology
Tuesday, April 30, 2013
Spelling Bee
I was walking toward the Graue Mill to explore the nearby trails. Along the way, I noticed this intriguing sign.
Monday, April 29, 2013
Hasselblad press release - V-system done...
I have two V System cameras - a 501CM and a 500ELM. This spectacular camera is officially done.
Saturday, April 20, 2013
Pullman Exploration
I've been rescanning a few images from a trip to the Pullman factory site - this is a mix of imagery from a large format camera, and a Leica IIIf. This opportunity was part of an excursion with members of the Midwest Large Format Asylum - http://www.midwestlargeformat.com
Get To The Point
Leica IIIf, 50mm Summarit
Some Round, Some Square
Leica IIIf, 50mm Summarit
Inside, Outside
Horseman 45HD, Schneider Super-Symmar XL-105
Misplaced
Horseman 45HD,Schneider Super-Symmar XL-105
Further information about this historic neighborhood can be found here - http://www.pullmanil.org
I hope to add an image of the Hotel Florence soon.
Monday, April 1, 2013
Composition, and cold weather
Several years ago I was intrigued by the long winter shadows at the historic Graue Mill, in Oak Brook Illinois. http://www.grauemill.org
I put a wide angle lens on a Hasselblad - the old 40mm C Distagon. A dark orange filter was placed up front, to enhance contrast. There was some Ilford HP5 film rolling around in my collection, so I loaded it up and drove to the mill.
It was brutally cold. After each exposure, the lens would stop down, but did not return to its wide open f4 aperture. I had to manually open it up in order to compose the rest of the images.
The equivalent view of this lens in 35mm terms, is in the range of 25mm. With a very few steps, the image composition changed radically.
I put a wide angle lens on a Hasselblad - the old 40mm C Distagon. A dark orange filter was placed up front, to enhance contrast. There was some Ilford HP5 film rolling around in my collection, so I loaded it up and drove to the mill.
Hasselblad 40 C Distagon
Click for larger view
It was brutally cold. After each exposure, the lens would stop down, but did not return to its wide open f4 aperture. I had to manually open it up in order to compose the rest of the images.
The equivalent view of this lens in 35mm terms, is in the range of 25mm. With a very few steps, the image composition changed radically.
Click for larger view
Click for larger view
Click for larger view
Batteries can also be problematic in cold weather. I've used a motorized Hasselblad a few times, and the internal battery failed quickly when used during a 15 degree day. I rigged up a small 6 volt lead-acid battery, kept it in a pocket inside my coat, and ran a wire to the camera. This worked well. Always carry extra batteries.
The Graue Mill is a favorite location of mine for photography. There are scenic trails through the adjoining natural area, and numerous events are held throughout the year.
Tuesday, March 26, 2013
Monday, March 25, 2013
Sunday, March 24, 2013
Abstraction of an abstraction
Looking through some older negatives, I found misplaced images that I thought had been lost. I had a low resolution jpeg, and a left/right pair from a flatbed scanner that I could stitch together for a reasonable version for the web. I'd sent three negatives to a lab that provides high resolution drum scans, so that I could print large versions of the images for display in juried art shows. At some point, cleaning my desk, I managed to misplace the DVD, and the negatives...
In 2005 - 2007, I had the opportunity to exhibit several of my large anamorphic prints in the juried Around the Coyote Fall Arts Festival. Hundreds of artists filled the Flatiron Building and adjacent commercial locations in Wicker Park.
I was intrigued with the possibility of creating large versions of the imagery, since details in smaller prints I had made with inexpensive consumer scanners and printers could not produce the desired results.
The negatives produced by the Omniscope camera could be difficult to work with. One issue is the variation of the exposure. Across the face of the film, there is roughly 1.5 stops gradient between the edges of the film. This will be explained in a separate post on the camera later. The negatives are from medium format film, and approximate the 6cm by 17cm format.
Once scanned, the high-resolution images were printed, using a LightJet printer that fires lasers to expose either Kodak Endura or Fuji Crystal Archive photographic paper. For each show, I had to produce two or more new prints. Three candidates were missing, and I was stuck using the consumer-grade scanner. The prints from the LightJet were acceptable, yet didn't have the look I'd hoped for.
