Thanks Jerome, appreciated. I have been busy with this particular scene for a couple years now and it starts to speak to you after a while.What can I say? This is simply nice. I can't imagine a better way to arrange the various rectangles and squares in that frame.
Thanks for your kind comments. I currently try to stay away from the photography as art forum as its value has been kind of deprecated imo. Hopefully, it will recover and be put to good use by many talented OPFers going forward.Cem,
its in the wrong part of the forum.
Photography as Art is where it should be posted - I like the stone surface render - as Jerome says the arrangement would be difficult to surpass.
there are more - can you get some others up.
cheers
Hi Mark,
Thanks for your kind comments. I currently try to stay away from the photography as art forum as its value has been kind of deprecated imo. Hopefully, it will recover and be put to good use by many talented OPFers going forward.
I have kind of expected that the surface structure would interest you. Here is one you might enjoy.
I may print it large, i.e. 40x60 cm or larger. To really impress, it would have to be some 80x120 cm I reckon. I would either use the Epson Velvet Fine Art or Ilford Gold Fiber Silk Baryta for this. In case I have it done elsewhere, I would go for a Alu-dibond back and a acrylic glass front.Of course it belongs either in "Photography as Art" or "Still Picture". More so it belongs as a huge print. This is where your skills in image preparation will pay off. Have you thought about what size you might print it and on what?
Asher
It is always very good to see you around these parts, thanks for the kind comments. Love that analogy to the Rosetta stone, indeed if these walls could speak what stories would they tell us?Cem, these are fascinating images, as usual. These structures have their place in history, but as they slowly disintegrate, hints of what they are transitioning into begin to appear as the years continue to roll by. It's a sort of frame-by-frame history viewable by anyone with the sensitivity and awareness to pay attention.
Concrete has a way of bleeding out a light-colored element of its amalgam along surface cracks that can resemble petroglyphs when viewed sideways while squinting. If the Rosetta stone for these could be found, I'm sure the bunker walls would have a tale or two to tell.
This is a very good and appropriate poem, I am impressed. Thanks so much for sharing!Cem,
I didn't realize how much green there is to be found in the stone. It's 5:29 a.m. and I was woken by thoughts of poetry that wouldn't let me rest. This stone of yours absorbed a lot of that rhythm.
4 What?
Tombstone terracotta touched by time
Ghost long gone
Dreams undone
Generations lost 4 what?
Clock hands spun the void
Where green boys stood
Now wet with tears.
Empty bastions 4 what?
Stars above muse on this
Sacrifices, campfires, sacred or not
Tiny flashes to the the sky
Life reforms 2 what?
Asher
Hi Asher,
This is a very good and appropriate poem, I am impressed. Thanks so much for sharing!
On a different note, I have done some harbour/barge shooting this weekend and I hope I will be able to share some with you shortly.
I would say, let's try the first option. We can create a generic theme for maritime industry and swap harbours, ships, tugs, barges, bridges, sluices, what have you....I too have been doing some photography of river traffic and commerce. My haunts include the Illinois and Mississippi Rivers in the US. Do you suppose a sort of back and forth sharing of photos here at OPF would work for this topic, or would you prefer presenting single posts per image/image sets/image themes?
Hi Mark,
Thanks for your kind comments. I currently try to stay away from the photography as art forum as its value has been kind of deprecated imo. Hopefully, it will recover and be put to good use by many talented OPFers going forward.
I have kind of expected that the surface structure would interest you. Here is one you might enjoy.
Glad you liked it. Of course I want to show you some crops.Cem,
its beautiful ... can you pop a bit of the work up the size you would print it please.
the silver / grey / green makes me grind my teeth . i almost feel the surface.
nice slow work for thinking to.
thanks for posting it.
Hi Mark,
Glad you liked it. Of course I want to show you some crops.
Firstly, the print size: 60x90 cm @360 dpi. The image dimesions are then 8500x12750 pixels. I have uprezzed the original image in QImage Studio using the Hybrid SE algorithm and exported to a tif file. From there, I have done deconvolution sharpening with Focus Magic. The crops presented are at @120 dpi, meaning that your hi-rez monitor should resemble the print hanging on the wall. I reckon then what you see on your screen (make sure that it is displayed at 100% and not resized by your browser) is quite close to seeing the print hanging on the wall at an arm's distance. Without further ado, here they are:
Crop 1
Crop 2
Under ideal circumstances I would upsize to print size and process appropriately after that. In this example I've processed first and then upsized. I haven't adjusted the curves afterwards simply because I've processed these for sharing here, not yet for printing.....
when enlarging work I keep finding I have to adjust the curves etc - Like in the dark room I would increase dev strength and heat to achieve what I wanted from the negative. Does your process included that.
do you work from print size down or up to print size?