Posts for: gkl
May 10, 2020 09:37:15 #
camerapapi wrote:
Excellent series. I am in full agreement with Linda's comments.
Thanks
May 10, 2020 09:30:56 #
May 9, 2020 15:43:04 #
Linda From Maine wrote:
Your dramatic use of light and shadow make these all winners in my opinion!
Linda, thanks.
May 9, 2020 14:38:06 #
Four mornings at different locations in the Grand Canyon recorded on KODAKCOLOR Gold 200; Leica M6, Summicron Symmetric IV, 35mm/f2.0, UV filter.
Epson V500 scanner, 48-bit, 4800dpi, positive film, no ICC profile, TIFF. Inverted using Adobe plugin Negative Scan Pro, edited in Photoshop (multiple despeckle) and Nik (RAW sharpener), Lightroom (output sharpener).
Epson V500 scanner, 48-bit, 4800dpi, positive film, no ICC profile, TIFF. Inverted using Adobe plugin Negative Scan Pro, edited in Photoshop (multiple despeckle) and Nik (RAW sharpener), Lightroom (output sharpener).
May 9, 2020 14:26:53 #
Views from Yellowstone taken on a drive in August of 2003, recorded on KODAKCOLOR Gold 200; ALPA 9D, Kern Macro Switar APO, 50mm/f1.8, UV filter.
Epson V500 scanner, 48-bit, 4800dpi, positive film, no ICC profile, TIFF. Inverted using Adobe plugin Negative Scan Pro, edited in Photoshop (multiple despeckle) and Nik (RAW sharpener), Lightroom (output sharpener).
Epson V500 scanner, 48-bit, 4800dpi, positive film, no ICC profile, TIFF. Inverted using Adobe plugin Negative Scan Pro, edited in Photoshop (multiple despeckle) and Nik (RAW sharpener), Lightroom (output sharpener).
Apr 30, 2020 22:33:39 #
Apr 30, 2020 22:33:12 #
Apr 30, 2020 16:32:15 #
Apr 29, 2020 18:07:16 #
Yellowstone August, 2003
These were recorded on KODAKCOLOR gold 200 back in 2003, and are used as test images using the Adobe Negative Lab Pro plug-in for conversion to positive.
Workflow:
EPSON V500 using Epson SCAN at 4800 dpi, Positive Film, 16-bit/channel, no adjustments, IN/OUT at 0 and 255, tiff no ICC. This gives me a negative flat file as best I can with this scanner.
Adobe Lr CC and activate Negative Pro, since this is a TIFF file, the process is a bit different from their tutorial which is on RAW files. There is no white balance for TIFF files. Since I am familiar with manual inversions, it’s doable after two attempts.
Gold 200 can’t compare to Pro-Ektar - it’s noisy. I post processed these images following the late Bruce Fraser’s workflow. Starting with despeckle three individual channels followed by three sharping’s for source, content then output in Photoshop. His book Image Sharpening with Adobe Photoshop Cs2 (ISBN 0321449916) includes details on scanning film. His later book on same subject co-authored with Jeff Schewe does not have the detailed examples. The why’s remain the same but the how’s are much simplified by Photoshop updates, just a click and slider instead of multiple levels, etc. etc..
Camera: ALPA 9D, Kern macro-Switar 50mm/f1.8
These were recorded on KODAKCOLOR gold 200 back in 2003, and are used as test images using the Adobe Negative Lab Pro plug-in for conversion to positive.
Workflow:
EPSON V500 using Epson SCAN at 4800 dpi, Positive Film, 16-bit/channel, no adjustments, IN/OUT at 0 and 255, tiff no ICC. This gives me a negative flat file as best I can with this scanner.
Adobe Lr CC and activate Negative Pro, since this is a TIFF file, the process is a bit different from their tutorial which is on RAW files. There is no white balance for TIFF files. Since I am familiar with manual inversions, it’s doable after two attempts.
Gold 200 can’t compare to Pro-Ektar - it’s noisy. I post processed these images following the late Bruce Fraser’s workflow. Starting with despeckle three individual channels followed by three sharping’s for source, content then output in Photoshop. His book Image Sharpening with Adobe Photoshop Cs2 (ISBN 0321449916) includes details on scanning film. His later book on same subject co-authored with Jeff Schewe does not have the detailed examples. The why’s remain the same but the how’s are much simplified by Photoshop updates, just a click and slider instead of multiple levels, etc. etc..
Camera: ALPA 9D, Kern macro-Switar 50mm/f1.8
Lower Geyer Basin
Scallop Spring
Scallop Spring - Nik conversion to monochrome
Apr 24, 2020 13:04:43 #
Apr 24, 2020 11:16:36 #
Apr 24, 2020 11:13:57 #
Apr 24, 2020 10:54:26 #
Anna’s Paeonies from years past.
All captured with SONY a7R, Kern macro Switar APO, 50mm/f 1.8, Metabones ALPA to E mount
All captured with SONY a7R, Kern macro Switar APO, 50mm/f 1.8, Metabones ALPA to E mount
Apr 22, 2020 21:05:20 #
Not all musicians enjoy headlines; some make music for fun and to travel, some to recover from a traumatic experience, then there are those to rise to the top.
Student troubadours from the University of Salamanca. SONY a7R, Summicron 35mm
(Download)
SORKOČEVIĆ Quartet, with a focus on Dubrovnik music heritage and recovering from the war. October 2010, Panasonic DMC-LX3
(Download)
SORKOČEVIĆ Quartet October 2018 recovered? SONY a7R, Summicron 35mm
(Download)
Lang Lang, Kennedy Center, Washington, D.C., Panasonic DMC-LX3
Christoph Eschenbach, a mentor to Lang Lang, Panasonic DMC-LX3
(Download)
Wannabe stay home and practice. SONY a7Rii, Kern macro Switar 50mm APO
(Download)
Apr 22, 2020 17:06:44 #
Photographers as seen by another.
Taipei commuter train station. SONY a7R, Summicron 35mm
Nara, Japan. SONY a7R, Summicron 35mm
Bordeaux. SONY a7R, Summicron 35mm
Florence, SONY a7R, Summicron 35mm
Nature Vision Exhibition, Northern Virginia, Kern macro Switar APO 50mm
Bath l. SONY a7R, Zeiss Biogon 25mm
Bath ll. SONY a7R, Zeiss Biogon 25mm
Old main train station, Amsterdam. SONY a7R, Summicron 35mm
Madrid. SONY a7R, Zeiss Biogon 25mm