Pinhole images can be surprisingly sharp. They are diffuse by nature. This characteristic, distortion, or whatever you prefer to call it, can be used in creative ways like any other optical property. Control of the depth of field is commonly used to emphasize a face in portraiture, as the eye is drawn to the detailed parts of an image. Another characteristic of pinhole imagery is a near-infinite depth of field - in relative, practical terms. My Nikkor-M 300mm large format lens has an aperture ranging from f9 to f128. At f128, the lens is approaching the relative size of a pinhole aperture, and has an amazing depth of field. I'll post an image using the lens at f128... when I find it... showing a fence with adequate focus at about three feet from the lens, with a building in sharp focus about a half-mile away.
Here are the three 'lost' images. They are not particularly impressive in this small format for the web, so you'll have to imagine the detail and subtle nuances of a high resolution print at about 40 inches wide. The original files are scanned at 300 dpi with an image width of 65 inches. Imagine that on display - I may try one that large. I will not pay for the framing, however... I'll settle for a few tacks.
In 2005 - 2007, I had the opportunity to exhibit several of my large anamorphic prints in the juried Around the Coyote Fall Arts Festival. Hundreds of artists filled the Flatiron Building and adjacent commercial locations in Wicker Park.
I was intrigued with the possibility of creating large versions of the imagery, since details in smaller prints I had made with inexpensive consumer scanners and printers could not produce the desired results.
The negatives produced by the Omniscope camera could be difficult to work with. One issue is the variation of the exposure. Across the face of the film, there is roughly 1.5 stops gradient between the edges of the film. This will be explained in a separate post on the camera later. The negatives are from medium format film, and approximate the 6cm by 17cm format.
Once scanned, the high-resolution images were printed, using a LightJet printer that fires lasers to expose either Kodak Endura or Fuji Crystal Archive photographic paper. For each show, I had to produce two or more new prints. Three candidates were missing, and I was stuck using the consumer-grade scanner. The prints from the LightJet were acceptable, yet didn't have the look I'd hoped for.
Pinhole images can be surprisingly sharp. They are diffuse by nature. This characteristic, distortion, or whatever you prefer to call it, can be used in creative ways like any other optical property. Control of the depth of field is commonly used to emphasize a face in portraiture, as the eye is drawn to the detailed parts of an image. Another characteristic of pinhole imagery is a near-infinite depth of field - in relative, practical terms. My Nikkor-M 300mm large format lens has an aperture ranging from f9 to f128. At f128, the lens is approaching the relative size of a pinhole aperture, and has an amazing depth of field. I'll post an image using the lens at f128... when I find it... showing a fence with adequate focus at about three feet from the lens, with a building in sharp focus about a half-mile away.
Here are the three 'lost' images. They are not particularly impressive in this small format for the web, so you'll have to imagine the detail and subtle nuances of a high resolution print at about 40 inches wide. The original files are scanned at 300 dpi with an image width of 65 inches. Imagine that on display - I may try one that large. I will not pay for the framing, however... I'll settle for a few tacks.
Abstraction of the Abstraction
Under the Cloud Gate sculpture, by Anish Kapoor, is the omphalos, a highly polished concave chamber that distorts and reflects. It looks like this...
Under Cloud Gate, prior to polishing the seams
Leica IIIf
Click for larger view
Click for larger view
I wondered what this distorted world would look like when imaged with the Omniscope. An abstraction of an abstraction...
An Alien Presence
Omniscope, Ilford FP4 Plus film
Click for larger view
This was taken after the seams were polished. The camera was on a low tripod near one end, where I had to stoop low enough to stay out of the way. Tripods are not welcome under the sculpture - I happened by when it wasn't noticed, or they didn't care since I was well out of the way.
The Other Ones...
Alien Presence II
Click for larger view
Gehry Bandshell
Click for larger view
Next - the Omniscope.
Subscribe to:
Posts (Atom)