Hi Klaus,
So what did it look like to start with?
How did you scan it and what will you print it at.
Looks like you could go to 24"x30". Is that your plan?
I'm wondering what the max scan resolution of worthwhile. I have considered just 600 dpi is all that there is in detail but what do you find the reality is?
Anyway, the picture id great.
Do you have a link to the series or is this isolated?
Asher
Hi Asher!
You start with an almost complete dark studio. Wearing dark gloves you hold a tiny lamp with a narrow lightbeam and "paint" the light over the object. Camera-shutter remains open while painting the light - due to the strokes the camera realizes only the light which lit up the momentary point. But that continuously. This way no hard shadows appear as it would using a narrow spot - the light moves all the time. Almost like an airbrush.
I used an 8x10" Polaroid because this way of photography every shot is unique - you never will be able to do two identical lightings. So instant control, is essential.
And 8x10" simply is the most beautyful Polaroid i know . . .
I scanned it on a Linotype-Hell/Heidelberg flatbed scanner Saphir UltraII at 1200dpi. It was a range of shots - the others i will show also, if you like.
Lightbrush is a very, very fine way to work on a very basic level. It´s really a kind of craftmanship - and you´ll never know what happens to show up. It´s like carving and modelling structures and colours out of the darkness - a bit pathetic, i know, but that´s what i feel doing it
Here´s another one:
best, Klaus
P.S.: i forgot - it´s shot on Kodak EPP 8x10" with a Linhof and 300mm Symmar. Light was a big lightbox (Balcar strobe) from above at minus 1f and soft-filter on the lens, then lightpainted with a SureFire lamp with a half-daylight filter from Rosco attached - without the soft-filter on the lens.
So the basic exposure is softened and the paint-exposure is sharp.
Exposure time was about 2 minutes for painting after the basic exposure with the strobe-box.